The exhibit reflects some of the spectacular works in the upcoming Seattle Art Museum exhibition "Ancient Modern: Australian Aboriginal Art from the Kaplan Levi Collection" and was curated by Mr. Moose together with some of the Australian curators who assisted Bob Kaplan and Margaret Levi in building their collection.
The central desert community of Papunya, where the dot painting movement began in the early 70's, is represented by Clifford Tjapaltjarri Possum, his brother Tim Leura, Leura's protégé Gordon Campbell and George "Hairbrush" Tjungarrayi. Emily Kame Kngwarreye, who's works are frequently compared to abstract expressionists, her bother Kudditiji, Gloria Petyarre and Lindsay Bird Mpetyane represent the community of Utopia. Paddy Japaljarri Sims, his wife, Bessie Nakamarra Sims, Paddy Japaljarri Stewart and Shorty Jangala Robertson are among those representing Yuendemu, the community which made history by constructing enormous traditional ground paintings in European and American museums in the 80's and 90's.
Artists from Arnhem Land, in the far northwest, like Jimmy Njiminjuma, George Ganyjibala and Narrawu Wanambi have worked with natural orchre paint on flattened eucalyptus bark, possibly for centuries. Nearby neighbors of the Tiwi Islands have used similar materials, but employed their own unique system of symbols to tell creation stories also represented in the exhibition. Further to the south, in the Kimberly and the western desert, artists such as Rover Thomas (first Aboriginal artist to represent Australia at the Venice Bienale), Charlie Tjapangati, Bai Bai Napangarti and Jimmy Nerrimah worked with a combination of solid brush strokes and dots to render their creation stories. From Queensland in the far east of Australia come paintings from Rosella Namok and prints by urban artist Arone Meeks and Torres Strait islander Glen Mackie as well as a rare possum hair hat by an unknown artist from Mornington Island.