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Australia's oldest exhibiting Aboriginal art gallery

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  • Urban Artists
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From a geographic perspective, Urban Aboriginal artists reside in parts of Australia that have been most effected by European colonisation. Generally speaking urban Aboriginal artists identify themselves with local generic terms for "Aboriginal". The main groups being "Koori", "Nyoongah", "Nunga" and "Murri", from the south-east, south-west, coastal South Australia and north-east respectively.

Urban aboriginal art came to prominence with the changing social climate of the 1970's and has been a major force in the revitalization of Aboriginal culture. Prior to the 1970's, Urban Aboriginal art was marginalised; seen rather as an aberration or oddity, being accepted neither within mainstream Australian art or within the Aboriginal art paradigm. With no obvious cultural links to "traditional" Aboriginal culture, urban Aboriginal art was generally thought of as inauthentic and irrelevant. The end of modernism and the emergence of post-modern discourse in the 1980's, saw shift a in emphasis within cultural institutions, rather than seeing art at the periphery of the dominant cultural paradigm as irrelevant, institutional policy changed to one that celebrated difference and brought perspectives from marginalised sections of the community into the centre of the institution, this inclusiveness, brought about an acceptance and acknowledgement of Urban aboriginal art. Through the effects of colonisation, assimilationist policies and removal from and of traditional land, Urban Aboriginal artists are to varying degrees severed from their cultural heritage. As a result, urban Aboriginal art is stylistically diverse, combining both traditional and European forms. This position between two opposing cultures is unique and many urban artists critically explore this duality, the importance of these artists is in the closeness in which their own duality is a personification of a large part of Australia's post-colonial situation.

For many Aboriginal artists of urban background, art is a way of rediscovering and re-developing the link to their indigenous cultural heritage while simultaneously critiquing European colonialism, culture and its effects upon the lives of indigenous Australians.

Urban Aboriginal Art History

Although first coming to prominence in the 1970's, urban Aboriginal art has its roots in the 1860's. Much early urban Aboriginal art is in a figurative style narrating contemporary events that effected Aboriginal people under colonial rule and offering a rare indigenous perspective on colonial life in the 19th century. The Two most Prominent urban Aboriginal artists of the 19th century are William Barak and Tommy McRae.

William BARAK, Wurundjeri c. 1824-1903, Figures in possum-skin cloaks 1898, pencil, wash, charcoal solution, gouache and earth pigments on paper 57 x 88.8 cm (sheet). Apart from its beauty, the art of William Barak is significant in that it records the lives of his contemporaries and their interaction with British colonialism.

Both artists began using materials such as pencil, charcoal, crayons and paper to depicting scenes of contemporary Aboriginal life. Tommy McRae began working in the 1860's acquiring a number of patrons, who commissioned him to produce drawings of hunting, ceremonies and other aspects of contemporary aboriginal life, much of McRae's work also depicts scenes that include settlers and Aboriginal people interacting. McRae's work was also used to illustrate two books of Aboriginal stories published in 1896 and 1898.

In a series of charcoal drawings, William Barak recorded the daily life at Coranderrk Aboriginal Station where he lived. Both of Barak and McRae's work was highly regarded during their lifetime, though their art they where able to transcend the negative stereotypes of indigenous people commonly held at the time.

During the early 20th century the most significant Urban Aboriginal artist was Albert Namantjira. Namantjira was taught traditional European watercolour techniques by Melbourne artists Rex Batterby and John Gardner in the 1930's. He showed a marked talent for the depiction of the desert landscape. Namantjira's first exhibition was in 1938 and met with instant success. Namantjira's art resulted in the creation of an entire school of watercolour painters known as the Arrernte group, which still continues today. Prior to the establishment of the acrylic painting movement at Papunya in 1971, this school of watercolour painting was the major portable art being produced in the central desert region. Namantjira's art also had an impact on other generations of Aboriginal artists who did not use the medium of watercolour, these artists include Lin Onus and Ginger Riley.

Held at the Contemporary Art Space in Sydney, Koori Art 1984 was a watershed exhibition for urban Aboriginal artists. The show brought together twenty-five artists including Avril Quaill, Fiona Foley, Gordon Syron, Michael Riley, Lin Onus, Trevor Nicholls and Arone Meekes. These artists showed little interest in mimicking contemporary international art and predominantly made work in a social realist style that looked beyond the aesthetic to the cultural and political concerns of Aboriginal people. The Exhibition was met with mixed responses; seen as an aberration from the norm, it was criticised as not really being Aboriginal art but a second rate art that was based upon a European visual lexicon. Although well attended by key art world intelligentsia, the artworks in the exhibition were considered a fad and failed to rate a mention in any of the key Australian art journals. Despite this, the exhibition was the first that concentrated upon contemporary urban Aboriginal art, and was a harbinger to a major change in emphasis in Australian art from one based upon predominantly aesthetic concerns to one based upon social commentary. Most importantly, the exhibition brought urban Aboriginal artists together for the first time making them aware that they were not alone but part of a group that shared similar aspirations. In 1987, key artists from this exhibition went on to form the Boomalli Aboriginal Artists Cooperative. The Cooperative maintains the collaborative and social contact that had begun with Koori Art 1984 by providing studios and exhibition spaces, it also acts as a platform that promotes urban Aboriginal art on both a national and international level. Though exhibitions like Koori art 1984 and the establishment of collectives like Boomali, institutional acceptance of the work of Koori artists has eventuated, and a number of works from Koori Art 1984 have been acquired by major public galleries.

Since the 1990s urban aboriginal art has grown in significance, there has also been a shift in the acceptance of aboriginal art in general from being marginalised, regarded as an art on the periphery, to joining the mainstream of contemporary Australian art. Though a fear of being pigeon holed, many urban aboriginal artists such as Gordon Bennett, Tracey Moffatt, and Lin Onus, first and foremost regard themselves as artists. To many Urban Aboriginal artists the term "Aboriginal Artist" is in itself a form of marginalisation that creates an expectation that their work is singular in content, only dealing with issues of Aboriginality. As an "Artist" they explore ideas outside of Aboriginality. For instance, Gordon Bennett's latest work has concentrated on issues concerning terrorism and the invasion of Iraq by the "coalition of the willing".

Sally Morgan, Another Story, 1988 limited edition screen-print of 95. 'Another story' presents an Indigenous perspective to the Australian Bicentenary, one of invasion and survival. The print symbolises the use of Aboriginal slave labour to create Australia's highly successful pastoral industry Arc004smUrban Aboriginal artist Richard Bell with his win of the Telstra Indigenous Art award in 2003 was a further affirmation of the importance of urban indigenous art to the Aboriginal art lexicon.

Puppydog Plain (Triptych) by Freddie Timms
Puppydog Plain (Triptych) - 1996
Freddie Timms 8

150 x 270 cm (150 x
#17950 LOCATION: Bondi Beach
$75,000.00

Tali and Warla by Daniel Walbidi
Tali and Warla - 2015
Daniel Walbidi 1

205.0 x 171.0 cm
#13964 LOCATION: Bondi Beach
$75,000.00

Warringarri Dreaming near Bow River Warmun by Rover (Julama) Thomas
Warringarri Dreaming near Bow River Warmun - 0.1992
Rover (Julama) Thomas 9

122 x 205.5 cm
#556 LOCATION: Bondi Beach
$60,000.00

Canning Stock Route by Rover (Julama) Thomas
Canning Stock Route - 1995
Rover (Julama) Thomas 9

121 x 180 cm
#18188 LOCATION: Bondi Beach
$45,000.00

Mt. Newman by Rover (Julama) Thomas
Mt. Newman - 1996
Rover (Julama) Thomas 9

120 x 120 cm
#18400 LOCATION: Bondi Beach
$45,000.00

Untitled by Rover (Julama) Thomas
Untitled - 1994
Rover (Julama) Thomas 9

91 x 164 cm
#15102 LOCATION: Bondi Beach
$35,000.00

The Eaglehawk & The Crow by Rover (Julama) Thomas
The Eaglehawk & The Crow - 1996
Rover (Julama) Thomas 9

60.0 x 90.0 cm
#17898 LOCATION: Paddington
$30,000.00

Wandjinas at Londra by Jack Dale Mengenen
Wandjinas at Londra - 2007
Jack Dale Mengenen 10

198 x 235 cm
#7625 LOCATION: Bondi Beach
$25,000.00

Wirrimangaru     by Boxer Milner Tjampitjin
Wirrimangaru - 2002
Boxer Milner Tjampitjin 2

75 x 150cm
#1532 LOCATION: Bondi Beach
$20,000.00

Four Wandjinas at Iondra by Jack Dale Mengenen
Four Wandjinas at Iondra - 2007
Jack Dale Mengenen 10

147 x 204 cm
#16692 LOCATION: Bondi Beach
$18,000.00

Munununga Young Female Wandjina, Iondra by Jack Dale Mengenen
Munununga Young Female Wandjina, Iondra - 2007
Jack Dale Mengenen 10

203 x 164 cm
#8198 LOCATION: Bondi Beach
$18,000.00

Wundugi Boss Wandjina Wunguwu Iondira by Jack Dale Mengenen
Wundugi Boss Wandjina Wunguwu Iondira - 2007
Jack Dale Mengenen 10

203 x 128 cm
#8197 LOCATION: Bondi Beach
$18,000.00

Midjul by Eubena Nampitjin
Midjul - 1999
Eubena Nampitjin 7

120 x 80 cm
#18736 LOCATION: Bondi Beach
$16,000.00

Iraki Country by Queenie McKenzie Nakarra
Iraki Country - 1997
Queenie McKenzie Nakarra 9

90 x 120 cm
#18716 LOCATION: Bondi Beach
$15,000.00

Jalala  & Wandjina Cave by Jack Dale Mengenen
Jalala & Wandjina Cave - 2007
Jack Dale Mengenen 10

205 x 150 cm
#8200 LOCATION: Bondi Beach
$15,000.00

Rain & Hail Wandjinas by Jack Dale Mengenen
Rain & Hail Wandjinas - 2007
Jack Dale Mengenen 10

204 x 147 cm
#16685 LOCATION: Bondi Beach
$15,000.00

Antspring by Freddie Timms
Antspring - 1997
Freddie Timms 8

101 x 160.5 cm
#15496 LOCATION: Bondi Beach
$12,000.00

Mawanji Springs by Henry Wambiny
Mawanji Springs - 2000
Henry Wambiny 4

150.0 x 100.0 cm
#9283 LOCATION: Bondi Beach
$12,000.00

My Country - Warlawoon by Rammey Ramsey
My Country - Warlawoon - 2007
Rammey Ramsey 1

122 x 135 cm
#18165 LOCATION: Bondi Beach
$12,000.00

Wandjinas at Iondra by Jack Dale Mengenen
Wandjinas at Iondra - 2007
Jack Dale Mengenen 10

166.0 x 198.0 cm
#7626 LOCATION: Bondi Beach
$12,000.00

Rover by Rover (Julama) Thomas
Rover - 1995
Rover (Julama) Thomas 9

75 x 55 cm
#17951 LOCATION: Bondi Beach
$12,000.00

Kurtal by David Jarinyanu Downs
Kurtal
David Jarinyanu Downs 1

122 x 91 cm 124 x 94
#18014 LOCATION: Bondi Beach
$11,000.00

Mook Mooks (Sleepy Owls) by Freddie Timms
Mook Mooks (Sleepy Owls) - 1997
Freddie Timms 8

150 x 90 cm
#11805 LOCATION: Bondi Beach
$10,000.00

Wandjina by Lily Karadada
Wandjina - 2002
Lily Karadada 20

160 x 120 cm
#9926 LOCATION: Bondi Beach
$10,000.00


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