Emily Kame Kngwarreye: Alhalkere, paintings from utopiahttp://nga.gov.au/Exhibitions/Kngwarreye/
In the 1990s Emily Kame Kngwarreye (c.1910-1996) emerged as one of Australia's leading painters of modern times. Kngwarreye's prominence is no overnight sensation; it finds its roots in a lifetime of ritual and artistic activity. Her energetic paintings are a response to the land of her birth, Alhalkere, north of Alice Springs - the contours of the landscape, the cycles of seasons, the parched land, the flow of flooding waters and sweeping rains, the patterns of seeds and the shape of plants, and the spiritual forces which imbue the country. Kngwarreye's vision of the land is unique; her paintings challenge the way we look at art by Aboriginal Australians. Emily Kame Kngwarreye: Alhalkere - Paintings from Utopia traces the brief but impressive career of an artist who started painting in the public arena when she was in her eighties.
National Gallery of Australia, Canberra
Purchased 1989 © Emily Kam Kngwarrey. Licensed by VISCOPY, Australia
Michael Riley: sights unseennga.gov.au//Riley
Michael Riley: sights unseen is one of the most significant exhibitions of Indigenous art to be held at the National Gallery of Australia. A major retrospective of one of the country’s leading Indigenous contemporary artists, it is the first exhibition to focus on the career of an Aboriginal artist from the south-east of Australia. Previous retrospectives have honoured the work of Dr David Daymirringu Malangi (2004), Albert Namatjira (2002), Rover Thomas (Joolama) (1994) and George Milpurrurru (1993).
No ordinary place: the art of David Malanginga.gov.au/malangi
David Malangi (1927–1999) of the Manharrngu people was a leading figure in the development of the Central Arnhem Land bark painting movement and holds a prominent place in Australian Aboriginal art. Made famous by his design used on the Australian one dollar note when Australia converted to decimal currency in 1966, Malangi painted over a period of four decades. He was a major instigator of Gallery's Aboriginal Memorial, contributing ten magnificent hollow logs to the project. The exhibition traces the development of Malangi’s work from the early bark paintings of the 1960s that record his patrilineally inherited land and ceremonies, to the masterful dedications to his mother’s land and culture for which he was also responsible and where he spent the last thirty years of his life.
National Indigenous Art Triennial 07: culture warriorsnga.gov.au/NIAT07
Presenting the work of thirty artists from each state and territory, the Triennial demonstrates the incredible range of contemporary Indigenous art practice. It is the largest survey show of Indigenous art at the Gallery in more than fifteen years, featuring up to four works by each artist created during the past three years in a variety of media, including painting on bark and canvas, sculpture, textiles, weaving, new media, photomedia, printmaking and installation. The works selected not only create an exhibition of outstanding quality but are also ultimately important acquisitions for the national collection.