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Daisy Jugadai Napaltjarri
Daisy Jugadai Napaltjarri (c. 1955–2008) was a Pintupi language, Pintupi-Luritja-speaking Indigenous Australian, Indigenous artist from Australia's Western Desert cultural bloc, Western Desert region, and sister of artist Molly Jugadai Napaltjarri. Daisy Jugadai lived and painted at Haasts Bluff, Northern Territory. There she played a significant role in the establishment of Ikuntji Artists, Ikuntji Women's Centre, where many artists of the region have worked. Influenced by the Hermannsburg School, Jugadai's paintings reflect her ''Dreaming (spirituality), Tjuukurrpa'', the complex spiritual knowledge and relationships between her and her landscape. The paintings also reflect fine observation of the structures of the vegetation and environment. Jugadai's works were selected for exhibition at the National Aboriginal & Torres Strait Islander Art Awards five times between 1993 and 2001, and she was a section winner in 2000. Her paintings are held in major collections including th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haasts Bluff, Northern Territory
Haasts Bluff, also known as Ikuntji, is an Aboriginal Australian community in Central Australia, a region of the Northern Territory. The community is located in the MacDonnell Shire local government area, west of Alice Springs. At the 2006 census, the community, including outstations, had a population of 207. History The Haasts Bluff community takes its name from the nearby outcrop, given this name in 1872 by the explorer Ernest Giles, after the German-born New Zealand geologist, Julius von Haast. The locality was established as a Lutheran mission in 1946, and is home to Western Arrernte, Pintupi and Pitjantjatjara people. The term "Finke River Mission" was initially an alternative name for the Hermannsburg Mission, but this name was later often used to include the settlements at Haasts Bluff, Areyonga and, later, Papunya. It now refers to all Lutheran missionary activity in Central Australia since the first mission was established at Hermannsburg in 1877. Art A number of n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kinship System
In anthropology, kinship is the web of social relationships that form an important part of the lives of all humans in all societies, although its exact meanings even within this discipline are often debated. Anthropologist Robin Fox says that the study of kinship is the study of what humans do with these basic facts of lifemating, gestation, parenthood, socialization, siblingship etc. Human society is unique, he argues, in that we are "working with the same raw material as exists in the animal world, but ecan conceptualize and categorize it to serve social ends." These social ends include the socialization of children and the formation of basic economic, political and religious groups. Kinship can refer both to the patterns of social relationships themselves, or it can refer to the study of the patterns of social relationships in one or more human cultures (i.e. kinship studies). Over its history, anthropology has developed a number of related concepts and terms in the study ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dreaming (spirituality)
The Dreaming, also referred to as Dreamtime, is a term devised by early anthropologists to refer to a religio-cultural worldview attributed to Australian Aboriginal beliefs. It was originally used by Francis Gillen, quickly adopted by his colleague Baldwin Spencer and thereafter popularised by A. P. Elkin, who, however, later revised his views. The Dreaming is used to represent Aboriginal concepts of ''Everywhen'', during which the land was inhabited by ancestral figures, often of heroic proportions or with supernatural abilities. These figures were often distinct from gods, as they did not control the material world and were not worshipped but only revered. The concept of the Dreamtime has subsequently become widely adopted beyond its original Australian context and is now part of global popular culture. The term is based on a rendition of the Arandic word ''alcheringa'', used by the Aranda (Arunta, Arrernte) people of Central Australia, although it has been argued tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Linocut
Linocut, also known as lino print, lino printing or linoleum art, is a printmaking technique, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for a relief surface. A design is cut into the linoleum surface with a sharp knife, V-shaped chisel or gouge, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer), and then impressed onto paper or fabric. The actual printing can be done by hand or with a printing press. Technique Since the material being carved has no directional grain and does not tend to split, it is easier to obtain certain artistic effects with lino than with most woods, although the resultant prints lack the often angular grainy character of woodcuts and engravings. Lino is generally diced, much easier to cut than wood, especially when heated, but the pressure of the printing process degrades the plate faster and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Screen Printing
Screen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. One colour is printed at a time, so several screens can be used to produce a multi-coloured image or design. Traditionally, silk was used in the process. Currently, synthetic threads are commonly used in the screen printing process. The most popular mesh in general use is made of polyester. There are special-use mesh materials of nylon and stainless steel available to the screen-printer. There are also different types of mesh size which will determine the outcome and look of the fi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Outstation Movement
An outstation, homeland or homeland community is a very small, often remote, permanent community of Aboriginal Australian people connected by kinship, on land that often, but not always, has social, cultural or economic significance to them, as traditional land. The outstation movement or homeland movement refers to the voluntary relocation of Aboriginal people from towns to these locations. The outstation movement A movement arose in the 1970s and continued through the 1980s which saw the creation of very small, remote settlements of Aboriginal people who relocated themselves from the towns and settlements where they had been settled by the government's policy of assimilation. It was "a move towards reclaiming autonomy and self-sufficiency". Also known as "homelands", the term "outstation" was adopted as it "suggests a dependent relationship between the outstation and the main homestead, but with a degree of separation". Outstations were created by Aboriginal people who "sought ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papunya Tula
Papunya Tula, registered as Papunya Tula Artists Pty Ltd, is an artist cooperative formed in 1972 in Papunya, Northern Territory, owned and operated by Aboriginal people from the Western Desert of Australia. The group is known for its innovative work with the Western Desert Art Movement, popularly referred to as "dot painting". Credited with bringing contemporary Aboriginal art to world attention, its artists inspired many other Australian Aboriginal artists and styles. The company operates today out of Alice Springs and its artists are drawn from a large area, extending into Western Australia, west of Alice Springs. Background In the late 1960s, the Australian Government moved several different groups living in the Western Desert region to Papunya, north-west of Alice Springs in the Northern Territory, to remove them from cattle lands and assimilate them into western culture. These displaced groups were primarily Pintupi, Luritja, Walpiri, Arrernte, and Anmatyerre people ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Geoffrey Bardon
Geoffrey Robert Bardon AM (1940, Sydney – 6 May 2003) was an Australian school teacher who was instrumental in creating the Aboriginal art of the Western Desert movement. Bardon studied law for three years at the University of Sydney, before changing to study art education at the National Art School in Sydney, graduating in 1965. He taught art at various New South Wales country high schools before taking up a posting in 1971 to teach at the primary school at Papunya, a remote Aboriginal settlement 250 km west of Alice Springs. The 18 months of his tenure there saw the beginnings of the Western Desert Painting Movement. After encouraging the children to record their sand patterns in paint, he went on to encourage the adult men of the community to paint their Honey Ant Dreaming on the school wall, preserving their traditional Dreamings, or Tjukurpa, and stories in paint. Eric Michaels comments on this in his essay ''Bad Aboriginal Art'': "... irected by Bardon, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kaapa Tjampitjinpa
Kaapa Mbitjana Tjampitjinpa ( 1920 – 1989) was a contemporary Indigenous Australian artist of Anmatyerre, Warlpiri and Arrernte heritage. One of the earliest and most significant artists at Papunya in Australia's Northern Territory in the early 1970s, he was a founding member and inaugural chairman of the Papunya Tula artists company, and pivotal to the establishment of modern Indigenous Australian painting. Life Kaapa was born west of Napperby Station in the 1920s. His father was Kwalapa Tjangala, a senior Aboriginal man who had ritual responsibility for a site known as Warlugulong, which would subsequently be portrayed by several different artists in major paintings such as ''Warlugulong'' (1976) and ''Warlugulong'' (1977). Kaapa was initiated on Napperby Station, and was a stockman at nearby Mount Riddock Station. Kaapa later worked on a station at Haasts Bluff. While he moved to Papunya in the 1960s, he also was present during the town's construction in the late 1950s. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papunya
Papunya (Pintupi-Luritja: ''Warumpi'') is a small Indigenous Australian community roughly northwest of Alice Springs (Mparntwe) in the Northern Territory, Australia. It is known as an important centre for Contemporary Indigenous Australian art, in particular the style created by the Papunya Tula artists in the 1970s, referred to colloquially as dot painting. Its population in 2016 was 404. History Pintupi and Luritja people were forced off their traditional country in the 1930s and moved into Hermannsburg (Ntaria) and Haasts Bluff, where there were government ration depots. There were often tragic confrontations between these people, with their nomadic hunter-gathering lifestyle, and the cattlemen who were moving into the country and over-using the limited water supplies of the region for their cattle. The Australian Government built a water bore and some basic housing at Papunya in the 1950s to provide room for the increasing populations of people in the already-established A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contemporary Indigenous Australian Art
Contemporary Indigenous Australian art (also known as contemporary Aboriginal Australian art) is the modern art work produced by Indigenous Australians, that is, Aboriginal Australians and Torres Strait Islander people. It is generally regarded as beginning in 1971 with a painting movement that started at Papunya, northwest of Alice Springs, Northern Territory, involving Aboriginal artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa, and facilitated by white Australian teacher and art worker Geoffrey Bardon. The movement spawned widespread interest across rural and remote Aboriginal Australia in creating art, while contemporary Indigenous art of a different nature also emerged in urban centres; together they have become central to Australian art. Indigenous art centres have fostered the emergence of the contemporary art movement, and as of 2010 were estimated to represent over 5000 artists, mostly in Australia's north and west. Contemporary Indigenous artists ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnhem Land, Northern Territory
Arnhem Land is a historical region of the Northern Territory of Australia, with the term still in use. It is located in the north-eastern corner of the territory and is around from the territory capital, Darwin. In 1623, Dutch East India Company captain Willem Joosten van Colster (or Coolsteerdt) sailed into the Gulf of Carpentaria and Cape Arnhem is named after his ship, the ''Arnhem'', which itself was named after the city of Arnhem in the Netherlands. The area covers about and has an estimated population of 16,000, of whom 12,000 are Aboriginal and Torres Strait Islander people. Two regions are often distinguished as East Arnhem (Land) and West Arnhem (Land), and North-east Arnhem Land is known to the local Yolŋu people as Miwatj. The region's service hub is Nhulunbuy, east of Darwin, set up in the early 1970s as a mining town for bauxite. Other major population centres are Yirrkala (just outside Nhulunbuy), Gunbalanya (formerly Oenpelli), Ramingining, and Maningr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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