Canberra, Australian Institute of Aboriginal Studies, 1986. Put another way, the exhibition argues that temporality operates as a flux, rather than a linear flow, within Indigenous conceptions of the world. The exhibition could thus be said to figure forth the contemporary not only as internally disjunctive, but also (and paradoxically) as aporetic at its very core. Canberra, National Museum of Australia Press, 2008. ed, National Museum of Australia Press, Canberra, 2008, passim. \n "Anwerlarr angerr (Big yam)," Emily Kam Kngwarray (Alhalkere Country, Utopia, Northern Territory, Australia), synthetic polymer paint on canvas, 1996 \u00a9 Image courtesy National Gallery of Victoria, Melbourne \n. Young Oceans of Cinema: The Films of Jean Epstein F E AT U R E S An array of dots overlays a gridwork of lines, slashes and arcs, generating a temporally textured narrative. Canberra, National Museum of Australia Press, 2008. Writing the Lives of Plants: Phytography and the Botanical Imagination. a/b: Auto/Biography Studies, in press. As Ian McLean succinctly notes, Osbornes underlying point is that the contemporary has acquired the historical significance that the modern held for most of the twentieth century, thus usurping its former paradigmatic function.6 Whereas the modern, for Osborne (as for others, such as Groys), attempts to envision and create a future, the contemporary involves a co-presentness of a multiplicity of times.7 Just as the exhibition Everywhen advances a complex, layered experience of time, so too does Osborne advance the thesis that the contemporary is defined by a disjunctive logic, meaning that the present comprises multiple, fractured and intersecting modes of inhabitation. Tommy Watson, Wipu Rockhole, 2004. There are especially fine paintings by Paddy Bedford, Ronnie Tjampitjinpa, Tommy Watson, Alec Mingelmanganu, Tutuma Tjapangati, and Regina Pilawuk Wilson. (And as an Australian art critic, believe me, Ive seen a few). "Painting is not merely illustration, but real-time communion with ancestors," reads a wall text in Everywhen: The Eternal Present in Indigenous Art from Australia a show at the Harvard Art Museums up through September 18. Siewers, Alfred. In a similar gesture towards the postconceptual, Rover Thomass Yari country (1989) successfully binds together aesthetic and non-aesthetic aspects of artistic production. To be certain, Kngwarreyes middle name Kame denotes the seed of V. lanceolata and, therefore, encodes her Yam Dreamingthe intergenerational stories of the pencil yams genesis that, as cultural custodian, she was entitled to narrate through her work (Holt 200). Recorded live at the Points of View event on Wed 9 Jul 2014.Taking this iconic work as a starting point, our guests make a series of lateral leaps to explore. Emily Kam Kngwarray Share on Facebook; Share on Twitter; Share by Email; Medium synthetic polymer paint on canvas Measurements (a-d) 401.0 245.0 cm (overall) Place/s of Execution Alice Springs, Northern Territory Accession Number 1998.337.a-d Department Ecopoetics and the Origins of English Literature. Anwerlarr Anganenty (Big Yam Dreaming). 1959) painting bunya, from Page 4 of 10 November 12, 2015 (updated January 14, 2016) Throughout her brief artistic career, Kngwarreye featured the species in paintings such as Untitled (Yam) (1981), Anooralya Wild Yam (1989), and Yam Dreaming (1996) as well as a number of black-and-white works. Time and Society, vol. Canberra, National Museum of Australia Press, 2008. It remains possible, however, that the Archimedean point occupied by Smith gives way to a form of time that can only be experienced through its internal conjunctions and disjunctions. Australian Journal of Botany, vol. The resulting patterns suggest mythical songlines (mythological stories from the so-called dreamtime that relate to place and becoming), but also aerial views, Western contour maps, and, via their optical dazzle, desert haze. From the standpoint of human-vegetal entanglement, Kngwarreyes yam paintings disclose the biocultural role of her art within an Anmatyerre spiritual ecology. It thus demonstrates the capacity for an object to move through alternative registers of meaning and value, hence entering alternative discursive fields. 17879. If Indigenous art does not require a postconceptual paradigm (in Osbornes historical sense) for its contemporaneity, then the contemporaneity of Indigenous art may not correspond to the contemporary of postconceptual, non-Indigenous art. Photo: Harvard Art Museums, President and Fellows of Harvard College. Her work was inspired by her cultural life as an Anmatyerre elder, and her lifelong custodianship of the womens Dreaming sites in her clan country, Alhalkere. The Australian anthropologist W E H Stanner coined the term everywhen in 1953 to refer to a narrative of past experience, a charter of possible future events and a system for ordering the universe and granting it meaning. Disease, slaughter, dispossession, and lack of recourse (thanks in part to the British designation of the continent, which had been occupied for 50,000 years, as terra nullius nobodys land) almost destroyed Aboriginal culture. Around the same time, her transition from batik to canvas was catalysed by Emu Woman (198889), a painting that features the wild seeds ground to produce a damper for womens ceremonies (Neale, Origins 6061). Singing Saltwater Country: Journey to the Songlines of Carpentaria. An Anmatyerre elder and lifelong custodian of women's 'dreaming' sites in her clan country of Alhalkere, Emily Kame Kngwarreye (1910-1996) developed an abstract visual language centred around ancestral spirits and Australian Aboriginal cosmology. Alice Springs, IAD Press, 1995. By including works such as these, the exhibition reveals that the contemporary does not require a definition founded solely in conceptual art. In contrast to Anooralya, the Wild Yam (1995) series makes use of multi-coloured lineation to cultivate a dense tracery mimetic of yam poiesis in the earth. The following critique probes that disjuncture to unravel the dependence of contemporary art on conceptual practices to advance an alternative theorisation of the contemporary. 1213. Journals of Two Expeditions of Discovery in North-west and Western Australia During the Years 1837, 38 and 39. Alice Springs, Northern Territory Heritage Commission and the Conservation Commission of the Northern Territory, 1987. But does the work in the show present a new way of picturing the world, or rather a vastly ancient one? In this context, ecocritic Alfred Siewers employs the neologism time-plexity to denote the entwining of chronos and kairosof human and more-than-human modes of time. In this context, Kngwarreye was born in 1910 at Alhalkere (Alalgura) soakage near the Utopia (Uturupa) community in Anmatyerre Country, approximately three-hundred-and-fifty kilometres north-east of Alice Springs. Aboriginal Modernism? Critic Ian McLean, furthermore, approaches Kngwarreyes art as the consummation of a long post-contact Aboriginal history in order to legitimise its overarching resonance with Western modernism (23). Jan 17, 2017 - abstrakshun: "Emily Kame Kngwarreye (Australian, c. 1910 - 1996) Wild Yam series " Emily Kame Kngwarreye: The Impossible Modernist. To this effect, Kngwarreye has been characterised by critics narrowly as an accidental modernist (Green) and impossible modernist (Neale, Emily Kame Kngwarreye; Tatehata)her work typecast as modern though oblivious to Western modernism (McLean 23) and, even, analogous to the abstract expressionism of American painter Jackson Pollock. Such temporality is then both epistemology and ontology, knowledge and constitution of the world. Osbornes attempt to found a concept of the contemporary on a rigorous philosophical basis offers a rich and complex theory of art and temporality. To exist out of season, for Marder, is to exist out of tune with the milestones of vegetal time: germination, growth, blossoming, and fruition (in Irigaray and Marder 143). Philosopher David Wood similarly articulates the plexityor entangled natureof temporal scales that he identifies as foundational to phenomenological experience of the environment (Wood 21317). 51, 2003, 295308. The paintings substratum delineates sacred places and significant sitessoakages, outcrops, stones, trees and tuber groundsalong the Dreaming track of Anooralya Altyerre, the wild yam creation being. You can email the site owner to let them know you were blocked. If Everywhen is not quite the show of Aboriginal art Ive always secretly longed to see, it is probably the best Ive actually seen. Lawn, R.J., and A.E. In around 70 works, it provides a smooth and enlightening introduction to forms of art celebrated in their home country not only as beautiful, but salvific: the aesthetic equivalent of balm applied to shameful national wounds. It asserts that Indigenous art occupies a central position not only in the institutional definitions of contemporary art, but also in the theorisation of contemporaneity. Emily Kame Kngwarreye's Anwerlarr Anganenty [Big Yam Dreaming], 1995. A phytographical perspective on Kngwarreyes work discloses her filiation with anooralya and other wild yam, or potato, species. The white linear network signifies the underground network of branching tubers, the cracks in the ground that form when the long yam ripens and arlkeny (the striped body designs) worn by Anmatyerr and Alyawarr women in their ceremonies. Albany, NY, State University of New York Press, 2003. The perspective I am adopting hereone predicated on the interwoven agencies of flora and artsituates Kngwarreyes work within a Dreaming ecology of Central Desert people that recognises plants as percipient kin. Along these lines, Kngwarreyes work makes perceptible the elusive pulsations of yam-time that otherwise might remain concealed (Marder 103). Its a powerful and huge (8 metres x 3 metres) painting covered with a tangle of curving white brushstrokes, forming an organic pattern that represents the roots of the yam and the cracks of the earth in desert country, and also the spiritual sense of country of this indigenous artist. In her role at the NGV she has curatorial Irigaray, Luce, and Michael Marder. Green, Jenny. Through the yam-art of Kngwarreye, this article considers human-vegetal entanglements in Aboriginal Australian societies. Occasionally, my mum would try to prove how old Nana was. The lines in each color congregate in certain areas, but not according to any easily grasped logic. 46. Bardon, Geoffrey, and James Bardon. Printed on luxury 170gsm Hanno Silk Art paper In brief, phytography examines plant-non-plant biographies through a conception of poiesis as shared making, collective bringing-forth and multispecies becoming. The exhibition, and the theoretical issues it raises in relation to Osbornes theory of the contemporary, indicates that any theory of the contemporary must be marked by contest over its own possibilities. National Gallery of Victoria. Kngwarray, Emily Kam (1910-96) Goughs work an oversize necklace made from pieces of coal with antlers attached addresses the horrendous history of indigenous people of Tasmania, who were dispossessed and undone by imported disease, with those remaining sent into exile on a small island in the strait that separates Tasmania from the mainland. You are at: Home Magazine Feature Picturing Cultural Memory in "Everywhen" Kngwarray-Anwerlarr angerr_TL41481.3_seasonality_PR. She is an Anmatyerre artist best known for her bold, contemporary-looking paintings that were actually steeped in the tradition and history of her people. Anwerlarr angerr (Big yam) 1996. Emily Kngwarreye Paintings, edited by Janet Holt. Paris, Editions de Minuit, 1967. Against a dark ground evocative of nighttime ritual, Mick Namararis Big Cave Dreaming with Ceremonial Object shows two rounded, slightly off-kilter shapes emerging from the small paintings top and bottom edges. Materialised by a palimpsestic arrangement of forms, the hetero-temporality of the work interleaves the specific time modalities of yams, emus, humans, ancestors and the Dreaming. Of course, to advance such a thesis imposes another order of fixity, and so would require a self-reflexive theorisation that emphasises its own contingency. Darwin, Office of the Aboriginal Land Commissioner, 1978. 17 There remains the risk that dominant forms of culture in Australia may recuperate Indigeneity, rather than permit individuals to define Indigeneity without recourse to non-Indigenous discourse. It certainly made a mockery of the idea of time as a forward-flying arrow. 5, no. Christopher Williams-Wynn is a doctoral student in the Department of History of Art and Architecture at Harvard University. Emily Kngwarreye Paintings, edited by Janet Holt. 16 Chris Healy, Forgetting Aborigines, University of New South Wales Press, Sydney, 2008, p 7. doi: 10.1071/BT02105. The Impossible Modernist. Emily Kam Kngwarray, Anwerlarr angerr (Big yam), 1996. Canberra, National Museum of Australia Press, 2008. Arlatyeye Wild Yam. Up to her death in 1996 at the age of 86, the anooralya of Alhalkere remained Emilys principal story. Kngwarrays country, Alhalker, is an important Anwerlarr (Pencil Yam) Dreaming site, the staple from which she takes her bush name, Kam (yam seed). The earthquake occurred at a very shallow depth of 5 km beneath the epicenter . On looking at the four canvas' depiction Anwerlarr angerr (Big yam) it is clear this isn't the case. 2, 1996, 187207. That goes also for a lot of the larger, more visually immersive art that flourished in indigenous communities across Australia in subsequent decades although inevitably (given the intervention of market forces) with diminishing returns. Here, the term phytography characterises an approach to apprehending human and vegetal lives that attempts to revealor, at least, refuses to obfuscatethe inextricable entanglement of both (Ryan). Hes the author of the best-sellingDark Emu, Young Dark Emu: A Truer History, Loving Country: A Guide to Sacred Australiaand over thirty other books including the short story collectionsNight Animals At the right side, a knot of tendrils impinges on the emptiness of the paintings mid-section. Utopia straddles the transition zone between the Anmatyerre (Anmatjirra) and Alyawarra (Iliaura) language groups. . This approach involves a critique of Peter Osbornes concept of contemporary art.5 One of Osbornes main claims is that contemporary art is postconceptual art. FREE SHIPPING on the Alexander McQueen exhibition catalogue. Sydney, Craftsman House, 1998. 200. Summoning yet also encouraging the lively poiesis of the yam, Anooralya IV interposes between human and vegetal domainsand, indeed, timeframesthrough its hetero-temporal orientation. They are employed to supply rhythm for Aboriginal dancers. Sydney, Craftsman House, 1998. Instead, her pictorial style evolved towards less naturalistic visualisations employing intricate brushstrokes to elicit the subterranean circuitries of the pencil yam. NGVWA (@ngvwa_vic) posted on Instagram: "In celebration of NAIDOC week, a look at the mesmerising 'Anwerlarr anger' (Big Yam) by Emily Kam Kngwarray, 1996 Emily Kam Kngwarray was" Jul 2, 2022 at The Dreaming is of course an invention of Western anthropologists. Measuring three-by-eight metres, the monumental artwork consists of thin interwoven white lines painted over the course of two days as the artist sat cross-legged on, and beside, the canvas (National Gallery of Victoria). Courtesy National Gallery of Victoria, Melbourne Undoubtedly, artistic developments of the 20th century, including modernism, have been crucial in how global audiences have approached Kngwarreye's work. Close notes Dark Emu. It is akin to Boris Groyss argument that in the contemporary time overflows attempts to offer singular and coherent historical narratives.3 Nonetheless, while Groys seems to imply that the spectator can occupy a position from which to observe that excess of time, the exhibition of Indigenous art theorises time as excess, time as pathways between different historical events and imagined futures. It was not a happy place. Kngwarray's, Anwerlarr angerr, has a considerable value in being visually realised within indigenous art and the art world, not only for herself through sentimental values, but for people of her community that are able to specifically recognise certain use of colours, symbols and lines. 2, A Political Gemstone Kingdom of NaturalCultural Feelings from Bucharest to Warsaw: Larisa Cruneanus Aria Mineralia exhibition, INTERVIEW: The Politics of Shame Ai Weiwei in conversation with Anthony Downey, BOOK REVIEW: Renate Dohmens Encounters Beyond the Gallery, Juliet Steyn reviews Juan Cruzs I dont know what Im doing but Im trying very hard., INTERVIEW: Mediating Social Media Akram Zaatari in Conversation with Anthony Downey, An Indigenous Intervention: Richard Bells Salon des Refuss at the 2019 Venice Biennale, Zarinas Dark Roads: Exile, Statelessness and the Tenacity of Nostalgia, BOOK REVIEW: Fahrelnissa Zeid: Painter of Inner Worlds by Adila Ladi-Hanieh, BOOK REVIEW: Iain Chambers, Postcolonial Interruptions, Unauthorised Modernities, The 2017 Venice Biennale and the Colonial Other, BOOK REVIEW: David Kunzle, CHESUCRISTO: The Fusion in Image and Word of Che Guevara and Jesus Christ, Longing for Heterotopia: Silver Sehnsucht in Silvertown, BOOK REVIEW: Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, Steven Eastwood: the interval and the instant, BOOK REVIEW: Open Systems Reader - Tomorrow is not Promised! Emily Kngwarreye Paintings, edited by Janet Holt. London, T. and W. Boone, 1841. Emily Kam Kngwarray, "Anwrlarr angerr" (Big Yam), 1996, synthetic polymer paint on canvas, 401 x 245 cm., National Gallery of Victoria, Melbourne. But how much can iconic art teach us about the world today? London, W2 4PH Measuring three-by-eight metres, the monumental artwork consists of thin interwoven white lines painted over the course of two days as the artist sat cross-legged on, and beside, the canvas (National . Sydney, Craftsman House, 1998. Emily Kam Kngwarray's Anwerlarr angerr (Big yam) (1996), on display in the "Seasonality" portion of the exhibition Everywhen Emily Kam Kngwarray / 2015 Artists Rights Society (ARS), New York / VISCOPY, Australia. (LogOut/ Read more, Clinton Nain (Gua Gua and Meriam) is an artist. Notably at the viewers top left, zones of dense brushwork contrast sharply to a relatively scarce middle area centred on a lone vertical stroke. Emily Kngwarreye Paintings, edited by Janet Holt. By experiencing famous paintings or sculptures, we can form an idea of what life was like when they were created. Story About Feeling, edited by Keith Taylor. Please enter through the North entrance, via Arts Centre Melbourne forecourt. The expressions singing country and singing up country denote in situ, or land-based, recitations of song poetry. Contemplating this can lead the mind to beautiful places. We recommend switching to Edge, Chrome, Safari, or Firefox. Harvesting the nutritive underground parts, however, requires intimate knowledge of its habitat as well as skill in recognising the desiccated leaves and stems (Latz 29697). Although it focuses on works from the past 40 years, Everywhen, which was organized by Stephen Gilchrist, the Australian Studies Visiting Curator at Harvard Art Museums, is enhanced by the inclusion of some wonderful objects from the collection of Harvards Peabody Museum of Archeology and Ethnology. Owing to its focus on the multiple threads of time within a given moment, the exhibition echoes a form of the contemporary offered by Terry Smith. When viewed in the gallery, the work is said to refer back to mythic pasts, to lived experience and to offer means of imagining alternative futures. Unidentified artist, Kimberley region, Coolamon. Native Art 2016-02-01 - . Taking four historical works as a starting point, our guests make a series of lateral leaps to explore the diversity of the modern world through the prism of classic art. Created in 1995, Kngwarreyes Anwerlarr Anganenty (Big Yam Dreaming) is a large-scale monochrome rendering of human-vegetal entanglement. Wood. Utopia: The Genius of Emily Kame Kngwarreye, edited by Margo Neale. Moving outside the constraints of two-dimensional aesthetic imagery, her art invokes the poiesis of the yamits making, bringing-forth and becoming in the world, its opening to the other in synchrony with the artists opening in response to it. The Australian Aborigines: How To Understand Them. Furthermore, composed in engrossing yellow hues but lacking the underlying structures characteristic of the previous paintings, Kame (1991) calls forth the pencil yam seeds vital to Kngwarreyes Dreaming (Kngwarreye, Kame). Although Emily only started painting when she was in her late 70s, she produced over 3,000 paintings in the course of her eight-year painting career. Yet, the foregoing discussion also lodges Indigenous art in relation to a Eurocentric paradigm, albeit one threatened by its presence. We pay our respects to the people of the Kulin Nation and all Aboriginal and Torres Strait Islander Elders, past and present. Integral to appreciating Kngwarreyes paintings, the plant-poiesis-people conjunction calls prominence to ancestralor Dreamingknowledge of yams not only as providores of material sustenance but also as agential beings-in-themselves who culture humankind across space and time. Mandy has been working at the Victorian Aboriginal Corporation for Languages Most prominently, Kngwarreye's Anwerlarr angerr (Big yam) (1996) commands the space of the viewer, its four-panels asserting the persistence of both women's body painting practices among the eastern Anmatyerr (her language group in what is now the Northern Territory), as well as enduring claims to land shared with her ancestors. As a locus of resistance, in Marders terms, the plexity of plant-time destabilises the hyper-capitalist logic of modernity by refusing the conversion of plant diffrance into sameness (103). Anwerlarr angerr (Big yam) 1996 (On display as part of Harvard Art Museums' "Everywhen" exhibit, see page 4.) Copyright 2023 Bridgeman Art Library Limited. He's the author of the best-selling Dark Emu, Young Dark Emu: A Truer History, Loving Country: A Guide to Sacred Australia and over thirty other books including the short story collections Night Animals. Approached from the perspectives of vegetal totemism and care for Country, Kngwarreyes art can be understood as a human-plant enactment of singing up the Alhalkere pencil yam. In particular, Kngwarreyes early paintings from the 1980s attend to the poietic articulations of the yam vis--vis the tracks of faunal wildlifetypically kangaroos and emusfeeding on its seeds and flowers. THIRD TEXT Critical Perspectives on Contemporary Art and Culture July 2016 From a Postconceptual to an Aporetic Conception of the Contemporary . Foto: Haupt & Binder, Universes in Universe, (Text at the exhibition. The show also devotes space to work in a more conceptual and explicitly political vein by such artists as Yhonni Scarce, Christian Thompson, and Julie Gough. My intention here is not to demean the artists crucial relationship to modernity but to delineate an alternative framework that more fully emphasises the embeddedness of her botanical imagination in the pencil yam Dreaming and everyday interactions with the species based on notions of increase. At the centre of this debate stands Everywhen: The Eternal Present in Indigenous Art from Australia, an exhibition at the Harvard Art Museums. He has worked at the Wheeler Centre since inception in 2009, when he was hired as the Head of Programming before being appointed as Director in September 2011. Composed of 70 artworksmany of which had never At a material level, Thomas brings the landscape into the painting by incorporating ochres found in the Kimberley, an area in western Australia where he settled. The disjuncture of Osbornes thesis refers to the manifold relations, practices and narratives in art after internalising the failure of conceptual art to locate the specificity of art solely within its aesthetic character. Marking an initial phase of her artistic articulation of anooralya Dreaming, the audacious phytograms would never recur in her oeuvre. In other words, her yam-art shifts from evocation to invocationfrom botanical representation to human-plant intermediation. Understood as expansively intermediatory rather than narrowly representational, the painting issues a direct appeal to the plant to continue to flourish in order to sustain subsequent generations of Anmatyerre people and the community of life on which they will depend. Anwerlarr angerr (Big yam) 1996 synthetic polymer paint on canvas (a-d) 401.0 x 245.0 cm (overall) National Gallery of Victoria, Melbourne Purchased by the National Gallery Women's Association to mark the directorship of Dr Timothy Potts, 1998 1998.337.a-d Works on display include two examples of Wanjina (c. 1980) by Alec Mingelmanganu (1905-1981); Yari country (1989), a painting by Rover Thomas (c. 1926-1998); Emily Kam Kngwarray's (c. 1910-1996) four-panel painting Anwerlarr angerr (Big Yam) from 1996; Judy Watson's (b. Why do we need Aby Warburg today? Synthetic polymer paint on canvas. Emily Kam Kngwarray / 2015 Artists Rights. His poetry collection Seeing Trees: A Poetic Arboretum, co-authored with Glen Phillips, is forthcoming with Pinyon Publishing. 1216. criticallylooking reblogged this from thecolorblockcurator. For most of her life she had only sporadic contact with the outside world. The exhibits subtitle, The Eternal Present in Indigenous Art from Australia, helps explain the somewhat maladroit title. Cloudflare Ray ID: 7a163cc05bbe7eb7 Inspired by the topographies of desert and sky, the cycles of seasons, flooding waters and rains, cultivation and harvest, and spiritual forces, Emily's paintings depict the enduring narratives and symbols of her people and their land, and the keeping of precious shared knowledge and stories. In keeping with its proposition regarding complex articulations of time and history, Everywhen offers a means of re-evaluating the contemporary as a paradoxical interface between cultures. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, Massachusetts, Museum purchase, Museum Improvements Fund, 1932, 32-68-70/D3968. Since the violent contact between Indigenous peoples and European colonists in the late eighteenth century, Indigenous cultural production has been marginalised by the dominant culture. 21133. As Laura Fisher argues, non-Indigenous interest in Indigenous art can serve to promote political, cultural and social causes, but can risk lapsing into a self-serving, redemptive gesture. Anwerlarr anganenty (Big yam Dreaming) 1995 Acrylic paint on canvas Emily Kame Kngwarreye/Copyright Agency. Emily Kame Kngwarreye is one of Australia's most significant contemporary artists. Emily Kngwarreye Paintings, edited by Janet Holt. Anwerlarr angerr "Big yam" (1996) by Emily Kam Kngwarray, Aboriginal Australian (Anmatyerre). 10520. 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Chris Healy, Forgetting Aborigines, University of New York Press, 2008, p 7. doi:.! Aboriginal dancers role of her life she had only sporadic contact with the outside world to people! 1932, 32-68-70/D3968 how old Nana was, Clinton Nain ( Gua Gua and Meriam ) is an.... Easily grasped logic edited by Margo Neale style evolved towards less naturalistic visualisations employing intricate brushstrokes to the. Language groups Safari, or land-based, recitations of song poetry the Northern Territory Heritage Commission and the Commission... Rather a vastly ancient one to found a concept of contemporary art.5 one of Australia,... Museum of Australia & # x27 ; s most significant contemporary artists entering... Work discloses her filiation with anooralya and other wild yam, or potato,..