Robert Hughes, art critic for Time Magazine, once described the contemporary Aboriginal Art Movement as “The last great art movement of the 20th Century”. But, of course, the art form is much older than that, as Aborigines have been painting in caves, engraving and carving on rock platforms, decorating musical instruments, weaving and drawing in the sand for 40,000 years. As a result they have a rich, unbroken lineage from which to draw upon.
To fully understand the immense world of Australian Aboriginal art, one cannot discuss this topic without referring to the late Geoffrey Bardon, a school teacher from Sydney who in 1971 requested a posting to Papunya, a remote Aboriginal settlement in the central desert of Australia. Geoffrey noticed Aboriginal elders drawing in the sand and then erasing these images. These elders were from different tribes who had been brought together under a government regime. Normally speaking, these tribes would never have met. There was a certain malaise at Papunya, and Geoffrey Bardon, the young and idealistic school teacher went into town and purchased several pieces of masonite together with acrylic paints and with these raw materials they began to create permanent images using modern materials. A group of elders thus formed the genesis of the Western Desert painting movement.
It must beremembered that these images often depicted sacred stories that were never to be seen by ‘white folk’ and Aboriginal woman. Many stories related to male circumcision. At an exhibition in the early 1970s held in Alice Springs, the exhibition was ‘stoned’ by Aboriginal Elders who were incensed that these sacred images had been put down permanently in the form of paintings that were on display for ‘all to see’. This incident led to the concealing of the true stories by way of applying dots to the paintings.
In this watershed of creative talent, where these original artists had not been exposed to Western artistic ideas, they created a style that the world had never seen. The movement that started at Papunya, became the Papunya Tula Art Centre and has carried on to the present day. Many art centres have opened across Australia in remote communities.
One of the great paradoxes of certain indigenous art is that the imagery depicted in their paintings is topographic, or an aerial view, although most artists have never travelled in aircraft. Generally speaking, an Aboriginal artist’s painting depicts their ‘dreaming’, the dreaming being their story. As a result of this you tend to find that established artists tend to paint the same imagery, although over time it can evolve. Take the late Emily Kame Kngwarreye whose art is inextricably linked with her country, Alhalkere which means ‘that’s all, whole lot’. Emily showed us a new way to look at the world. Recently one of Emily’s painting sold for more than A$1,000,000 at auction.
If you are interesting in buying Aboriginal art, or oceanic art from Papua New Guinea, you are in the best place in the world to start your collection. Sydney is rich with wonderful galleries to explore, offering across-section of the best Aboriginal art and Oceanic artworks.
While visiting reputable galleries to discuss futurepurchases, take the opportunity to glean some knowledge about the different artists and their communities. The stories connected with each Aboriginalartist are unique, when you consider that some of these artworks are created inthe desert in raw and harsh environments.
As a general rule, buy a painting that you will be happy to have hanging on your wall for possibly a long time. Also, try and buy the larger size paintings by an Aboriginal artist, as generally they will appreciate at a far greater rate than smaller works. A very good way to put your toe into the vast pond of Aboriginal art is to consider purchasing works on paper, such as limited edition lithographs by well-known Aboriginal artists. By purchasing through a reputable gallery you are ensuring that the provenance of the piece is bona fide and the artists are being looked after.
Five minutes from the city of Sydney is Queen Street, Woollahra, a Mecca for antiques and art galleries. Bandigan Art, run by Suzanne Lowe and John Colquhoun specialises in great contemporary Aboriginal paintings, sculpture, ceramics, and wooden carvings. After working in the top-end of Australia as a Barramundi fisherman, John and his partner became involved in the Aboriginal art scene and now have more than 15 years’ experience.
Gallery Gondwana located in Danks Street, Waterloo is another great gallery. This is a gallery where you can spend as little as A$1,000 or as much as AU$100,000. The atmosphere is fresh, vibrant and energising. Gallery Gondwana makes you realise that contemporary Aboriginal art is a friend of the traditionalist and the minimalist.
Geoff Carey, the director of New Guinea Gallery, is the consummate gentleman. Initially he comes across as a ‘man of few words’, until you start him on his passion – Oceanic artworks. It is then that you realise that his nearly 40 years of collecting makes him one of the greatest and most knowledgeable dealers in Australia. His converted terrace in Buckingham Street, Surry Hills, is cram packed with treasures beyond belief. One of the great things about purchasing artefacts from Geoff is that you not only get the world’s best provenance, but these items can be shipped anywhere in the world without you having to worry about export permits.
Melissa Collins, director of Hogarth Galleries, which was established in 1973 by Clive Evatt, is passionate and very committed to Aboriginal artwork. Melissa has been involved with art galleries in Sydney for 27 years and with Hogarth Galleries in particular over the last 12 years. Hogarth Galleries have a wonderful space. It reflects and enhances the exhibitions and is situated on several levels, but with a strong open-plan feel. Hogarth Galleries also has an excellent stock room of early Aboriginal bark paintings, plus wonderful wooden totems and mischievous Mimih Spirits, great woven work and also contemporary Aboriginal glass pieces.
When visiting these four galleries, make sure you set aside several hours, as the knowledge and combined experience of these four gallery owners and their devoted staff is priceless. But remember - once you catch the ‘contemporary Aboriginal and Oceanic art bug’, there is no cure! Happycollecting.