Through generations of artistic tradition from the Tiwi Islands, north of Darwin, journeying south to Ntaria (Hermannsburg) and sweeping across the southern Gibson desert, the exhibition ‘North by North-West’ at the Queensland Art Gallery traces the distinctive regional flavours that speak to both ancestral narratives and current social concerns.
The recognisable customary Tiwi style, Jilamara, which roughly translates to ‘good design’, is derived from body painting, decorative ceremonial bark baskets and parmajini (armbands). Its intricate patterning has been translated onto textiles and paper, and refined by each artist to reflect their aesthetic sensibilities, including the introduction of vibrant colour palettes (Jean Baptiste Apuatimi Tangini 2010 illustrated).
Jean Baptiste Apuatimi ‘Tangini’
The Hermannsburg School artists, and the following generations who continue to paint though Iltja Ntjarra Many Hands Art Centre, create artworks in the tradition of acclaimed Arrernte watercolourist Albert Namatjira (1902–59). In ‘North by North-West’, the watercolour landscapes of the Hermannsburg School (Elton Wirri Palm Valley 2013 illustrated) are joined by the provocative series ‘Homeless on my Homeland’. This group of plastic bags (Noreen Hudson I live at YIPIRINYA HOSTEL 2018‑19 illustrated), often used for storing bedding and linen, are emblazoned with slogans that bring attention to the fraught social and economic conditions that many Indigenous people face in remote areas.
Elton Wirri ‘Palm Valley’
Noreen Hudson ‘I live at YIPIRINYA HOSTEL’
Bold and abstract paintings from the Western Desert create a visual impact through their large scale and strong symbology. Lightning 1998 and Wild Yam 1998 (illustrated) by senior desert artist Mr Jagamara feature motifs that were revisited throughout his celebrated career, offering an electric and vivid depictions of culturally significant narratives. The delicate, repeated lines in George Tjungurrayi’s Untitled (Mamultjulkulnga) 2007 (illustrated) have the effect of an optical illusion. This linework can be traced to a pivotal period in Pintupi and Western Desert painting, when hard concentric shapes were replaced with a repetition of straight lines, whether solid or dotted as seen here.
Kumantje Jagamara ‘Wild yam’
George Tjungarrayi ‘Untitled (Mamultjulkulnga)’
Katina Davidson is Curator, Indigenous Australian Art, QAGOMA
North by North-West’ celebrates the diversity of styles, variety of forms and mediums, and the overarching desire to share and preserve culture demonstrated in the Gallery’s Collection by contemporary and historical artists alike, from these vast and remote regions of Australia.
‘North by North-West’ / Galleries 1 and 2, Queensland Art Gallery / 11 February 2023 – 2 March 2025
The exhibition ‘North by North-West’ at the Queensland Art Gallery presents recent acquisitions and old favourites from the Gallery’s Indigenous Australian art collection, highlighting unique visual threads and continuities that traverse the top half of the continent. Over our blog series we will delve into the exhibition themes: ‘Journey across the Northern Territory’; ‘Seven Sisters’; ‘Geometries’; and ‘The North-West’.
From the Tiwi in the north to the Pitjantjatjara people of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the south, and across to the Gija and Bardi peoples from Warmun and Broome in the Kimberley region, ‘North by North-West’ celebrates the regionally specific styles of each Country. These characteristics have often stemmed from traditional body designs and cultural objects, which were shared or traded across borders. In this display, historic artworks are contextualised by contemporary reworkings of these traditional practices.
Particular attention is paid to the trade in artistic traditions and stories through songlines. Common motifs and ancestral stories are transformed across mediums through innovative explorations of form, symbol and texture. Works range from representations of the Seven Sisters constellation to the politically engaged watercolours created by contemporary Hermannsburg School artists.
Nora Wompi ‘Kunawarritji’
D Harding ‘What is theirs is ours now (I do not claim to own)’
Timo Hogan ‘Lake Baker’
Katina Davidson is Curator, Indigenous Australian Art, QAGOMA
‘North by North-West’ / Queensland Art Gallery / 11 February 2023 – 2 March 2025
Acknowledgment of Country The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name of the deceased. All such mentions and photographs on the QAGOMA Blog are with permission, however, care and discretion should be exercised.
Indigenous Australian objects and remains were removed from their resting places and collected by museums throughout the nineteenth and twentieth centuries. In To know and possess 2021 (illustrated), which adopts the commemorative trope of the bronze plaque, Kamilaroi artist Warraba Weatherall highlights this history, and the debate that continues around repatriation, for contemporary audiences.
In To know and possess, Weatherall investigates museological collections that hold Indigenous human remains and cultural materials from the artist’s Country and surrounds. It records ten objects held in national collections, including a grindstone, a modified tree, pigment, a stone axe, a club, a boomerang, a shield, and skulls and bone fragments belonging to three ancestors. Weatherall has chosen to cast the original museum records of these objects as individual bronze memorials. Spanning 1919 to 1979, the museum‑transcribed information includes details of the person who collected the item, where they collected it from, and the year the item entered the institutional collection. What becomes apparent is the significance of what has been omitted: including the maker, also missing are who the objects belonged to and the circumstances of the material’s removal from Country. However, one shield’s entry includes the horrific nature in which it was collected: ‘left by Aborigines after Myall Creek massacre — notice shot holes’ (illustrated).
Warraba Weatherall ‘To know and possess’ 2021
The removal of Indigenous Australian objects and human remains was a well-known occurrence throughout the nineteenth and twentieth centuries. The breadth of the collection of Indigenous cultural property, as well as advocacy for their timely repatriation to communities across the country, has been an area of debate and research for many decades. Weatherall’s work critiques the integrity of collecting institutions that seek to ‘protect’ cultural objects by keeping them in secure environments. Institutional acts of ‘safekeeping’ separate these objects from descendants and their intended uses. The artist points out that removing these objects from their makers, communities and descendants renders them scientific curiosities and colonial trophies.
Bronze monuments memorialise history’s victors: colonists, legends and figureheads of control. First Nations and culturally diverse artists and activists across the world have recently questioned the continued relevance of these figureheads and the counternarratives they represent, including the genocide of the people whose lands they claimed as their own. This movement has signalled the emergence of the ‘counter-monument’. Intimately sized, the bronze plaques of To know and possess allude to public memorials, which are often seen as reminders of those who have died or of tragic events. By highlighting the museological practices of removal, Weatherall’s work allows the general public to understand the dehumanising aspect of categorising Indigenous cultural objects and the remains of our ancestors, and the significance of calls for repatriation.
Katina Davidson is Curator, Indigenous Australian Art, QAGOMA
Acknowledgment of Country The Queensland Art Gallery | Gallery of Modern Art acknowledges the Traditional Owners of the land on which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution First Australians make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name or reproduce photographs of the deceased. All such mentions and photographs on the QAGOMA Blog are with permission, however, care and discretion should be exercised.
In these intimate intergenerational portraits, Naomi Hobson shares an affectionate representation of Kaantju and Umpila boys, men and elders from her community. Adorned in vibrant flowers found in their hometown of Coen in far north Queensland, these ‘warriors without a weapon’ share the cultural practice of decorating their beards in preparation of ceremony and to reclaim authorship over how they are represented in the public domain.
Studio portraits of Indigenous peoples have historically been taken by non-Indigenous photographers; however, in this emotive series, the direction of their gaze subtly reflects Hobson’s kinship lines between herself and the subjects.
The photographic series A Warrior without a Weapon 2018 aims to break negative stereotypical representations of Australian Indigenous men in the public domain by affirming that that they too can be sensitive and caring.1
Inviting the sitters to her home, it was important for Hobson to first engage in conversation with the men about their representation. This important step of consultation and self-determination for the men, one that Hobson has witnessed as absent in the majority of media portrayals and historic records of Aboriginal men, is the defining feature of the series. The trust and care that was taken during this process is written on the stern, inquisitive and, at times, vulnerable faces, many of whom maintain eye contact with the lens or are turned to gaze in contemplation. Hobson reflects:
Each photograph required a discussion about the concept and the narrative: of being portrayed to demonstrate a loving side of indigenous men. Being a member of the Coen community, and being known as an artist at home, whenever I develop a body of work, there is always an enthusiasm from people to be involved. There is a human trust in my messaging and our people have pride in themselves and what they stand for.2
Hobson’s relationships with the subjects are subtlety hinted to as well; she states
the photo positions I have chosen reflect my relationship with the subject along kinship lines.3
Each on a field of black or white, the men and their adornments glow. Flowers local to the Coen area are carefully positioned in the men’s facial hair signalling prosperity, life and beauty. While these floral arrangements show a nurturing side, they are also a clear reference of cultural identity. Adorning a beard with flowers is an acknowledgement of a ‘cult hero’, who is known among the locals of Coen, amplifying the narrative of a warrior without a weapon.
Political, social and community engagement is a longstanding aspect of Hobson’s practice which she views as a continuation of her family tradition.
Katina Davidson is Curator, Indigenous Australian Art, QAGOMA
1 Naomi Hobson artist statement, emailed to Curator, Indigenous Australian Art, 16 August 2018 2/3 Email correspondence from the artist to Assistant Curator, Indigenous Australian Art, 5 February 2019
Acknowledgment of Country The Queensland Art Gallery | Gallery of Modern Art acknowledges the Traditional Owners of the land on which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution First Australians make to the art and culture of this country.
A new exhibition of Indigenous art takes movement, both literal and figurative, as its theme, inspired by the well-known song of the same name, ‘Get Up, Stand Up’ features ceramics, sculpture, etchings, photography and painting by artists across Queensland whose works are underpinned by the desire for engagement and justice.
‘It’s not all that glitters is gold, half the story has never been told, So now you see the light, stand up for your rights Get up, stand up, stand up for your rights, Get up, stand up, don’t give up the fight1’
Recorded in 1973, the song ‘Get up, stand up’ by visionary Rastafarian musicians Bob Marley and The Wailers has long been synonymous with social resistance movements globally, including those within Indigenous Australia. Growing up in Jamaica in the 1950s and 60s, Marley was part of the black African diaspora, ‘that population throughout the world that had been scattered or colonized as the result of the slave trade and imperialism’.2 In the 1970s, recognising their commonalities, and at a time when Indigenous community services were being established across the country, many social movements in Australia adopted Marley’s reggae anthems as their own. His music and its themes of social justice lent a voice to the unheard and mobilised likeminded people searching for change.
Similarly, the works in ‘Get Up, Stand Up’ express their makers’ engagement with Indigenous cultural, familial and political movements. From depicting literal movements of the body — in dance and in protest — to figurative explorations of historical movements and events, this Collection exhibition focuses on the works of Indigenous Queensland artists who assert their sovereignty and seek political and social equality; an ongoing struggle that has gained a renewed sense of urgency with the Black Lives Matter movement.
Freedom of movement
In the latter half of the nineteenth century, Indigenous people’s freedom of movement was severely restricted: communities were forcibly moved from their traditional lands to the reserves and missions created by the governments of the day; and children were removed from their families,3 in an attempt to break ancient lines of cultural knowledge and practices. Here, a group of contemporary paintings by Lardil artists Joelene Roughsey, Wunun Wayne Williams and Gordon Watt show ceremonial body markings and dancewear, celebrating their freedom to practise culture and symbolic of their ancestors’ free movement across the land. The freedom to dance and conduct ceremonies is further highlighted in ceramic works by Naomi Hobson, Lawrence Omeenyo and Janet Fieldhouse. Finally, as the name suggests, Patrick Thaiday’s Zugub (Dance Machines) 2011 are articulated sculptural objects activated by dancers during performances — the most literal embodiment of the theme.
Naomi Hobson ‘Malkarti Poles (Dancing Poles)’
Janet Fieldhouse ‘Dance series: Transformation 4’
Patrick Thaiday ‘Zugub (Dance machines)’
Interruption of movement
The exhibition includes works that point to the frontier era of Australian history and depict restrictions on freedom, but which also acknowledge the introduction of new artistic aesthetics. Based on his Elders’ early experiences, Goobalathaldin Dick Roughsey’s illustrative history paintings offer glimpses of first contact with Europeans in the northern Cape. Vincent Serico’s Carnarvon collision (Big map) 2006 shares an important historical narrative, including both pleasantries and hostilities. And while Serico uses oral accounts of colonisation from his family and community to create new visual narratives, Danie Mellor takes advantage of existing colonial photography of his ancestors and their rainforest home, shown here in a blue palette inspired by the decoration on English Spode ware. Dale Harding’s abstract ochre painting We breathe together 2017 incorporates natural pigment from his ancestral region, Carnarvon Gorge, interrupted by a field of Rickett’s Blue laundry whitener, once a highly prized and traded item on the frontier, and for Harding, symbolic of the domestic labour that generations of his female ancestors were forced into under government policy.4
Goobalathaldin Dick Roughsey ‘First Missionary, Mornington Island’
Vincent Serico ‘Carnarvon collision (Big map)’
Danie Mellor ‘The pleasure and vexation of history’
Reflecting their families’ experiences of involuntary movement off Country, away from family and onto missions and reserves, as per the Aboriginals Protection and Restriction of Sale of Opium Act 1897, personal portraits by Vernon Ah Kee and Heather (Wunjarra) Koowootha expose the Act’s ongoing effects on community. The introduction of Christianity is a common thread in works by Archie Moore and Cornelius Richards, presenting complex perspectives on its arrival, which provided both sanctuary and oppression. Richards spent many years working with the Yarrabah Guyala Pottery from the 1980s onwards: as with Yarrabah, many other missions opened commercial operations involving art and craft. Artist Mervyn Riley also created works at the Barambah Pottery that are typical of the 1970s era. Due to their production-line manufacture, however, many objects produced at Barambah (now known as Cherbourg) lack artists’ inscriptions and instead credit ‘Cherbourg artists’ with their creation.
Vernon Ah Kee ‘neither pride nor courage’
Heather Marie (Wunjarra) Koowootha ‘The story tellers’
A series of fibre works demonstrates the diversity of materials and techniques in Queensland fibre art practices, specifically bag-making. The rotating selection of works includes traditional forms and stitching, styles taught by missionaries, and contemporary experimentation. Examples range from Abe Muriata’s rainforest Jawun (bicornial baskets) to Jenny Mye and daughter-in-law Charlotte Mye’s polypropylene tape bags (used in place of customary coconut leaves); from Clara, Margaret, Doreen and Mynor Yam’s string bags associated with their home, Kowanyama, to Philomena Yeatman and Ruby Ludwick’s coiled palm-fibre works — a technique introduced to the regions; to Wilma Walker and Dorothy Short’s kakan and puunya (baskets), created from materials and techniques unique to their ancestors. These are complimented by Evelyn McGreen’s portfolio of prints, depicting the multitude of functions for a variety of basket shapes.
Evelyn McGreen ‘Wawu bajin dhangay bulganghi (Strainer for washing clams and shellfish)’
Providing a darkly humorous conclusion to the group is Sue Elliott’s painting Christ I’m tired c.1993, which features the crisp use of the colloquialism with the concentric dotted circle now synonymous with ‘Aboriginal Art’. Significantly, the early mission franchises encouraged artists to use dominant stylistic devices like dot-painting in their works, instead of more individual techniques, in order to raise revenue.
Protest takes hold in Richard Bell’s Prospectus.22 1992–2009, in which he seeks to trade British colonial rule — due to there being no treaty in place — with the People’s Republic of China. The overtly political works of Gordon Hookey and Vincent Serico — Wreckonin 2007 and Deaths in custody 1993, respectively — graphically present content relating to the deaths of Indigenous people in legal custody. Deliberately provocative and inflammatory, Hookey’s work responds to what he sees as Australian society’s silence on the subject of Aboriginal justice and the system’s lack of accountability; while the central figure in Serico’s painting suffers the punishments of both traditional beliefs and white man’s justice, trapped not just by a cell but by inescapable despair.
Gordon Hookey ‘Wreckonin’
Vincent Serico ‘Deaths in custody’
Numerous works in ‘Get Up, Stand Up’ honour hard-won achievements — the freedom to play sport, to connect or reunite with family — and celebrate the actions of those whose sacrifices paved the way ahead. Aboriginal fast-bowler Eddie Gilbert was Ron Hurley’s childhood hero and is immortalised in Hurley’s Bradman bowled Gilbert 1989. While Gilbert was an exceptionally skilled cricketer, it was Bradman who would go on to be knighted and become a household name. With this work, Hurley comments on the difference in the lives of these two equally talented men.
On a more sombre note, Shirley Macnamara’s Skullcap 2013 is a memorial to the many thousands of Aboriginal soldiers who have fought for their communities and Country — locally, nationally and internationally, and in wars throughout history both written and unwritten. Naomi Hobson’s ‘A Warrior without a Weapon’ series of 2018 also highlights the role of Aboriginal men, and pictures men and boys from the artist’s hometown of Coen and nearby Lockhart River adorned with flowers — a traditional decoration. The series aims to counteract the overwhelmingly negative contemporary portrayal of Indigenous men in Australian media, with Hobson having witnessed the harm such representations can cause, and instead shows their nurturing and compassionate qualities.
Engaged with Australian social movements both literal and figurative, ‘Get Up, Stand Up’ presents elegant ceramics, sculptural works, figurative etchings, portrait photographs and paintings by Indigenous artists from across Queensland, and illustrates the ongoing impact of the country’s modern history on Australia’s Indigenous peoples.
Katina Davidson is Acting Curator, Indigenous Australian Art, QAGOMA
Endnotes 1 Lyrics from ‘Get up, stand up’, penned by Bob Marley and Peter Tosh, 1973. 2 Mikal Gilmore, ‘The life and times of Bob Marley: How he changed the world’, Rolling Stone, 10 March 2005, https://www.rollingstone.com/music/music-news/the-life-and-times-of-bob-marley-78392/, viewed 20 September 2020. 3 See John Gardiner-Garden, ‘From Dispossession to Reconciliation’ [Research Paper 27, 1998–99], Social Policy Group, Parliament of Australia, 29 June 1999, https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/rp9899/99Rp27#nineteenth, viewed 13 October 2020. 4 See Ella Archibald-Binge, ‘New exhibition re-examines Australian history through art’, NITV, SBS, 3 October 2017, https://www.sbs.com.au/nitv/nitv-news/article/2017/09/29/new-exhibition-reexamines-australian-history-through-art, viewed 14 October 2020.
Ron Hurley ‘Bradman bowled Gilbert’
Shirley Macnamara ‘Skullcap’
Naomi Hobson ‘A Warrior without a Weapon 3’
‘Get Up, Stand Up’ / Queensland Art Gallery / 19 December 2020 until 20 November 2022
Acknowledgment of Country The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country.
It is customary in many Indigenous communities not to mention the name of the deceased. All such mentions and photographs on the QAGOMA Blog are with permission, however, care and discretion should be exercised.
Featured image detail: Naomi Hobson A Warrior without a Weapon 3 2018
These colourful and whimsical soft sculptures were created by women from the Yarrenyty Arltere Artists, an Indigenous art enterprise near Alice Springs. We delve into the origins of these remarkable creatures, as well as the positive impact that making art has had on the local community.
Yarrenyty Arltere Artists, an Indigenous art enterprise in Yarrenyty Arltere, the Larapinta Valley Town Camp, west of Alice Springs, are recognised for their vibrant embroidered soft sculptures depicting many facets of life in the desert — from wildlife and customs such as hunting and collecting, to social issues, family life, childcare and intergenerational learning. The not-for-profit art centre was established in 2000, initially as a training program to address chronic social issues faced by families in the town. The centre became an enterprise in 2008 and is now a dynamic hub that plays a vital role in the community as a vehicle for social inclusiveness and economic access.1
Artists in the group work across a variety of media, including jewellery, ceramics, textiles, etching, printmaking, animation and film. They are best known, however, for their soft-form sculptures, prints and textiles using recycled materials, natural dyes, stitching, quilting and cyanotype prints.2 Mottled woollen blankets, sourced from second-hand stores, are the base material for these soft sculptures. After the blankets have been hand-dyed using colours derived from local plants, tea and corroded metals, the artists create the sculptural forms and embellish them with intricate and colourful patterns.3 Using rich, vibrant colours is an act of self-care for the artists. The joy and happiness they bring provides a reprieve from the harsh reality of daily life. A broad array of health issues and substance dependence are familiar concerns within the community, the effects of which are compounded by the difficulty of accessing services in remote areas.
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Rhonda Sharpe is a Luritja woman who began working at Yarrenyty Arltere Artists after following an aunty to the art room and discovering a passion for making soft sculptures and printmaking. She says sewing makes her feel happy and proud, and her works often reflect her own inner strength:
When I make two heads on the birds . . . I think that’s like my head telling me different things. . . I have to choose, every day I have to think which way to go. I’m getting stronger to stay at work, to listen to my good head.4
Sharpe’s Woman with bush tucker and goannas 2018 captures a victorious moment of a woman carrying the rewards of her hunting trip: two goannas, bush bananas and ngulpa (bush tobacco). Crafted with care and knowledge of the anatomy of the flora and fauna, the sculpture highlights patterns and textures stitched into the skin of the goannas, giving them a leathery, rough appearance. Sharpe has paid special attention to the way leaves naturally fall, as well as to the woman’s billowy, richly patterned skirt. Her stance, holding her family’s next meal above her head, is a powerful statement of the enduring success of the Yarrenyty Arltere women.
Dulcie Sharpe’s Water bird (rainbow) 2018 and Water bird (orange) 2018, each standing at almost one metre tall, have an absurd, almost comical presence. Their exaggerated forms, wispy feathers and piercing, highly textured colours are humorous and whimsical. The artist’s inspiration for these sculptures comes from birds in and around local waterways. Although similar in form — with their elongated necks, short plump bodies, slender heads and beaks, and carefully fashioned crests — each bird has been created with their own personality and individual markings. It is easy to see that birds are her favourite creatures, with porcupines, as she calls them, coming in a close second.5
Perhaps the most playful of the group is Roxanne Petrick’s Rainbow chicken 2018. The antics of farmyard chickens have long been popularised in children’s entertainment — from Foghorn Leghorn, who starred in Looney Tunes cartoons from 1946 to 1964, to the award-winning stop-motion animation ChickenRun 2000 and Walt Disney’s Chicken Little 2005. The artist describes the work with a level of anthropomorphism also present in these shows; Rainbow chicken, in all its ornate, richly decorated glory, is ‘that rooster walking around showing off all his pretty colours to the ladies’.6
The works of the Yarrenyty Arltere Artists are often humorous, and sometimes ridiculous, but powerful because they are made with a spirit of perseverance and determination, creating a unique visual tradition for the community to share their culture with others.7 In their words, ‘we don’t just make art, we make changes!’8
Katina Davidson is Assistant Curator, Indigenous Australian Art, QAGOMA
Endnotes 1 Yarrenyty Arltere Artists, <http://www.yarrenytyarltereartists.com/about/>, viewed October 2018. 2 Biennale of Sydney, <https://www.biennaleofsydney.art/artists/yarrenyty-arltere-artists/>, viewed October 2018. 3 Clotilde Bullen, ‘Dulcie Sharpe’, in Clotilde Bullen, Hetti Perkins and John Barrett-Lennard, Western Australian Indigenous Art Awards 2013 [exhibition catalogue], Art Gallery of Western Australia, Perth, 2013, pp.38–9. 4 Rhonda Sharpe [artist bio], < http://www.yarrenytyarltereartists.com/artists/#/rhonda-sharpe/>, viewed November 2018. 5 Yarrenyty Arltere Artists, <http://www.yarrenytyarltereartists.com/artists/#/new-gallery-1/>, viewed October 2018. 6 Artist statement, QAGOMA Collection documentation. 7 Sophie Wallace, ‘We are the legends: Yarrenyty Arltere Artists’, in Glenn Barkley, String Theory: Focus on Contemporary Australian Art [exhibition catalogue], Museum of Contemporary Art Australia, Sydney, 2013, pp.102–7. 8 ‘Yarrenyty Arltere Artists’, in Karin Riederer (ed.), Desert Mob 2018 [exhibition catalogue], Araluen Art Centre, Mparntwe (Alice Springs), 2018, p.81.
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Acknowledgment of Country
The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the traditional custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution Indigenous people make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name or reproduce photographs of the deceased. All such mentions and photographs are with permission, however, care and discretion should be exercised.
We acknowledge the Traditional Owners of the land on which the Queensland Art Gallery | Gallery of Modern Art stands and recognise the creative contribution First Australians make to the art and culture of this country.