The first was painted with bitumen paint and etched as was the second. If I cannot paint I have to go and get fish or oysters or yams. Michael Vale’s paintings contain a melange of art historical references and symbols, from pipe-smoking dogs and skeletons, to surreal landscapes. Yunupingu’s work since then has included Larrakitj poles, drawings and technologically evolved prints, concerned with the act of painting, her own life and daily activities. Kim Guthrie, Museum and Art Gallery of the Northern Territory. More recent exhibitions have increasingly featured stars within abstractions in white ochre, which emerged initially in her 2014 exhibition, ‘My Sister’s Ceremony’ (which also referred to the passing of her artist sister Gulumbu Yunupingu, 1943–2012. She said, ‘My lines aren’t tangled and messy, not at all.’ While these artworks avoid the clan stories and designs that are part of her inheritance, she remains within a universal system that Stubbs describes as ‘the geometry of Gurrutu’. Her work has been exhibited at the Biennale of Sydney in 2012 and 2016. Ashley Crawford, By Yunupingu’s first exhibition with Roslyn Oxley9 Gallery in 2008, ‘Once Upon A Time’, included bark paintings and Larrakitj poles, with images that traversed her experiences, from Airlift to Darwin Hospital (2008), about the water buffalo attack in 1975, to community events like Hunting Stingray at Birany Birany (2008). In his new series, Alexander McKenzie continues his enduring engagement with imagined environments. He said to me, ‘When I am gone you will follow behind me and paint too. I learnt it myself. This gives the painting a sense of lightness and rhythm—the dark figures float across the surface of the bark like small boats rhythmically floating across the surface of the ocean. Oxley has been her solo dealer ever since. In a video made for the Art Gallery of NSW (2013) Yunupingu relates, ‘I do beautiful neat paintings and work … I didn’t do trees, rocks or anything else … I only made designs … The painting I did was my own and I haven’t made mistakes, none.’, She is the daughter of well-known Yolngu artist Munggurrawuy Yunupingu (1907–1979), yet she recalls, ‘My father didn’t teach me. Be prepared to be dazzled by Linda Marrinon. Nyapanyapa Yunupingu Nyapanyapa Yunupingu came to prominence with peculiar and independent oeuvre . Yet these mooted parallels fall flat when Yunupingu asserts that her work is mayilimiriw – meaningless – in contrast to the paintings of Kngwarreye and Gabori, which are expressions of their relationships with country. She was captivated by Nyapanyapa and her passionate commitment. This is obviously so foreign to bark painters from this region who are accustomed to decades of painting traditions that, I suspect, many of Nyapanyapa’s Yolngu peers are now looking on and wondering what is happening and why the art market would be interested in her work. "The world is not a foreign land | Ian Potter Museum of Art", "Marking the Infinite: Contemporary Women Artists from Aboriginal Australia", https://en.wikipedia.org/w/index.php?title=Nyapanyapa_Yunupingu&oldid=986298413, All Wikipedia articles written in Australian English, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 31 October 2020, at 00:12. They can also be read as landscapes from a topographical perspective and not a lineal plane. [5], She was selected as one of the featured artists for the 2020 Australia-wide Know My Name initiative of the National Gallery of Australia. I responded that I thought they were exciting, beautiful and fresh; he seemed quite perplexed and did not enquire further. NYAPANYAPA YUNUPINGU. Her art practice is quite independent of any bark-painting tradition within the Arnhem Land region. She sidesteps cultural expectations about Yolngu women by choosing not to engage with ancestral narratives. Her art practice is quite independent of any bark-painting tradition within the Arnhem Land region. Scholes says this may have been the result of a nightmare she had about that water buffalo. [3], In 2008, Yunupingu won the Wandjuk Marika Memorial 3D Prize in Telstra National Aboriginal and Torres Strait Islander Art Awards with a piece that combined painting on eucalyptus bark with video to narrate a biographic event with in which she was gored by a buffalo in 1975. Shortly afterward, Sydney gallerist Roslyn Oxley was visiting Yirrkala where she saw Nyapanyapa sitting on the floor with her brush and paint. following. The bark is primed with either black or red ochre. I was recently asked by a senior Yolngu man from Yirrkala what I thought about this ‘old lady’s paintings’. This is an innovative departure from bark-painting traditions as, in the past, vertical bark paintings tended to refer to body painting. Nyapanyapa Yunupingu (born c.1945) has been compared with Aboriginal artists Emily Kame Kngwarreye (1910-1996) and Mirdidingkingathi Juwarnda Sally Gabori (c.1924-2015). Stubbs recalls, ‘That moment kicked it all off.’ This work was acquired for the Museum and Art Gallery of the Northern Territory collection. This body of work marks the evolution and independence of Nyapanyapa Yunupingu’s practice. [9], CS1 maint: multiple names: authors list (, Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory, "Nyapanyapa Yunupingu :: Yirrkala drawings :: Exhibition kits :: Resources :: Art Gallery NSW", "Indigenous artist Nyapanyapa Yunupingu's paintings inspire Bangarra Dance Theatre show", "Spinifex and spears: here are the winning works of the 2017 Telstra NATSIAA Awards", "#KnowMyName: Recognising Australian Women in art", "the moment eternal: Nyapanyapa Yunupiŋu", "Coronavirus restrictions are easing, and now this NT gallery is marking two milestones". The work was subsequently acquired by the Museum and Art Gallery of the Northern Territory (MAGNT), in Darwin. Stubb explains, ‘This system connects everything in the universe in a significant way, like a schematic electronic diagram. In Nyapanyapa Yunupingu’s most recent 2019 exhibition, ‘Ganyu’, the stars appear joyous, scattering across the sky like bursts of light, at their most powerful when they are simple renditions of white on the bark, like rain on a parched landscape. Followers 147. In 2008, Nyapanyapa’s wondrous depictions of Sydney—hotel rooms, the Harbour Bridge, traffic and multilane highways—captured the essence of city life. Her work is now in every major public collection in Australia and many overseas. Since then her work has been recognised with prizes, acquisitions and exhibitions all over the world. These works no longer exist as landscapes in a horizontal plane, but rather are transferred onto a vertical plane. The figurative element is then drawn on the sheet of bark using white ochre. Her second trip to Sydney was two years later and inspired equally stunning work. Lucy Hawthorne, By Established Representation. Her innovation of media results from her work habit but is also, Scholes suggests, a logistical necessity in a remote community. Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art. The exhibition ‘Destiny’ surveys an impactful body of work by Australian artist and activist Destiny Deacon.
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