Titre
Emily Kngwarrey, Paintings
Auteur
Jennifer Isaacs, Terry Smith, Judith Ryan
Langue
Anglais
ISBN
9789057036811
Éditeur
Craftsman House, Sydney Australia
Prix
€ 75,00
Détails
204 p, 29,5 x 26 cm, gebonden met stofomslag. Goede staat, lichte beschadiging aan stofomslag. Bevat handgeschreven opdracht van curatoren.
Plus d'informations
Emily Kame Kngwarreye (c. 1910-1996) was a senior member of the Anmatyerre community resident at Utopia, a former cattle station, now reclaimed by its Aboriginal land owners. She is widely regarded as one of the most notable Aboriginal artists of recent times and the preeminent woman artist of the desert region. The remarkable painterly and conceptual originality of her work extended her influence well beyond the previous reach of contemporary Aboriginal art and attracted widespread international interest.
Emily Kngwarreye was born at Alhalkere in the north-west corner of Utopia Station, and grew up working on various cattle stations. She commenced painting on fabric in the batik technique in the late 1970s, and produced her first painting on linen in 1988. She was the leader of a number of song cycles for particular women’s ceremonies. Her paintings were mostly based on Anmatyerre body designs and Dreaming sites especially associated with yam tubers and flowers.
During her brief but dazzling career as an artist, Emily Kngwarreye had numerous solo and group exhibitions. She is represented in all major state gallery collections in Australia and in significant ) collections of contemporary international art in the USA, Europe and the UK. Emily Kngwarreye’s paintings represented Australia at the 1997 Venice Biennale. A major retrospective of her work will commence at the Queensland Art Gallery in 1998 and then tour other states.
This book looks at Emily Kngwarreye’s paintings from very different viewpoints: Jennifer Isaacs approaches and explains their meaning as part of Anmatyerre women’s culture, and gives a history of the art’s development and patronage; Terry Smith examines the works as forming part of the leading edge of contemporary abstract painting; Judith Ryan describes and explores the major works by Emily Kngwarreye from the collection of the National Gallery of Victoria; and Donald and Janet Holt give personal accounts of Emily’s art and life at Delmore Downs Station.
Works in this volume are drawn from the Holt Collection, the National Gallery of Victoria, the National Gallery of Australia, Canberra, The Holmes a Court Collection, Heytesbury, and Campbelltown City Art Gallery, New South Wales.
ABOUT THE CONTRIBUTORS
JENNIFER ISAACS is a respected art historian and curator. She has worked with Aboriginal artists and written about Aboriginal art and culture since 1970.
TERRY SMITH is Professor of Contemporary Art in the Power Institute of Fine Arts at the University of Sydney.
JUDITH RYAN is Senior Research Curator of Australian Art at the National Gallery of Victoria.
DONALD AND JANET HOLT of Delmore Downs cattle Station nurtured the talent of Emily Kngwarreye from 1989-1996. Janet Holt previously worked for Papunya Tula Artists Company.
Emily Kngwarreye was born at Alhalkere in the north-west corner of Utopia Station, and grew up working on various cattle stations. She commenced painting on fabric in the batik technique in the late 1970s, and produced her first painting on linen in 1988. She was the leader of a number of song cycles for particular women’s ceremonies. Her paintings were mostly based on Anmatyerre body designs and Dreaming sites especially associated with yam tubers and flowers.
During her brief but dazzling career as an artist, Emily Kngwarreye had numerous solo and group exhibitions. She is represented in all major state gallery collections in Australia and in significant ) collections of contemporary international art in the USA, Europe and the UK. Emily Kngwarreye’s paintings represented Australia at the 1997 Venice Biennale. A major retrospective of her work will commence at the Queensland Art Gallery in 1998 and then tour other states.
This book looks at Emily Kngwarreye’s paintings from very different viewpoints: Jennifer Isaacs approaches and explains their meaning as part of Anmatyerre women’s culture, and gives a history of the art’s development and patronage; Terry Smith examines the works as forming part of the leading edge of contemporary abstract painting; Judith Ryan describes and explores the major works by Emily Kngwarreye from the collection of the National Gallery of Victoria; and Donald and Janet Holt give personal accounts of Emily’s art and life at Delmore Downs Station.
Works in this volume are drawn from the Holt Collection, the National Gallery of Victoria, the National Gallery of Australia, Canberra, The Holmes a Court Collection, Heytesbury, and Campbelltown City Art Gallery, New South Wales.
ABOUT THE CONTRIBUTORS
JENNIFER ISAACS is a respected art historian and curator. She has worked with Aboriginal artists and written about Aboriginal art and culture since 1970.
TERRY SMITH is Professor of Contemporary Art in the Power Institute of Fine Arts at the University of Sydney.
JUDITH RYAN is Senior Research Curator of Australian Art at the National Gallery of Victoria.
DONALD AND JANET HOLT of Delmore Downs cattle Station nurtured the talent of Emily Kngwarreye from 1989-1996. Janet Holt previously worked for Papunya Tula Artists Company.
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