Aboriginal Art in America

In deep reds, pinks, and yellows, Emily Kame Kngwarreye's "Awely" is an embodiment of her connection with her Country. Kngwarreye began painting late in her life, when she was already an elder in her community, Utopia, in Australia’s Northern Territory. The artwork’s title refers to women’s ceremonial knowledge of song, dance, medicine, and designs painted on the body. As Kngwarreye applied heavy blotches of paint to her canvases, she would sing ceremonial songs, replicating the act of painting on skin. In this way, “Awely” is both a painting of Kngwarreye’s homeplace and a conversation with it.

Emily Kame Kngwarreye Anmatyerr language group, Indigenous Australian, c. 1910-1996 Awely, 1992 Acrylic on canvas Gift of John W. Kluge, 1997 Episode produced by Addie PatrickNotes go here

A solitary figure emerges from an urgent flurry of charcoal lines. Vernon Ah Kee’s “Unwritten” is a potent metaphor for the struggle of indigenous artists to control their identities amid the continuing pressures of racism and colonial oppression. In 2004, Ah Kee began a series of large scale photorealistic charcoal portraits of his family members. These works were based upon ethnographic photos taken by the anthropologist Norman Tyndale on Palm Island during the 1930s. In enlarging these images to an imposing scale, Ah Kee returns power to their gaze, reclaiming the ethnographic photography for those who are once its subjects.

Vernon Ah Kee Indigenous Australian, b. 1967 Unwritten, 2011 Charcoal on paper, 29 15/16 x 22 1/16 in. (76.04 x 56.04 cm) Museum purchase from Milani Gallery, 201

Freshwater Saltwater Weave is a series of glass works by contemporary urban-based Arrernte artist Jenni Kemarre Martiniello. Her works in hot blown glass, coldworked glass and canes are inspired by the aesthetics of Aboriginal woven forms. The works in this exhibition span the last five years and are inspired by dilly bags, eel traps, fish traps, fish baskets, and bicornual baskets.

Yellow Rushes Fish Basket 2017 Jenni Kemarre Martiniello Hot blown and cold worked glass with canes Purchased with funds provided by Maria T. Kluge, 2019.Notes go here

Jack Kelly's Rockhole 1997 90 x 120 cm Queenie McKenzie, indigenous Australian, b. 1915 Natural pigments on canvas Kluge-Ruhe Aboriginal Art Collection of the University of Virginia. Gift of Richard Klingler and Jane Slatter, 2019.Notes go here

Ngarralja Tommy May has been making art for over 30 years and this year his painting, Wirrkanja, won the National Aboriginal and Torres Strait Islander Art Award. Henry Skerritt introduces us to the artist and reminisces about his 2016 visit to the Kluge-Ruhe.

Nganampa Ngura, Our Country (2013) is a work of grand ambition and stunning color, it shows the ways in which these senior women see the world, connected by kin and country. From the tiny flowers of the bush plum to an epic painting on canvas, all actions are interrelated. In our globally connected world, these artworks remind us that every “little thing” is part of the grand tapestry of existence. The thirteen artists who made this work are: Wawiriya Burton, Ruby Williamson, Barbara Moore, Mary Katajuka Pan, Nyurpaya Kaika Burton, Naomi Kantjuriny, Iluwanti Ken, Mona Mitakiki Shepard, Tjungkara Ken, Sylvia Ken, Katanari Tjilya, Maringka Tunkin and Paniny Mick.

Naminapu Maymuru-White is a Mangalili artist who paints the Milky Way and its earthly mirror, the Milniyawuy River.

Tony Albert’s “Brothers” engages with issues of race, police violence, discrimination and identity. This single installation features twenty-six portraits of young Aboriginal men with targets painted onto their chests, as well as designs and symbols that Albert associates with strength and resistance. Albert was inspired by events that took place in Sydney in 2012, when two teenage Aboriginal joyriders were shot and injured at the hands of police. Following this, a protest was held at Sydney’s Town Hall, and friends of the victims appeared with targets drawn on their chests. For Albert, the target symbolizes the daily experiences of being racially targeted. It also refers to the stereotypes applied to Aboriginal people as a result of government policies, such as the Northern Territory Intervention. Tony Albert is a Girramay artist. His work is held in numerous public and private collections internationally. In 2014 he won both the $100,000 Basil Sellers Art Prize and the prestigious $50,000 Telstra National Aboriginal and Torres Strait Islander Art Award. He is known internationally and recently unveiled a major commission in Sydney’s Hyde Park, a monument dedicated to Australia’s Indigenous military service men and women. Brothers (Moving Targets) 2015 41 3/8 x 28 1/4 in. (105.09 x 71.76 cm) Tony Albert, Indigenous Australian, b. 1981 Scarred pigment print on paper Gift of the Artist, 2016