(An informative article I happened to stumble across – Joining the dots- the search for true talent)
Among the many mediocre Aboriginal artists, there are some who shine , and are the ones to watch, writes Stephen Lacey. While the art market was hit hard by the global financial crisis, the Aboriginal art market seemed to be hit hardest of all. Some galleries closed and others admitted the slump in sales was financially worrying. “There is still a strong market for Aboriginal art up to $5000, but the market for mid-priced works (from $8000 to $50,000) has collapsed,” says Adrian Newstead of Coo-ee Aboriginal Art, Bondi.
The Herald’s art critic, John McDonald, believes the Aboriginal art market was over-extended before the crisis. “People were buying indiscriminately. It was a bubble waiting to burst, and burst it has,” he says. “Aboriginal art is like every other art form – there’s a few good artists and a lot of mediocre ones. What we’re watching now is a correction in the market.”
With this in mind, we trawled the art galleries and art centres to come up with the 10 most interesting Aboriginal artists to watch this year. They might not yet be superstars, they may never be a household name, but nobody can accuse them of mediocrity.
Gunibi Ganambarr, 37, a Yolngu man from Gangan in East Arnhem Land, Northern Territory. McDonald singles out Ganambarr as one to watch. The artist paints in natural earth pigments, creating fine, intricately detailed designs on ceremonial poles and barks. “He’s an innovator, he’s taken an age-old artform and done half a dozen things with it to reinvent the medium. He is a genuinely important artist.”
Rubilee Napurrula, 50, from Kintore, NT. paints for Papunya Tula Artists. The daughter of the famous Wintjiya Napaltjarri, Napurrula began painting regularly only in 2006. Her work is energetic and confident, defined by its densely painted surface using traditional elements. “She is showing vigour and enthusiasm. She obviously enjoys her work,” says Christopher Hodges, of Utopia Arts in Sydney. “I’m not suggesting she’s a star, but she’s having a serious go at developing her work.”
Tony Albert, 30 was born in Townsville, now Brisbane-based and working with the Proppa NOW collective. This controversial urban painter was named one of the top 50 collectible artists in Australia last year. Albert is one of Hetti Perkins’s favourite emerging artists. Perkins, the senior curator of Aboriginal and Torres Strait Islander art at the Art Gallery of NSW, says Albert’s political message is tempered by a good dose of black humour. “It’s very gutsy work,” she says, referring to a recent piece, Pay Attention Mother F—ers. Albert is working on several major international commissions.
Alma Nungarrayi Granites, 55. a Warlpiri woman born in Yuendumu, NT, painting for Warlukurlangu Artists. The daughter of the recently deceased Paddy Japaljarri Sims has been painting at the art centre since 1987, but her career began to take off in only 2008 when she painted her creation story Seven Sisters Dreaming depicting the night sky. The works may be too literal for those who prefer a more abstract approach, but there’s no denying their power, nor their popularity. Granites will hold a solo show in Germany this year.
Mary Punchi Clement, 61. Paints for Waringarri Aboriginal Arts in the East Kimberley, WA. Gabriella Roy, of Aboriginal and Pacific Art, nominates Clement as an emerging artist to keep an eye on. “Her interpretation of the Bradshaw Figures (ancient Kimberley rock art) is simply beautiful,” Roye says. “Her natural ochre works on paper are stunning.”
Cheryl Accoom, 18, is from the Lockhart River, Queensland. When she’s not dealing with the daily grind of being a teenager living in a remote area, this young artist interprets the tropical landscapes of her coastal home in a riot of big, bold and joyous brush strokes. Beverly Knight, of Alcaston Gallery, Melbourne, predicts big things for Accoom, who has exhibited overseas. “Her paintings are as exciting as Rosella Namok’s were, when she first started painting,” Knight says.
Justin Puruntatameri, is 80. He was born on Melville Island, paints for Munupi Arts and Crafts Association. This senior artist is one of the most important ceremonial men on the Tiwi islands. He walked into the art centre just 12 months ago and began to paint in a traditional Tiwi style.
Ryan Presely, 24, born in Alice Springs, now lives in Brisbane. This dual-heritage artist (Aboriginal/Dutch) won the Griffith University Graduation Show last year with a politically charged exhibition called Blood Money – a series of Australian currency with the familiar white faces replaced by indigenous leaders. The scale of the works, their finely wrought detail and the fact they were rendered in watercolours on paper, is testament to Presely’s skills as a draftsman and painter. Jan Manton, of Jan Manton Art, Brisbane, believes Presely has a strong future. “He’s definitely one of the most promising young artists I’ve seen in recent years,” she says.
Nellie Stewart, 79. Born in the Pipalyatjara area, South Australia, and began painting with the Tjungu Palya Art Centre in 2007. Initially she used a distinctive dotting style and discordant colours. It was only after beginning to use a brush that the magic happened. “Suddenly her work was transformed, becoming stronger and more ambitious,” says Vivien Anderson, of Vivien Anderson Gallery, Melbourne. “She attacks the canvas with a sense of confidence. It’s raw, and uncompromised. Not everyone will love it, but you can’t say it isn’t powerful.” Stewart was accepted as a finalist in the Western Australian Indigenous Art Awards last year.
Sonia Kurarra, is 58. Born in Noonkanbah, she paints for Mangkaja Arts, WA. Kurarra has already been a runner-up in the 2010 Western Australian Indigenous Art Awards and winner of the 2010 Headland Art Awards. “She moves the paint around the canvas in quite an uncontrolled manner, but what you end up with is these delightful figurative abstract works,” says Greer Adams, Aboriginal fine art specialist at Bonhams. “Her use of colour and understanding of colour is just innate. It’s quite exciting stuff.”
by Stephen Lacey
The Sydney Morning Herald
Tuesday, 14th June 2011
Copyright 2011 Fairfax Media
SOURCE: http://www.smh.com.au/entertainment/art-and-design/joining-the-dots–the-search-for-true-talent-20110506-1ebv1.html
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