Alyawarra Music: Songs and Society in a Central Australian Community. Aboriginal painting on canvas reached, in my opinion, an apogee of beauty in works by such artists as Turkey Tolson, Mick Namarari, Dorothy Napangardi, Kitty Kantilla, and more recently, Warlimpirrnga Tjapaltjarri, whose recent show in New York drew rave reviews. Mar 29, 2018 - Explore Alden's board "Emily Kame Kngwarreye", followed by 246 people on Pinterest. When asked about her paintings, Kngwarreye responded in terms of the all-embracing totality of Awelye Dreaming and Anmatyerre country: Whole lot, thats whole lot. Hes the author of the best-sellingDark Emu, Young Dark Emu: A Truer History, Loving Country: A Guide to Sacred Australiaand over thirty other books including the short story collectionsNight Animals Arlatyeye Wild Yam. Why do we need Aby Warburg today? While Tatehata acknowledges explicitly that dislocating Kngwarreyes work from its ecological context inscribes another form of cultural colonialism (31), he nevertheless unremittingly pursues the modernist comparison. But how much can iconic art teach us about the world today? It is estimated that Kngwarreye produced over 3000 paintings in her short career, an average of one or two per day, many as beautiful as the next. RELATED WORKS: A similar example with the same provenance, Anwerlarr Angerr (Big Yam) 1996 is held in the collection of the National Gallery of Victoria, Melbourne The exhibition could thus be said to figure forth the contemporary not only as internally disjunctive, but also (and paradoxically) as aporetic at its very core. Mandy has been working at the Victorian Aboriginal Corporation for Languages Materialised by a palimpsestic arrangement of forms, the hetero-temporality of the work interleaves the specific time modalities of yams, emus, humans, ancestors and the Dreaming. Indigenous writer Bruce Pascoe will talk about Aboriginal agriculture and land management. After a lifetime of painting on sand and bodies, Kngwarreye turned towards batik in the late 1970s as a medium for expressing traditional Anmatyerre Dreaming narratives (Museums Victoria). To borrow the words of curator Stephen Gilchrist: "There's more to Indigenous art than just dots and bark painting." Averaging about two kilogramsbut occasionally growing as large as a human headthe chestnut-like tubers are ingested in their raw form or after roasting (Crase et al.). We recommend switching to Edge, Chrome, Safari, or Firefox. In Through Vegetal Being, Michael Marder comments, Living at the rhythm of the seasons means respecting the time of plants and, along with them, successively opening oneself to various elements (in Irigaray and Marder 144). National Gallery of Victoria, Melbourne, Purchased by the National Gallery Women's Association to mark the directorship of Dr. Timothy Potts, 1998, 1998.337.a-d. Emily Kam Kngwarray / 2015 Artists Rights Society (ARS), New York / VISCOPY, Australia. (Courtesy Harvard Art Museums) The contemporary Aboriginal artists in a new show at Harvard. Aboriginal Modernism? Moving outside the constraints of two-dimensional aesthetic imagery, her art invokes the poiesis of the yamits making, bringing-forth and becoming in the world, its opening to the other in synchrony with the artists opening in response to it. edited by Gulsen Bal, Paul OKane, The Other Side of the Word: Translation as Migration in the Anthologised Writings of Lee Yil, The Self-Evolving City: Architecture and Urbanisation in Seoul, Theory of the Unfinished Building: On the Politico-Aesthetics of Construction in China, Marcus Verhagen, Flows and Counterflows: Globalisation in Contemporary Art, Learning from documenta 14: Athens, Post-Democracy, and Decolonisation, BOOK REVIEW: Joan Key, Contemporary Korean Art: Tansaekhwa and the Urgency of Method, BOOK REVIEW: Zhuang Wubin, Photography in Southeast Asia: A Survey, Post-Perspectival Art and Politics in Post-Brexit Britain: (Towards a Holistic Relativism), BOOK REVIEW: Moulim El Aroussi, Visual Arts in the Kingdom of Morocco, Return of the Condor Heroes and Other Narratives, The Savage Hits Back Revisited: Art and Global Contemporaneity in the Colonial Encounter, The 6th Marrakech Biennale, 2016: Not New Now, Brad Prager, After the Fact: The Holocaust in Twenty-First Century Documentary Film, In Media Res: Heiner Goebbels, Aesthetics of Absence: Text on Theatre, Failure as Art and Art History as Failure, The Politics of Identity for Korean Women Artists Living in Britain, Contemporary Art and the Politics of Ecology. There are especially fine paintings by Paddy Bedford, Ronnie Tjampitjinpa, Tommy Watson, Alec Mingelmanganu, Tutuma Tjapangati, and Regina Pilawuk Wilson. Emily Kam Kngwarray/Licensed by Copyright Agency, Australia. London, W2 4PH
4 Terry Smith, What Is Contemporary Art?, University of Chicago Press, Chicago and London, 2009. (a-d) 401.0 x 245.0 cm (overall) He has since been represented in Blak City Culture, Australian Centre for Contemporary Art, Canberra: Australian Institute of Aboriginal Studies, 1975. For the prominent cultural theorist Marcia Langton, Aboriginality is best understood in terms of a field of intersubjectivity in that it is remade over and over again in a process of dialogue, of imagination, of representation and interpretation between Indigenous and non-Indigenous Australians.15 Similarly, cultural theorist Chris Healy writes that Aboriginality, conceptualises the indigenous and non-indigenous as referring to both separate and connected domains. She is an Anmatyerre artist best known for her bold, contemporary-looking paintings that were actually steeped in the tradition and history of her people. Photo: R. Leopoldina Torres, President and Fellows of Harvard College. These four themes, the exhibition asserts, encapsulate important aspects of the experience of Indigenous peoples, and become means for negotiating their experience of time. The expressions singing country and singing up country denote in situ, or land-based, recitations of song poetry. Whats more, a very rare yam known as antjulkinah (giant sweet potato, or Ipomoea polpha subsp. 20, no. Two Histories, One Painter. The artist died on the 3rd of September, 1996 in Alice Springs, Northern Territory, Australia at the age of either 85 or 86. Wild Yam V (1995) in particular implements rapidnearly freneticbrushstrokes with impulsive orientations to arouse the florescence of yam being-in-the-world (Kngwarreye, Wild Yam V). 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Utopia Womens Batik Group, Northern Territory, 1970s1980s. Anwerlarr Anganenty (Big Yam Dreaming). In 1977, in a series of government-sponsored workshops, educator Jenny Green started teaching batik techniques to Anmatyerre and Alyawarra women, leading to the formation of the Utopia Womens Batik Group about a year later. That paradox can be expressed in terms akin to Osbornes original formulation that contemporary art is postconceptual art. I say this not to pour cold water over an encounter that is likely to be agreeable and even inspiring for American audiences, but to point out that all the good intentions and romance that congregate around peoples initial discovery of Aboriginal art should not blind them to many unpleasant realities. The exhibition and the artists it includes theorise a vision of the contemporary as fractured, not just in the experience of time, but in the very constitution of the contemporary itself. Synthetic polymer paint on canvas. kanvaasartistry liked this . Siewers, Alfred. In the late 1830s, for instance, British writer-explorer George Grey characterised wild yam, or warren, as a favourite article of food among Noongar people (12). Stories: Eleven Aboriginal Artists, edited by Anne Marie Brody. On display is posthumous selection of her artworks. The exhibition foregrounds the problem of defining the contemporary, while showing the importance of visibility for Indigenous art given the historical invisibility and oppression of Indigenous peoples. In conversation with Adam Pendleton: What is Black Dada? From McLeans point of view, Aboriginal modernism entails knowledge of traditional cosmologies and their aesthetics as well as opportunities for interaction with modernityboth of which Kngwarreye had. Dark Emu. Photo: Harvard Art Museums, President and Fellows of Harvard College. National Gallery of Victoria, Melbourne Purchased by the National Gallery Women's Association to mark the directorship of Dr Timothy Potts, 1998 1998.337.a-d Fire and Hearth: A Study of Aboriginal Usage and European Usurpation in South-western Australia. A complete image of Kngwarray's Anwerlarr angerr (Big yam), 1996. Emily Kame Kngwarreye is one of Australia's most significant contemporary artists. Canberra, National Museum of Australia Press, 2008. Art, in such circumstances, should be and is a source of pride and hope. According to ethnobotanist Peter Latz, antjulkinah is the most prized yam among the Anmatyerre who locate the tubers by listening attentively for hollow reverberations made by striking the earth with digging sticks (Latz 217). By hetero-temporalised, I mean the capacity to inhabit multiple times, moments or occasions at once. 21133. By Alex Miller (Conditions of Faith, Lovesong) Emily Kame Kngwarreye's Anwerlarr Anganenty (Big Yam Dreaming), 1995. To exist out of season, for Marder, is to exist out of tune with the milestones of vegetal time: germination, growth, blossoming, and fruition (in Irigaray and Marder 143). Utopia: The Genius of Emily Kame Kngwarreye, edited by Margo Neale. On Critique in Practice: Renzo Martens Episode III: Enjoy Poverty, Pushing against the roof of the world: ruangrupas prospects for documenta fifteen, BOOK REVIEW: Tom Holert, Knowledge Beside Itself: Contemporary Arts Epistemic Politics, BOOK REVIEW: Laleh Khalili, Sinews of War and Trade: Shipping and Capitalism in the Arabian Peninsula, Maria Thereza Alvess Recipes for Survival, To Don Duration: Lisl Pongers The Master Narrative und Don Durito in 10 Chapters, BOOK REVIEW: Oliver Marchart, Conflictual Aesthetics, Karol Radziszewski's The Power of Secrets, The Method of Abjection in Mati Diops Atlantics. Find this Pin and more on Artists of Utopia by Greg loves Contemporary Aboriginal Art. It's a powerful and huge (8 metres x 3 metres) painting covered with a tangle of curving white brushstrokes, forming an organic pattern that represents the roots of the yam and the cracks of the earth in desert country, and also the spiritual sense of country of this indigenous artist. National Gallery of Victoria, Melbourne, Purchased by the National Gallery Women's Association to mark the . See, that's what the app is perfect for. Both. The emergence of seeds and plants at the interstices of profuse stems and rhizomes communicates the function of the paintings as mediators of vegetal increase. The sinuous composition is mimetic of the subterranean growth habit of anooralya, the pencil yam or Maloga bean (Vigna lanceolata), a culturally and spiritually resonant plant for the Anmatyerre of the Northern Territory (Isaacs 1516). 1 On the incorporation of Indigenous Australian art into the museum and gallery sector, and the problematic concomitant reception in terms of modernist ideals of innovation and genius, see Cath Bowdler, Shimmering Fields, Artlink, 28, no 2, 2008, pp 30-33. Finally, the exhibition offers what may be deemed analogous to a Kantian a priori, insofar as that multi-temporal experience of art is said to form a condition of experience for Indigenous peoples. The work is in fact the distillation of an ancestral narrative that tells of a mans death by fire during a drought. Sounds perfect Wahhhh, I don't wanna A cynic or perhaps merely a sad-eyed realist might say that the British colonization of Australia two centuries ago sentenced the continents indigenous people to an experience of time as circular and overlapping as Dantes hell. Kngwarreyes earliest rendering of a yam using methods and materials introduced from outside the Central Desert area is Untitled (Yam) (1981), a vibrantly coloured batik-on-cotton. Crase, Beth, et al. Sydney, Craftsman House, 1998. Download Kngwarray from Bridgeman Images archive a library of millions of art, illustrations, Photos and videos. As its title suggests, the exhibition argues that Indigenous art distinguishes itself by focusing on a layered relationship to past, present and future experience. Owing to its focus on the multiple threads of time within a given moment, the exhibition echoes a form of the contemporary offered by Terry Smith. Everywhen is supported by Australian Governments Department of Foreign Affairs and Trade. "Everywhen: The Eternal Present in Indigenous Art from Australia, an exhibition at the Harvard Art Museums. Among Aboriginal people across Australia, the term Countryoften capitalisedcomprises ancestral homelands, totemic systems and longstanding vegetal-cultural relations. Big Yam. Each is divided and subdivided into small segments filled with intricate stripes, cross-hatching, dots, and repeating curves. Wood. Certain timeless works of art make us see the world differently. The network of bold white lines on black, derived from womens striped body paintings, suggests the roots of the pencil yam spreading beneath the ground and the cracks in the ground created as it ripens. tus propios Pines en Pinterest. Four works, between 1992 and 1996 Synthetic polymer paint on canvas; acrylic on linen, Anwerlarr angerr (Big yam). 5 A radically distributive that is, irreducibly relational unity of the individual artwork across the totality of its multiple material instantiations, at any particular time. Victorian Foundation for Living Australian Artists, International Audience Engagement Network (IAE). It is akin to Boris Groyss argument that in the contemporary time overflows attempts to offer singular and coherent historical narratives.3 Nonetheless, while Groys seems to imply that the spectator can occupy a position from which to observe that excess of time, the exhibition of Indigenous art theorises time as excess, time as pathways between different historical events and imagined futures. She was just a genius. He has worked at the Wheeler Centre since inception in 2009, when he was hired as the Head of Programming before being appointed as Director in September 2011. It declares the violence of colonial history in Australia, the violence associated with the imposition of culture and the irrevocable losses and personal confusion that result from dispossession. Read more, Michael Williams is the Director of the Wheeler Centre for Books, Writing and Ideas in Melbourne. Ecopoetics and the Origins of English Literature. The disjuncture of Osbornes thesis refers to the manifold relations, practices and narratives in art after internalising the failure of conceptual art to locate the specificity of art solely within its aesthetic character. Pascoe, Bruce. Emily Kame Kngwarreye: The Impossible Modernist. National Gallery of Victoria, Melbourne, Purchased by the National Gallery Women's Association to mark the directorship of Dr. Timothy Potts, 1998, 1998.337.ad. Through a focus on the evolution of Kngwarreyes yam paintings created between 1981 and 1996from her first colorful batik to her final monochrome abstractionsthis article considers human-vegetal entanglement vis--vis the traditional plant ontologies of the Central Desert Aboriginal people of the Northern Territory. Aboriginal art is perhaps best thought of as a political expression of cultural identity and resilience, and an ongoing quest for images of concentrated power and beauty. His painting, in natural ochres, is much more austere. Change), You are commenting using your Twitter account. Broome, WA, Magabala Books, 2014. The following critique probes that disjuncture to unravel the dependence of contemporary art on conceptual practices to advance an alternative theorisation of the contemporary. (On display as part of Harvard Art Museums' "Everywhen" exhibit, see page 4.) Think what it is like to see the early Cubist paintings by Braque and Picasso, or the very first sensationally realist, shadow-filled paintings of Caravaggio. 200. More than a two-dimensional graphic representation of the biocultural convergence between plant life and humankind, Kngwarreyes work partakes inbecomes a living substrate withinthe deep Anmatyerre mesh of plant-kin and Country. Native Art 2016-02-01 - . The very act of painting the piece can be thought of as a performance, or the reiteration of a sacred action. London, T. and W. Boone, 1841. In Indigenous languages, words for creation include Wangarr in Arnhem Land, Tjukurrpa and Altyerr in Central Australia, and Ngarranggarni in the East Kimberley. Its a powerful and huge (8 metres x 3 metres) painting covered with a tangle of curving white brushstrokes, forming an organic pattern that represents the roots of the yam and the cracks of the earth in desert country, and also the spiritual sense of country of this indigenous artist. From the vantage of Everywhen, the contemporary appears as a condition marked by the contingency of its own conditions of possibility. The exhibition highlights not only different temporal experiences in the contemporary, but alternative forms of contemporaneity itself. Abstract: Anmatyerre elder and artist Emily Kame Kngwarreye (19101996) of the Utopia community, Northern Territory, Australia, featured the growth patterns of the pencil yam (Vigna lanceolata) prominently in works such as Untitled (Yam) (1981), Anooralya Wild Yam (1989) and Yam Dreaming (1996) as well as a number of black-and-white renderings. While denoting the paintings, the term awelye in the Anmatyerre language also, more broadly, signifies dialogical interrelations between humans, other beings, land, and the spirit world (McLean 26). Read more Location Clemenger BBDO Auditorium, NGV International 180 St Kilda Road Melbourne Victoria 3000 More details Watch, Listen, Read Anwerlarr angerr (Big yam) 1996 After a curator from the National Gallery of Victoria places the work in context, five different speakers will explore the tangents that arise, leading the discussion surrounding the piece in new and unexpected directions. Through Vegetal Being: Two Philosophical Perspectives. Story About Feeling, edited by Keith Taylor. Michael Marder regards plant-time as hetero-temporal. doi: 10.1071/BT02105. Anwerlarr angerr "Big yam" (1996) by Emily Kam Kngwarray, Aboriginal Australian (Anmatyerre). The series Anooralya (1995), for instance, epitomises her evolution towards tendrilous traces painted against white, gray or black fields. Performance & security by Cloudflare. Glossary. Aboriginal Temporality and the British Invasion of Australia. Rather than a modernist abstraction, la Pollock and other expressionists, the artwork is a schematisation of the passagewaysinterlinked human and more-than-human movements between locales and sites, from yam to yamacross Anmatyerre country. A historical account of the object would thus entail accounting for a shift from an anthropological to an aesthetic context. In keeping with its proposition regarding complex articulations of time and history, Everywhen offers a means of re-evaluating the contemporary as a paradoxical interface between cultures. While, as the author shows, Elkin made some sound observations in relation to Aboriginal culture, his assimilationist views reflect an ideology underlying forced removal of Indigenous children and contribute to the ongoing experience of intergenerational trauma for First Nations. Resembling small white peanuts, the buried seed pods, when available, are also consumed. Through the yam-art of Kngwarreye, this article considers human-vegetal entanglements in Aboriginal Australian societies. Enter the email address you signed up with and we'll email you a reset link. Both thematically and physically, Gilchrist organised the exhibition and its space around four key topics: seasonality, transformation, performance and remembrance. It certainly made a mockery of the idea of time as a forward-flying arrow. PUR etc. Anwerlarr angerr (Big yam) 1996 synthetic polymer paint on canvas (a-d) 401.0 x 245.0 cm (overall) National Gallery of Victoria, Melbourne Purchased by the National Gallery Women's Association to mark the directorship of Dr Timothy Potts, 1998 1998.337.a-d Disease, slaughter, dispossession, and lack of recourse (thanks in part to the British designation of the continent, which had been occupied for 50,000 years, as terra nullius nobodys land) almost destroyed Aboriginal culture. Instead, alternative reference points for understanding contemporary art and its history can be discerned. 2329. Change). How are the visual arts responding to the COVID-19 crisis? Aboriginal clap sticks are played in conjunction with the didgeridoo for ceremonial dances. Soos, Antal, and Peter Latz. 10520. Cascading down the wall, his acerbic poem cuts like a scar across the white wall. When examining Osbornes claims in relation to Indigenous art, it appears that contemporary art thus does not depend upon its postconceptual status. Instead, her pictorial style evolved towards less naturalistic visualisations employing intricate brushstrokes to elicit the subterranean circuitries of the pencil yam. (Art is constituted by concepts, their relations and their instantiation in practices of discrimination: art/non-art. Anooralya IV. Presented by the Wheeler Centre and the NGV. There are several actions that could trigger this block including submitting a certain word or phrase, a SQL command or malformed data. Goughs work an oversize necklace made from pieces of coal with antlers attached addresses the horrendous history of indigenous people of Tasmania, who were dispossessed and undone by imported disease, with those remaining sent into exile on a small island in the strait that separates Tasmania from the mainland. angelfire115 reblogged this from . Spanning several decades of work in a range of mediums, this show's stand-outs are the paintings on canvas, paper, and bark that read as abstract but are driven by a . An Anmatyerre elder and lifelong custodian of women's 'dreaming' sites in her clan country of Alhalkere, Emily Kame Kngwarreye (1910-1996) developed an abstract visual language centred around ancestral spirits and Australian Aboriginal cosmology. The Dreaming is of course an invention of Western anthropologists. Emily Kngwarreye Paintings, edited by Janet Holt. Composed in various hues of purple, the batik evokes/invokes a field profuse in plump yams with textured skin enclosed in a meshwork of twisting rhizomes and twining stems (Neale, Origins 65). With 50 years experience providing images from the most prestigious museums, collections and artists. latzii) is endemic to Anmatyerre country. 19, no. McLean, Ian. The quandary about what knowledge should be revealed and what concealed creates a titillating dynamic around the reception of Aboriginal art, one that has long beguiled outsiders. The earthquake occurred at a very shallow depth of 5 km beneath the epicenter . 17-19 Garway Road
Everywhen posits disjuncture within theory itself. Of course, aesthetics may also be a problematic discursive frame, insofar as it applies Eurocentric concepts to Indigenous art. Kngwarray, Emily Kam (1910-96) At the same time, the paintings emphasis on interconnected lines rather than the dot patterns associated prominently with, for instance, the Papunya artists of the 1970s and 80s underscores the significance of awelye, the striped body paintings worn by Anmatyerre women during ceremonies (Bardon and Bardon). At the centre of this debate stands Everywhen: The Eternal Present in Indigenous Art from Australia, an exhibition at the Harvard Art Museums. More precisely, Kngwarreyes multi-dimensional imagining of the yam marks a shift away from vegetal representation (in which visual language constructs a botanical object in the world and thus risks reinscribing human-plant binarisms) toward intermediation (in which language proffers a living medium for dialogue between human and more-than-human subjects). Performance indicates the role of ceremonies and rituals practiced by Indigenous peoples as a means not only of renewing their bonds to the landscape, but also of forging and reinforcing social bonds. Marder describes this relation between plant-time and plant-space in terms of diffrance: [] vegetal temporality, untranslatable into the intervals of duration familiar to human consciousness, dissolves into vegetal spatiality (104). Emily Kame Kngwarreyes Big yam Dreaming is one of my favourite paintings by an Australian artist. When you consider that she never studied art, never came into contact with the great artists of her time and did not begin painting until she was almost 80 years of age, there can only be one way to describe her. Marder, Michael. 5, no. On these grounds, Indigenous art is contemporary for it occupies, physically and discursively, multiple temporal registers. The Australian anthropologist W E H Stanner coined the term everywhen in 1953 to refer to a narrative of past experience, a charter of possible future events and a system for ordering the universe and granting it meaning. Best known as a judge and co-host of MasterChef Australia, Preston is also a senior editor for delicious and taste magazine. Synthetic polymer paint on canvas. Thats when Geoffrey Bardon, a white schoolteacher, encouraged senior Aboriginal men to paint designs they had shown him onto small pieces of hardboard, using cheap but colorful acrylic paint. Utopia: The Genius of Emily Kame Kngwarreye, edited by Margo Neale. Use code NGVMCQUEEN at checkout. New York, Routledge, 2011. The drawn surface lays bare the bones which structure much of her art, while the rhythmical monochrome design can be likened to the veins, sinews and contours seen in the body of the land from above. Though snow may fall outside, inside their special exhibition galleries the Harvard Art Museums host some heat from desert Australia. 163. Aboriginal art has roots in a culture that is tens of thousands of years old, but it didnt begin to take its prevailing present shape colored paints on canvas until the early 1970s. Many Aboriginals today including those from the remote communities where some of the most celebrated art is made live in conditions that everyone across the political spectrum agrees are a national disgrace. Many may see Everywhen, a succinct survey of Australian Aboriginal art at the Harvard Art Museums, and feel similarly fascinated and awed. Created in 1995, Kngwarreyes Anwerlarr Anganenty (Big Yam Dreaming) is a large-scale monochrome rendering of human-vegetal entanglement. 46. He is co-founder and co-editor of Dissect Journal and co-editor of emaj (electronic Melbourne art journal). Hallam, Sylvia. Toohey, John. Mandy is a recognised artist, qualified Archaeologist and leader of the Djirri Djirri Dance Group. 6 Disjunctive unity of meaning. Big yam Dreaming (Anwerlarr anganenty), 1995, synthetic polymer paint on canvas. He was born in 1971 in Melbourne, Victoria and lives and works in Melbourne. . Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). As Ian McLean succinctly notes, Osbornes underlying point is that the contemporary has acquired the historical significance that the modern held for most of the twentieth century, thus usurping its former paradigmatic function.6 Whereas the modern, for Osborne (as for others, such as Groys), attempts to envision and create a future, the contemporary involves a co-presentness of a multiplicity of times.7 Just as the exhibition Everywhen advances a complex, layered experience of time, so too does Osborne advance the thesis that the contemporary is defined by a disjunctive logic, meaning that the present comprises multiple, fractured and intersecting modes of inhabitation. Synthetic polymer paint on canvas ; acrylic on linen, Anwerlarr angerr ( Big Dreaming! Indigenous writer Bruce Pascoe will talk about Aboriginal agriculture and land management acrylic on linen, Anwerlarr angerr ( yam... 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