antipodeans:

Paddy Jupurrurla Nelson (Warlpiri people, Australia 1919 – 1999), Paddy Japaljarri Sims (Warlpiri people, Australia 1917 – 2010), Kwentwentjay Jungurrayi Spencer (Warlpiri people, Australia 1919 – 1990), Yanjilypiri Jukurrpa (Star Dreaming), 1985. Painting, synthetic polymer paint on canvas.
Yuendumu, Western Desert, Northern Territory, Australia.
Via National Gallery of Australia

antipodeans:

Paddy Jupurrurla Nelson (Warlpiri people, Australia 1919 – 1999), Paddy Japaljarri Sims (Warlpiri people, Australia 1917 – 2010), Kwentwentjay Jungurrayi Spencer (Warlpiri people, Australia 1919 – 1990), Yanjilypiri Jukurrpa (Star Dreaming), 1985.

Painting, synthetic polymer paint on canvas.

Yuendumu, Western Desert, Northern Territory, Australia.

Via National Gallery of Australia

antipodeans:

Florence Ada Fuller, Barak, 1885. 
Oil on academy board.
Barak was an important Indigenous artist and activist who worked mostly during the 1880s and 1890s. His paintings and artefacts (spears, shields, clubs and so on) focus on spiritual ceremonies. Culture Victoria has a video discussing Barak’s artistic, cultural and historical significance:

William Barak was a Ngurungaeta for the Wurundjeri people and that means Clan leader. He spent the latter part of his years on Coranderrk Reserve, which was from 1863 to 1903, where he became a prominent figure in the struggle for Aboriginal rights, and particularly the rights of his people on Coranderrk Reserve …
 The Barak artefacts and painting in the Collection are quite significant to us because of who Barak was as a person but also because we don’t have very many items that date back to the late 1800s we can attribute to a specific individual, so for that reason these items are very important to the Trust and very significant to the community.

(via Culture Victoria - Barak)
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antipodeans:

Florence Ada Fuller, Barak, 1885. 

Oil on academy board.

Barak was an important Indigenous artist and activist who worked mostly during the 1880s and 1890s. His paintings and artefacts (spears, shields, clubs and so on) focus on spiritual ceremonies. Culture Victoria has a video discussing Barak’s artistic, cultural and historical significance:

William Barak was a Ngurungaeta for the Wurundjeri people and that means Clan leader. He spent the latter part of his years on Coranderrk Reserve, which was from 1863 to 1903, where he became a prominent figure in the struggle for Aboriginal rights, and particularly the rights of his people on Coranderrk Reserve …

 The Barak artefacts and painting in the Collection are quite significant to us because of who Barak was as a person but also because we don’t have very many items that date back to the late 1800s we can attribute to a specific individual, so for that reason these items are very important to the Trust and very significant to the community.

(via Culture Victoria - Barak)

antipodeans:

Shaun Gladwell, Black Digger.
This won the $50,000 Shirley Hannan National Portrait Award. The diptych shows Meyne Wyatt in character for the play, Black Diggers. The play was a co-production between Queensland Theatre Company and Sydney Festival. The play explores the contribution Aboriginal soldiers made to Australian history, from the WWI battlefields of Gallipoli, to Palestine to Flanders.
Dr Sarah Engledow, the historian at the National Portrait Gallery in Canberra who judged the contest said the portrait was

the one that sustained my interest, aesthetically and sympathetically… I was moved by the restraint of the work, its gentleness, and the effect of its miniscule differences.

Image and information: Ampag.
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antipodeans:

Shaun Gladwell, Black Digger.

This won the $50,000 Shirley Hannan National Portrait Award. The diptych shows Meyne Wyatt in character for the play, Black Diggers. The play was a co-production between Queensland Theatre Company and Sydney Festival. The play explores the contribution Aboriginal soldiers made to Australian history, from the WWI battlefields of Gallipoli, to Palestine to Flanders.

Dr Sarah Engledow, the historian at the National Portrait Gallery in Canberra who judged the contest said the portrait was

the one that sustained my interest, aesthetically and sympathetically… I was moved by the restraint of the work, its gentleness, and the effect of its miniscule differences.

Image and information: Ampag.

ericdebarros:

"19-year-old activist, identified only as Amina, posted on the Femen-Tunisian Facebook page a topless picture of herself with the words "F**k your morals" written across her chest.
Another controversial image followed, of the woman smoking a cigarette, baring her breasts, with the Arabic written across her chest: “My body belongs to me, and is not the source of anyone’s honor”.”
Ignorant dicks are threatening her with death by stoning. Sign the petition below.
http://www.change.org/petitions/petitioning-tunisian-government-amina-must-be-safe
(quote from: http://www.huffingtonpost.co.uk/2013/03/22/topless-tunisian-feminist-amina-stoning-death_n_2930611.html )
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ericdebarros:

"19-year-old activist, identified only as Amina, posted on the Femen-Tunisian Facebook page a topless picture of herself with the words "F**k your morals" written across her chest.

Another controversial image followed, of the woman smoking a cigarette, baring her breasts, with the Arabic written across her chest: “My body belongs to me, and is not the source of anyone’s honor”.”

Ignorant dicks are threatening her with death by stoning. Sign the petition below.


http://www.change.org/petitions/petitioning-tunisian-government-amina-must-be-safe

(quote from: http://www.huffingtonpost.co.uk/2013/03/22/topless-tunisian-feminist-amina-stoning-death_n_2930611.html )

roaring-softly:

The incredible Lisa Currie of The Scribble Project invited me to be a part of her exhibition in Melbourne, Australia this June, and this is my entry!  The way it works is that Lisa gives each artist the same template and then we all get to fill it out with our own artistic style.  I had so much fun sharpie-ing this thing, and I’m in awe of some of the other entries, which you can see here.
This is the first time my art will be in a real gallery and I’m so excited about it!  If any of you are in the Melbourne area and want to pop by the City Library and snap a photo of my piece on the wall, I will find some way to reward you. :)
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roaring-softly:

The incredible Lisa Currie of The Scribble Project invited me to be a part of her exhibition in Melbourne, Australia this June, and this is my entry!  The way it works is that Lisa gives each artist the same template and then we all get to fill it out with our own artistic style.  I had so much fun sharpie-ing this thing, and I’m in awe of some of the other entries, which you can see here.

This is the first time my art will be in a real gallery and I’m so excited about it!  If any of you are in the Melbourne area and want to pop by the City Library and snap a photo of my piece on the wall, I will find some way to reward you. :)

antipodeans:


This is Kelly the defiant. I put Kelly on top of the horse in a particularly orderly manner. I wanted an air of perfect authority. It looks simple but I wanted the maximum feeling of space, so the cloud appears through the aperture in the mask.
- Sidney Nolan.

Thought I would kick this blog off with a quintessential Australian artwork by one of Australia’s most famous and important artists depicting an Australian icon. Ned Kelly, the notorious bushranger (horse riding bandit), needs no introduction to Australians, but for uninitiated international audiences: Kelly represents the unyielding anti-authoritarian spirit beloved by Australian national mythology.
Sidney Nolan has said that his three inspirations for the Kelly series are the words of Kelly, the influence of Rousseau and sunlight. Nolan’s focus on sunlight best exemplifies the significance of the Ned Kelly series beyond its primary historical subject. Nolan is as much concerned with rendering the unique Australian landscape as he is capturing the irreverent outlaw. Nolan says the Kelly saga was ‘a story arising out of the bush and ending in the bush’:

I find the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape … which persist in the memory, to find expression in such household sayings as “game as Ned Kelly”.

Source: National Gallery of Australia. Post by ZeeZee.
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antipodeans:

This is Kelly the defiant. I put Kelly on top of the horse in a particularly orderly manner. I wanted an air of perfect authority. It looks simple but I wanted the maximum feeling of space, so the cloud appears through the aperture in the mask.

- Sidney Nolan.

Thought I would kick this blog off with a quintessential Australian artwork by one of Australia’s most famous and important artists depicting an Australian icon. Ned Kelly, the notorious bushranger (horse riding bandit), needs no introduction to Australians, but for uninitiated international audiences: Kelly represents the unyielding anti-authoritarian spirit beloved by Australian national mythology.


Sidney Nolan has said that his three inspirations for the Kelly series are the words of Kelly, the influence of Rousseau and sunlight. Nolan’s focus on sunlight best exemplifies the significance of the Ned Kelly series beyond its primary historical subject. Nolan is as much concerned with rendering the unique Australian landscape as he is capturing the irreverent outlaw. Nolan says the Kelly saga was ‘a story arising out of the bush and ending in the bush’:

I find the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape … which persist in the memory, to find expression in such household sayings as “game as Ned Kelly”.

Source: National Gallery of Australia. Post by ZeeZee.