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686:. Their exhibition, titled "Fluent", was a multigenerational show, chosen "to highlight the spectrum of Aboriginal experience and artistic practice in Australia at the time." A contemporary review described the show as an "affirmation of the continuing influence of Aboriginal matriarchs in a society that is often defined as a patriarchy ... with interwoven concerns about the nature of the land and their connections to it."
322:(CAAMA), distributed 100 canvases and paints to the Utopia women, where they instructed the artists in the new medium. Over the summer holidays, (4 weeks) 80 painters completed 81 works. Rodney Gooch saw this as a new era for women. The Holmes à Court Collection purchased all 81 paintings and through their curator Anne Marie Brody, they were exhibited in April at the S.H. Ervin Gallery, Sydney.
478:, a moral code based on "ancestral heroes whose pioneering travels gave form, shape, and meaning to the land, seas, and skies in a long-ago creative era." These ceremonial marks are therefore more than basic visual designs. They are a "ritual re-enactment of the Ancestors' Dreamtime travelling (sic) which, in Aboriginal mythology, is synonymous with the creation of the world."
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I didn't want to continue with the hard work batik required – boiling the fabric over and over, lighting fires, and using up all the soap powder, over and over. That's why I gave up batik and changed over to canvas – it was easier. My eyesight deteriorated as I got older, and because of that I gave up batik on silk – it was better for me to just paint.
286:, for example, had been replaced by brushes, which often produced broader, more animated patterns on the fabric. The introduction of batik marked a new era for Aboriginal women in the Northern Territories. Up to that point, their role had been to assist male painters, with only a few women ever creating their own works.
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I did batik at first, and then after doing that I learned more and more and then I changed over to painting for good...Then it was canvas. I gave up on...fabric to avoid all the boiling to get the wax out. I got a bit lazy – I gave it up because it was too much hard work. I finally got sick of it ...
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In 1978, Kngwarreye and other prominent
Aboriginal artists founded the Utopia Women's Batik Group, comprising around 21 women. Initially a communal project, the program evolved into a framework where artists could develop their own individual styles. Kngwarreye's batik work shows elements that recur
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named Yipati and instructors
Suzanne Bryce, Jenny Green and Julia Murray. According to Bryce, Aboriginal women in the region wanted to learn handcrafts because they were especially suited for a traditional lifestyle. Bryce and Green had imported the medium of batik to the Northern Territories from
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The rise in market demand in the 1990s for works by
Indigenous artists spurred the growth of inexperienced, and, in some cases, fraudulent art dealers. Utopia became particularly attractive to outsiders seeking fast money through the acquisition of Indigenous art without understanding the culture
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Her method was to place large sections of canvas on the ground and sit on them cross-legged. She applied paint using a long brush to reach across and into the creation. In one account, a dealer explained the presence of dog prints within a specific painting as a natural part of her ground-level
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was alleged to have copied
Kngwarreye's style for his "Veil" series. The artist claimed to have had no prior knowledge of her work, even though observers from the Utopia community viewed the similarities as too close to have been a coincidence. According to Hirst, the series was rooted in
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In 1992, Kngwarreye began to join her dots to form lines, creating multicoloured parallel horizontal and vertical stripes that suggested rivers and desert terrain. She also began to use larger brushes during this period, which produced heavier, less intricate dots on the canvas.
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for the
Aboriginal people of the desert. She painted many works on this theme; often her first actions at the start of a painting were to put down the yam tracking lines. This plant was especially significant for her: her middle name, Kame, means the yellow
885:. The exhibition aims to overturn the western lens which saw her art as abstract and modern, and place it within ancient Aboriginal art practices, which look again and again at the landscape, flora and fauna, and ancestral stories of the traditional lands.
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In 1989, Delmore
Gallery on the Delmore Downs homestead adjacent to Utopia commissioned 1,500 works from Kngwarreye. Delmore Downs operators Donald and Janet Holt sold Kngwarreye's work to elite galleries in Australia and gifted works to institutions.
242:. She is particularly notable also for being a female artist, for having only started painting in her 70s, and for her prolificacy: over her eight years as an artist, she produced more than 3,000 paintings – around one per day.
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By the time
Kngwarreye was introduced to the technique, Aboriginal artists had adapted key parts of the process to suit their own preferences. The Indonesian technique of applying wax with a pen-like instrument called a
881:, community, and ancestral knowledge in Kngwarreye's artworks. In consultation with the artists family and elders in the community, 89 works were selected to show the link between Kngwarray's paintings and her Country,
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Kngwarreye's earlier works with
Delmore Gallery provenance tend to perform best at auction, but her late-period works with Rodney Gooch have also demonstrated significant market potential.
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that produced them. She was later documented saying that those who sought a quick profit from
Indigenous art were employing a "strategy of producing bad quality paintings for bad people."
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and featured a commissioned work by
Kngwarreye for the opening. The exhibition was the first major national touring retrospective for an Indigenous artist in Australia, travelling to the
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of Utopia Art Sydney represented Kngwarreye from 1988 until her death in 1996. from 1988 - 1991 through CAAMA Shop and following that directly through Rodney Gooch (Mulga Bore Artists)
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1252:. Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre (1st ed.). Melbourne, VIC: National Gallery of Victoria. pp. 155–156.
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493:, the school encouraged artists to develop their own ideas when painting on canvas. One familiar style was to overlap masses of tiny dots to create the optical effect of a
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Knight, Christopher. "AROUND THE GALLERIES; Sacred Beauty from 'Desert' Artists; Stunning Aboriginal Paintings at Gagosian Bring Summer Gallery Season to a Lively End."
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1806:. Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre (1st ed.). Melbourne: National Gallery of Victoria. p. 156.
211:. In June 1934 she moved to the MacDonald Downs Homestead, located approximately 100 km (62 mi) east of Alhalkere, to work in the house and muster cattle.
792:, presented "Remembering Forward: Painting by Australian Aborigines Since 1960". The show featured works by Kngwarreye and eight other Aboriginal artists, including
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During her life, and after her death, authors and journalists reported that many of the works purportedly painted by Kngwarreye were, in fact, fakes. In 1997, the
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people, Kngwarreye had for decades painted for ceremonial purposes in the Utopia region. She became known for her precise and detailed approach she worked with
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Paris organised the first solo exhibition of her paintings in France, in collaboration with D'Lan Contemporary, Melbourne. The title of the exhibition was
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508:, black and white. By 1990, she had expanded her palette to also include grey, purple, and brown, which amplified the atmospheric qualities of her work.
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describes her subject matter as the "essence" of that region, with references to flora, fauna and Dreamtime figures from her environment. These include:
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Kngwarreye began to paint on canvas in the summer of 1988, with a painting project initiated by CAAMA Shop in association with Utopia Art Sydney. Titled
238:. She created more than 3,000 acrylic paintings over the next eight years, and became one of the most prominent and successful artists in the history of
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349:. A gallerist of Indigenous art in Sydney once described the period as an energetic push to create: "With no other materials, she dipped her one-inch
2720:"Desert Painters of Australia Part II: With Works from the Collection of Steve Martin and Anne Stringfield, Beverly Hills, July 26–September 6, 2019"
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In the mid-1990s, she started working with thick stripes of acrylic paint on paper and canvas, which look abstract but are actually derived from
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Kngwarreye once described her transition to acrylic painting as a less labor-intensive process that better suited her advancing years:
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204:). Kngwarreye's great niece is the painter Jeannie Pwerle. Her brother's children are Gloria Pitjana Mills and Dolly Pitjana Mills.
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In the 1970s, Kngwarreye undertook a short adult education course which it included various creative practices, including such as
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In the final two weeks of her life, Kngwarreye asked her nephew Fred Torres for materials to produce a series known today as
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In 1993, Kngwarreye added patches of colour along with the dots, which created the effect of coloured rings. An example is
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which then sponsored a program to allow Utopia artists to paint for a period of time unhindered by commercial imperatives.
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Green, Jenny (2007). "Holding the country: art from Utopia and the Sandover". In Hetti Perkins; Margie West (eds.).
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brush into a pot of paint. Over the next few days Emily painted 24 canvases like nothing she had ever done before."
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The first public exhibition of Kngwarreye's silk batiks was in 1980, alongside works of Mona Byrne, an artist from
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135:. She was a founding member of the Utopia Women's Batik Group and is known for her precise and detailed works.
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Ghosh, Rumela (2022). "The Grammar of Visual Design through the Prism of Australian Aboriginal Paintings."
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On 23 May 2007, Tim Jennings of Mbantua Gallery & Cultural Museum purchased Kngwarreye's 1994 painting
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Utopia Art Sydney organised a major survey of Kngwarreye's career in March 2020. The exhibition was titled
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Beverly Hills in 2019 alongside works by ten other Indigenous artists, most from the Northern Territory.
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Works by Kngwarreye are rooted in marks painted on sand and the body during Anmatyere experiences within
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1492:"The NGA's major retrospective of Emily Kam Kngwarray re-writes her story and brings it back to Country"
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comprising 22 canvases, depicting her Country after flooding and regeneration, in a style similar to
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In January 2023, a major retrospective at the NGA, co-curated by Aboriginal curators Kelli Cole and
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in what she called her "dump dump" style, using very bright colours. That technique also appears in
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in the Utopia Homelands, an Aboriginal community located approximately 250 kilometres north-east of
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3040:"Emily Kame Kngwarreye painting sells for $ 1.6m, breaking record for an Australian female artist"
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3273:"Damien Hirst's latest spot paintings 'exactly like my people's story', says Australian artist."
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In 1992/3, Kngwarreye was awarded an Australian Artist's Creative Fellowship by prime minister
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2077:, edited by Lindsay Jones, 2nd ed., vol. 4, Macmillan Reference USA, 2005, pp. 2478-2482.
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2812:"Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022"
1724:"Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022"
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131:, Kngwarreye became one of the most prominent and successful artists in the history of
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1981:
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1073:"Art world split over NGA name change for one of Australia's greatest female painters"
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3216:"Entangled Values: Construction of a Global Conception of Australian Indigenous Arts"
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Smee, Sebastian. "Aboriginal artists find a surprising new champion: Steve Martin."
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By 1991 she was producing a range of work for a variety of galleries, including the
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Works by Kngwarreye stem from a deep connection her tribal homeland, Alhalkere. The
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Kngwarreye was part of the Utopia Women's Batik. In 1987 Rodney Gooch , manager of
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3513:, 1998 exhibition at Philip Bacon Galleries, review by Grafico Topico's Sue Smith
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method: "The dog walked across it," he said, "and she couldn't have cared less."
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communities. Prior to its opening in Canberra, the exhibit also traveled to the
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shop in Alice Springs was asked to represent them, and they did so until 1991.
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3292:"'Uncanny similarity': new Damien Hirst works in spot of bother in Australia"
2867:"'Uncanny similarity': new Damien Hirst works in spot of bother in Australia"
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840:. Also in early 2020, D'Lan Contemporary staged an exhibition of her work in
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held the first retrospective of Kngwarreye's work in 1998. It was curated by
501:. The influence of Desert Art also appears in her use of aerial perspective.
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suggested an organised "school" of painters had created works in her style.
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558:. The interwoven lines frequently reference the track lines of yams within
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Her early works of the late 1980s used traditional colours such as red and
2138:"Journeying Beyond Western Time in Contemporary Aboriginal Australian Art"
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Women hold up half the sky: The orientation of art in the post-war Pacific
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International Journal of Latest Research in Humanities and Social Science
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The Dealer is the Devil: An Insiders History of the Aboriginal Art Trade
1673:"A story in wax: When batik connects Indonesia and indigenous Australia"
1648:"A story in wax: When batik connects Indonesia and indigenous Australia"
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Grishin, Sasha (15 April 2000). "Aboriginal art makes it to the top".
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Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
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Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait
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2961:"Top 10 Most Collectable Contemporary Australian Indigenous Artists"
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1364:. Australian Broadcasting Corporation. 26 July 2009. Archived from
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2253:"At the gallery: Kngwarreye connects the dots to her own Dreaming"
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and the DACOU Aboriginal Gallery - Dreaming Art Centre of Utopia,
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265:. In 1977, she began to learn batik under the early guidance of a
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2838:"Emily Kam Kngwarray: Major Exhibition, 2 Dec 2023 – 28 Apr 2024"
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962:. The sale set a record for an Australian female artist. In 2017
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Across the desert : Aboriginal batik from central Australia
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Across the desert : Aboriginal batik from central Australia
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Emily Kame Kngwarreye, also spelt Emily Kam Kngwarray, was born
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1926:"Explore the work of Australian artist, Emily Kame Kngwarreye"
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2530:"reCollections - Utopia: The Genius of Emily Kame Kngwarreye"
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http://www.ijlrhss.com/paper/volume-5-issue-1/12-HSS-1239.pdf
1776:"Utopia Women's Batik Group, Northern Territory, 1970s-1980s"
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List of Indigenous Australian art movements and cooperatives
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Isaacs, J., Smith, T., Ryan, J., Holt, D., Holt, J. (1998),
298:), emus, goannas, and other flora and fauna of her Country.
3066:"Emily Kame Kngwarreye painting sells for $ 2.1m in Sydney"
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For many years, her varied style attracted labels from the
497:, which appears in works by Kngwarreye as well as those of
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National Aboriginal & Torres Strait Islander Art Award
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Across the Desert: Aboriginal Batik from Central Australia
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McCulloch's contemporary Aboriginal art the complete guide
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was held in 2008. Also curated by Neale, it opened at the
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Remote avant-garde : aboriginal art under occupation
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at a Cooee Art Gallery auction, breaking its own record.
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Earth's Creation: The Paintings of Emily Kame Kngwarreye
1448:"21 Indigenous Australian artists you should know about"
3426:, Craftsman House, Smith, T. (Ed.). North Ryde, Sydney.
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2000 Winter Auction were sold for a combined amount of
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Painting Culture: The Making of an Aboriginal High Art
1178:"Utopia: Emily Kame Kngwarreye - My Mothers Country I"
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Kngwarreye's work was included in the 2021 exhibition
3466:, Malakoff Fine Art Press, North Caulfield, Victoria.
3095:"'Untitled (Alhalkere)', Emily Kame Kngwarreye, 1989"
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The Art Newspaper - International art news and events
2746:"Emily Kame Kngwarreye by Utopia Art Sydney - Issuu"
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for 11 years until 1988, when she was introduced to
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Kngwarreye died in Alice Springs in September 1996.
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Emily Kam Ngwarray, Kngwarreye, Emily Kame Kngarreye
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2480:Ryan, Judith; Healy, Robyn; Bennett, James (1998).
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Aboriginal Art in Modern Worlds: World of Dreamings
485:were important parts of the Desert Art Movement at
338:In 1995, in the last year of her life, she painted
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2452:"Indigenous art for Venice a self-defining choice"
162:and painted in a special livery based on her work
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2201:"Johnny Warangkula Tjupurrula - Artist Biography"
1963:"'Outsider' releases Indigenous art to auction."
730:, consisting of works by Kngwarreye, Nym Bandak,
442:that resemble beans, was an important source of
3459:, National Museum of Australia Press, Canberra.
3417:Emily Kame Kngwarreye: Paintings from 1989–1995
320:Central Australian Aboriginal Media Association
3452:, Macmillan Publishers, South Yarra, Victoria.
2769:Loos, Ted. "Ancient Traditions Reimagined: ."
726:From June to November 2000, the NGA presented
661:Her work was included in a 1996 exhibition at
245:She lived and worked at various places in the
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3325:One Sun One Moon: Aboriginal Art in Australia
3013:"$ 1.05m painting of 'the lot' breaks record"
1872:"Lot 41: Emily Kame Kngwarreye, Awelye, 1989"
1699:"History of Utopia Art Movement - Early Days"
674:Kngwarreye represented Australia at the 1997
651:and the Alice Springs Craft Council in 1983.
8:
3450:Emily Kame Kngwarreye: Paintings from Utopia
2773:Late Edition (East Coast) ed., Mar 13 2020,
2112:"The History of the Aboriginal Art Movement"
1928:. Potter Museum of Art, Melbourne University
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767:Utopia: The Genius of Emily Kame Kngwarreye,
470:, painted about five months before her death
3457:Utopia: The Genius of Emily Kame Kngwarreye
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2484:. Melbourne: National Gallery of Victoria.
2398:"Emily Kame Kngwarreye | utopia art sydney"
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3430:McDonald, Gay; Fisher, Laura (June 2015).
3389:magazine, issue 2, October – December 1997
3186:Coslovich, Gabriella (20 September 2003).
2279:"Kwementyay Kngwarreye's Big yam Dreaming"
612:were chosen to represent Australia at the
192:and the aunt of Pwerle's daughter, artist
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3157:"'Untitled', Emily Kame Kngwarreye, 1990"
410:(a favourite food of emus, a small plant)
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3126:"'Endunga', Emily Kame Kngwarreye, 1990"
2426:"Australian Centre for Contemporary Art"
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689:In 1998, her batiks were on view at the
647:Exhibition, followed by showings at the
69:3 September 1996 (aged 85–86)
27:Aboriginal Australian artist (1910–1996)
3473:, National Gallery of Australia, Parkes
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2060:Butler, Rex. "The impossible painter."
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658:was held in 1990 at Utopia Art Sydney.
3587:Contemporary Indigenous Australian art
870:. It ran from 21 January to 26 March.
784:From November 2010 to March 2011, the
290:in her later paintings, including the
101:contemporary indigenous Australian art
4058:20th-century Australian women artists
3188:"Aboriginal works and artful dodgers"
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2347:"Artists Info - Emily Kame Kngwarrey"
2251:Hammond, Bradley (23 February 2017).
2004:
2002:
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1751:"Know My Name: Emily Kame Kngwarreye"
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7:
3648:Pukatja (Ernabella), South Australia
3395:"Watching the price of spirituality"
2985:Coslovich, Gabriella (8 July 2020).
2896:Newstead, Adrian (1 February 2014).
2599:National Museum of Women in the Arts
1544:. Phaidon Press. 2019. p. 218.
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577:, placing them in the traditions of
363:Museum of Contemporary Art Australia
127:. After only starting painting as a
115:) (1910 – 3 September 1996) was an
4043:Artists from the Northern Territory
3393:Coster, Peter (18 September 2009).
3240:Myers, Fred R. (16 December 2002).
2450:Mendelssohn, Joanna (17 May 1997).
2372:"Emily Kngwarreye Biography and CV"
1982:"Untitled (Awelye) | MCA Australia"
1907:"Aboriginal art worthy of regard."
1569:"Emily Kngwarreye Biography and CV"
1388:"Emily Kngwarreye Biography and CV"
552:painted on Anmatyerr women's bodies
2987:"Artworks beat Melbourne lockdown"
2865:Wahlquist, Calla (29 March 2018).
1412:Biddle, Jennifer Loureide (2016).
1282:"Minnie Pwerle Archives - Art Mob"
868:Emily: Desert Painter of Australia
25:
3623:Alice Springs, Northern Territory
3519:Portrait of Emily Kame Kngwarreye
2555:"Aboriginal Art in Modern Worlds"
2136:Dunne, Carey (6 September 2016).
1071:Burke, Kelly (22 December 2023).
933:Eight paintings by Kngwarreye in
844:at the High Line Nine gallery in
451:and the seeds of the pencil yam.
4053:20th-century Australian painters
3633:Haasts Bluff, Northern Territory
2932:"New York Exhibition Highlights"
2509:"Emily Kame Kngwarreye – Pwerle"
2329:"Victorian Honour Roll of Women"
2098:(1): 77. Accessed 28 June 2022.
1490:Fuss, Eloise (26 January 2024).
627:Exhibitions and gallery holdings
3799:Susie Bootja Bootja Napaltjarri
3432:"Emily KameKngwarreye in Japan"
2079:Gale In Context: World History.
912:Aboriginal Gallery of Dreamings
347:My Country - Final Series, 1996
226:and ancestral custodian of the
3935:Long Jack Phillipus Tjakamarra
3497:Art Gallery of New South Wales
3331:Art Gallery of New South Wales
2073:Bell, Diane. "Dreaming, The."
1623:"Aboriginal Dreamings Gallery"
889:Representation and commissions
775:The National Art Center, Tokyo
713:Art Gallery of New South Wales
621:Victorian Honour Roll of Women
207:Kngwarreye grew up working on
198:assimilate mixed-race children
1:
4038:Australian Aboriginal artists
2843:National Gallery of Australia
2559:National Gallery of Australia
1755:National Gallery of Australia
1208:. McCulloch & McCulloch.
771:National Museum of Art, Osaka
717:National Gallery of Australia
438:with heart-shaped leaves and
170:
3960:Clifford Possum Tjapaltjarri
3658:Yuendumu, Northern Territory
3506:National Museum of Australia
3419:, Parliament House, Canberra
3354:National Gallery of Victoria
2902:. Brandl & Schlesinger.
2308:National Museum of Australia
2283:National Gallery of Victoria
2277:Ryan, Judith (27 May 2014).
1780:Museums Victoria Collections
779:National Museum of Australia
691:National Gallery of Victoria
499:Johnny Warangkula Tjupurrula
4068:20th-century women painters
3955:Billy Stockman Tjapaltjarri
3945:Yala Yala Gibbs Tjungurrayi
3643:Papunya, Northern Territory
3638:Kintore, Northern Territory
3504:, various resources at the
3279:Gale In Context: Biography.
3214:Le Roux, Geraldine (2014).
3011:Bibby, Paul (24 May 2007).
2991:Australian Financial Review
2618:"What's on Around Europe."
1952:Gale In Context: Biography.
1841:. Heytesbury Holdings Ltd.
645:Brisbane Commonwealth Games
481:Visual elements related to
4084:
3965:Mick Namarari Tjapaltjarri
3653:Utopia, Northern Territory
3424:Emily Kngwarreye Paintings
2402:www.utopiaartsydney.com.au
1913:Gale In Context: Biography
773:, Japan, before moving to
765:Her second retrospective,
697:, in an exhibition titled
619:She was inducted into the
4063:People from Alice Springs
4048:Australian women painters
3970:Timmy Payungka Tjapangati
3819:Valerie Lynch Napaltjarri
3769:Ngoia Pollard Napaltjarri
3759:Molly Jugadai Napaltjarri
3749:Linda Syddick Napaltjarri
3729:Daisy Jugadai Napaltjarri
3582:Araluen Cultural Precinct
3527:National Portrait Gallery
3246:. Duke University Press.
3018:The Sydney Morning Herald
2168:Australian art: a history
1835:Brody, Annemarie (1990).
1418:. Duke University Press.
1202:McCulloch, Susan (2009).
1113:Australian art: a history
1047:Indigenous Australian art
663:Monash University Gallery
357:Subject matter and themes
240:Indigenous Australian art
133:Indigenous Australian art
41:
3950:Turkey Tolson Tjupurrula
3925:Paddy Japaljarri Stewart
3884:Ruby Tjangawa Williamson
3814:Topsy Gibson Napaltjarri
3789:Peggy Rockman Napaljarri
3744:Kitty Pultara Napaljarri
3724:Biddy Rockman Napaljarri
3628:Balgo, Western Australia
3386:Australian Art Collector
2534:recollections.nma.gov.au
2351:Aboriginal Art Galleries
2075:Encyclopedia of Religion
2062:Australian Art Collector
1915:. Accessed 21 June 2022.
1911:, 24 Sept. 2013, p. 55.
1011:In 2018, British artist
649:Adelaide Festival Centre
641:Adelaide Festival Centre
637:Floating Forests of Silk
519:, which was made with a
3794:Sheila Brown Napaljarri
3779:Norah Nelson Napaljarri
3764:Mona Rockman Napaljarri
3739:Helen Nelson Napaljarri
3689:Lucy Napaljarri Kennedy
3679:Josepha Petrick Kemarre
3469:Cole, K., eds. (2023),
2595:"Emily Kame Kngwarreye"
2304:"Emily Kame Kngwarreye"
2227:"Emily Kame Kngwarreye"
2205:www.kateowengallery.com
2165:Grishin, Sasha (2015).
2036:"Emily Kame Kngwarreye"
2010:"Emily Kame Kngwarreye"
1967:, 20 Oct. 2020, p. 29.
1909:London Evening Standard
1838:Utopia: a picture story
1627:www.aboriginaldream.com
1517:"Emily Kame Kngwarreye"
1356:"Emily in Japan Part 1"
1310:"Barbara Weir – Pwerle"
1182:www.aboriginaldream.com
1151:"Emily Kame Kngwarreye"
1110:Grishin, Sasha (2015).
1005:Northern Territory News
382:(mountain devil lizard)
3869:Maggie Napaljarri Ross
3699:Barbara Mbitjana Moore
3380:The Impossible Painter
2081:Accessed 26 June 2022.
1971:Accessed 22 June 2022.
1969:Gale Academic OneFile.
1954:Accessed 21 June 2022.
1697:Gallery, Utopia Lane.
1593:University, La Trobe.
1331:"Jeannie Mills Pwerle"
929:Sales and exploitation
705:Queensland Art Gallery
589:Recognition and awards
471:
332:
166:
155:Dreamliner VH-ZND, is
3774:Nora Andy Napaltjarri
3709:Doreen Reid Nakamarra
3694:Emily Kame Kngwarreye
3511:Emily Kame Kngwarreye
3348:Ryan, Judith (2008).
3281:Accessed 29 May 2022.
2667:Victorian Collections
2257:Central Western Daily
1800:Ryan, Judith (2009).
1246:Ryan, Judith (2009).
829:(1996) were shown at
819:Wild Yam and Emu Food
604:In 1993, Kngwarreye,
583:connection to Country
462:
327:
160:Emily Kame Kngwarreye
146:
117:Aboriginal Australian
109:Emily Kame Kngwarreye
36:Emily Kame Kngwarreye
3975:Yannima Tommy Watson
3824:Wintjiya Napaltjarri
3809:Tjunkiya Napaltjarri
3804:Takariya Napaltjarri
3719:Ada Andy Napaltjarri
3377:Butler, Rex (1997),
2788:Women in abstraction
1870:McLean, Ian (2022).
1749:Cole, Kelli (2020).
985:Untitled (Alhalkere)
877:, puts its focus on
853:Women in Abstraction
813:Cheltenham, Victoria
3930:Anatjari Tjakamarra
3592:Hermannsburg School
3471:Emily Kam Kngwarray
3462:Thomas, D. (1988),
2777:Web. 17 June 2022 .
2709:Web. 17 June 2022 .
2626:Web. 18 June 2022 .
2620:Wall Street Journal
2461:. pp. ARTS, 11
1703:Utopia Lane Gallery
1542:Great Women Artists
746:, and artists from
715:, the NGV, and the
654:Kngwarreye's first
533:The Alhalkere Suite
340:Anwerlarr anganenty
113:Emily Kam Kngwarray
3940:Kaapa Tjampitjinpa
3834:Dorothy Napangardi
3829:Makinti Napanangka
3784:Parara Napaltjarri
3734:Eileen Napaltjarri
3616:Significant places
3493:Emily Kam Ngwarray
3455:Neale, M. (2008),
3448:Neale, M. (1998),
3167:on 2 November 2023
3136:on 1 November 2023
3105:on 2 November 2023
3074:. 17 November 2017
3046:. 17 November 2017
2965:D'Lan Contemporary
2936:D'Lan Contemporary
2818:. 19 December 2021
2703:Los Angeles Times,
2663:"The Emily Museum"
2637:"The Emily Museum"
2581:The Canberra Times
2014:The Women's Studio
1730:. 19 December 2021
1599:www.latrobe.edu.au
1026:Post-Impressionism
965:Earth's Creation I
955:Earth's Creation I
901:Christopher Hodges
802:Dorothy Napangardi
777:, and then to the
535:(1993) was a huge
525:My Mothers Country
472:
202:Stolen Generations
167:
125:Northern Territory
77:Northern Territory
4015:
4014:
3854:Kathleen Petyarre
3754:Louisa Napaljarri
3415:Hart, D. (1995),
3363:978-0-7241-0299-0
3340:978-0-7347-6360-0
2959:Davidson, D'Lan.
2930:Davidson, D'Lan.
2846:. 2 December 2023
2378:. 8 February 2021
2178:978-0-522-86936-1
2116:Kate Owen Gallery
1813:978-0-7241-0299-0
1425:978-0-8223-6055-1
1368:on 14 August 2009
1259:978-0-7241-0299-0
1215:978-0-9804494-2-6
1123:978-0-522-86936-1
945:(1989) going for
680:Yvonne Koolmatrie
639:premiered at the
635:. The next year,
606:Yvonne Koolmatrie
599:Australia Council
541:Expressionist art
517:Alaqura Profusion
394:(a Dreamtime pup)
318:, manager of the
106:
105:
16:(Redirected from
4075:
3992:Earth's Creation
3910:Albert Namatjira
3844:Naata Nungurrayi
3839:Pansy Napangardi
3714:Narputta Nangala
3556:
3549:
3542:
3533:
3502:Emily Kngwarreye
3484:Emily Kngwarreye
3445:
3412:
3410:
3408:
3367:
3344:
3328:
3308:
3307:
3305:
3303:
3288:
3282:
3277:, 29 Mar. 2018.
3275:Telegraph Online
3271:
3265:
3264:
3262:
3260:
3237:
3228:
3227:
3211:
3205:
3204:
3202:
3200:
3183:
3177:
3176:
3174:
3172:
3163:. Archived from
3152:
3146:
3145:
3143:
3141:
3132:. Archived from
3121:
3115:
3114:
3112:
3110:
3101:. Archived from
3090:
3084:
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3081:
3079:
3062:
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2710:
2699:
2693:
2687:The Emily Museum
2684:
2678:
2677:
2675:
2673:
2659:
2653:
2652:
2650:
2648:
2639:. Archived from
2633:
2627:
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2239:
2237:
2225:Caruana, Wally.
2222:
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2153:
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2006:
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1694:
1688:
1687:
1685:
1683:
1677:The Jakarta Post
1669:
1663:
1662:
1660:
1658:
1652:The Jakarta Post
1644:
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1136:
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1107:
1096:
1095:
1093:
1091:
1068:
1030:Bronwyn Bancroft
971:
961:
948:
940:
809:The Emily Museum
798:Queenie McKenzie
790:Cologne, Germany
760:Saint Petersburg
756:Hermitage Museum
308:A Summer Project
302:Acrylic painting
172:
121:Utopia community
119:artist from the
85:Other names
61:
59:
46:
32:
21:
18:Emily Kngwarreye
4083:
4082:
4078:
4077:
4076:
4074:
4073:
4072:
4018:
4017:
4016:
4011:
3979:
3920:Wenten Rubuntja
3893:
3874:Margaret Scobie
3849:Gloria Petyarre
3674:Wawiriya Burton
3662:
3611:
3570:
3560:
3480:
3429:
3406:
3404:
3392:
3374:
3372:Further reading
3364:
3347:
3341:
3320:
3317:
3312:
3311:
3301:
3299:
3298:. 29 March 2018
3290:
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2798:
2786:
2785:
2781:
2771:New York Times,
2768:
2764:
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2752:
2744:
2743:
2739:
2729:
2727:
2718:
2717:
2713:
2700:
2696:
2685:
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2671:
2669:
2661:
2660:
2656:
2646:
2644:
2643:on 24 July 2018
2635:
2634:
2630:
2622:, Nov 18 2010,
2617:
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2601:
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2432:
2424:
2423:
2416:
2406:
2404:
2396:
2395:
2391:
2381:
2379:
2376:Delmore Gallery
2370:
2369:
2365:
2355:
2353:
2345:Preston, Katy.
2344:
2343:
2339:
2331:
2327:
2326:
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2199:
2198:
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2179:
2171:. p. 456.
2164:
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2146:
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2135:
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2110:
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2068:
2059:
2055:
2045:
2043:
2034:
2033:
2029:
2019:
2017:
2016:. 30 April 2018
2008:
2007:
2000:
1990:
1988:
1980:
1979:
1975:
1962:
1958:
1950:, 16 May 2019.
1948:Washington Post
1945:
1941:
1931:
1929:
1924:
1923:
1919:
1906:
1902:
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1646:
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1621:
1620:
1613:
1603:
1601:
1595:"Suzanne Bryce"
1592:
1591:
1587:
1577:
1575:
1573:Delmore Gallery
1567:
1566:
1559:
1552:
1540:
1539:
1535:
1525:
1523:
1515:
1514:
1510:
1500:
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1489:
1488:
1461:
1453:Vogue Australia
1446:
1445:
1441:
1426:
1411:
1410:
1406:
1396:
1394:
1392:Delmore Gallery
1386:
1385:
1381:
1371:
1369:
1354:
1353:
1349:
1339:
1337:
1335:Mbantua Gallery
1329:
1328:
1324:
1314:
1312:
1308:
1307:
1300:
1290:
1288:
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1279:
1275:
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1186:
1184:
1176:
1175:
1171:
1161:
1159:
1149:
1148:
1139:
1124:
1116:. p. 455.
1109:
1108:
1099:
1089:
1087:
1070:
1069:
1065:
1060:
1055:
1038:
969:
968:sold again for
959:
958:at auction for
946:
938:
931:
891:
857:Centre Pompidou
823:Kame Yam Awelye
736:John Mawurndjul
676:Venice Biennale
656:solo exhibition
629:
614:Venice Biennale
591:
457:
359:
304:
255:
220:
209:cattle stations
184:Her family was
141:
139:Life and family
80:
70:
57:
55:
37:
28:
23:
22:
15:
12:
11:
5:
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3987:
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3977:
3972:
3967:
3962:
3957:
3952:
3947:
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3937:
3932:
3927:
3922:
3917:
3915:Tiger Palpatja
3912:
3907:
3901:
3899:
3895:
3894:
3892:
3891:
3886:
3881:
3876:
3871:
3866:
3861:
3859:Nancy Petyarre
3856:
3851:
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3816:
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3801:
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3691:
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3681:
3676:
3670:
3668:
3667:Artists: women
3664:
3663:
3661:
3660:
3655:
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68:
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33:
30:
19:
4004:
3997:
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3898:Artists: men
3879:Barbara Weir
3693:
3607:Papunya Tula
3575:Institutions
3470:
3463:
3456:
3449:
3441:
3435:
3423:
3416:
3405:. Retrieved
3398:
3384:
3378:
3349:
3324:
3300:. Retrieved
3296:the Guardian
3295:
3286:
3278:
3274:
3269:
3257:. Retrieved
3242:
3223:
3219:
3209:
3197:. Retrieved
3191:
3181:
3169:. Retrieved
3165:the original
3160:
3150:
3138:. Retrieved
3134:the original
3129:
3119:
3107:. Retrieved
3103:the original
3098:
3088:
3078:10 September
3076:. Retrieved
3071:The Guardian
3069:
3060:
3048:. Retrieved
3043:
3034:
3022:. Retrieved
3016:
3006:
2994:. Retrieved
2990:
2980:
2968:. Retrieved
2964:
2939:. Retrieved
2935:
2925:
2913:. Retrieved
2898:
2876:. Retrieved
2872:The Guardian
2870:
2860:
2848:. Retrieved
2841:
2832:
2820:. Retrieved
2815:
2806:
2787:
2782:
2774:
2770:
2765:
2753:. Retrieved
2749:
2740:
2728:. Retrieved
2723:
2714:
2706:
2702:
2697:
2682:
2670:. Retrieved
2666:
2657:
2645:. Retrieved
2641:the original
2631:
2623:
2619:
2614:
2602:. Retrieved
2598:
2589:
2580:
2574:
2562:. Retrieved
2558:
2549:
2537:. Retrieved
2533:
2524:
2512:. Retrieved
2481:
2475:
2463:. Retrieved
2458:
2445:
2433:. Retrieved
2429:
2405:. Retrieved
2401:
2392:
2380:. Retrieved
2375:
2366:
2354:. Retrieved
2350:
2340:
2323:
2311:. Retrieved
2307:
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2282:
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2234:. Retrieved
2230:
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2204:
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2167:
2145:. Retrieved
2141:
2131:
2119:. Retrieved
2115:
2106:
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2086:
2078:
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2056:
2044:. Retrieved
2039:
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2018:. Retrieved
2013:
1989:. Retrieved
1985:
1976:
1968:
1964:
1959:
1951:
1947:
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1930:. Retrieved
1920:
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1891:
1879:. Retrieved
1875:
1865:
1837:
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1783:. Retrieved
1779:
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1732:. Retrieved
1727:
1718:
1706:. Retrieved
1702:
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1680:. Retrieved
1676:
1667:
1655:. Retrieved
1651:
1642:
1630:. Retrieved
1626:
1602:. Retrieved
1598:
1588:
1576:. Retrieved
1572:
1541:
1536:
1524:. Retrieved
1520:
1511:
1499:. Retrieved
1495:
1451:
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1407:
1395:. Retrieved
1391:
1382:
1370:. Retrieved
1366:the original
1359:
1350:
1338:. Retrieved
1334:
1325:
1313:. Retrieved
1289:. Retrieved
1285:
1276:
1248:
1204:
1197:
1185:. Retrieved
1181:
1172:
1162:25 September
1160:. Retrieved
1154:
1112:
1088:. Retrieved
1077:The Guardian
1076:
1066:
1013:Damien Hirst
1010:
1003:
1001:
997:
992:
991:(1990), and
988:
984:
977:Tate Gallery
975:In 2019 the
974:
970:A$ 2,100,000
963:
960:A$ 1,056,000
953:
951:
942:
932:
924:
909:
905:
899:
892:
872:
867:
861:
852:
850:
837:
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825:(1996), and
822:
818:
817:
806:
783:
781:, Canberra.
766:
764:
732:Rover Thomas
727:
725:
703:
698:
688:
673:
666:
660:
653:
636:
633:Hermannsberg
630:
618:
603:
595:Paul Keating
592:
564:
547:
545:
537:installation
532:
528:
524:
516:
514:
510:
506:yellow ochre
503:
495:heat shimmer
487:Papunya Tula
483:The Dreaming
480:
476:The Dreaming
473:
467:
463:
431:
425:
419:
416:(green bean)
413:
407:
397:
391:
388:(grass seed)
385:
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346:
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339:
337:
333:
328:
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316:Rodney Gooch
307:
305:
291:
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269:artist from
256:
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221:
218:Art practice
213:
206:
194:Barbara Weir
183:
181:(Mparntwe).
168:
164:Yam Dreaming
163:
159:
153:Boeing 787-9
112:
111:(also spelt
108:
107:
29:
4033:1996 deaths
4028:1910 births
4006:Warlugulong
3984:Major works
3523:Jenny Sages
3444:(2): 48–51.
3403:. Melbourne
3199:28 November
3050:16 February
2672:16 February
2604:26 December
2514:16 February
2356:16 February
2313:26 December
2288:16 February
2262:16 February
2020:16 February
1018:Pointillism
748:Ramingining
740:Fiona Foley
709:Margo Neale
684:Judy Watson
610:Judy Watson
579:Western art
575:abstraction
529:Emu Country
79:, Australia
4022:Categories
3400:Herald Sun
3329:. Sydney:
3259:22 January
3253:0822329492
2996:22 January
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