a
A W e s fa r m e r s e x h i b i t i o n i n a s s o c i a t i o n w i t h t h e A r t G a l l e ry o f W e s t e r n A u s t r a l i a a n d F r e m a n t l e P r e s s
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FOREWORD
RICHARD GOYDer
For more than three decades Wesfarmers has been collecting Australian art. From General Manager John Bennison’s first acquisition in 1977 of a pastoral scene by Elioth Gruner, our purpose was to accentuate the value of art in the workplace and encourage an understanding of the importance to society of supporting creative thinking and artistic vision. That the growing collection has enhanced our corporate working environment and proved to be a valuable investment is a tribute to the foresight of Bennison and his successors as chief executive, Trevor Eastwood and Michael Chaney. From the start, the company has been committed to sharing its collection with the community through exhibitions and loans and by opening our workplaces for groups to view the art in our offices. This is the first time we have showcased the contemporary art in the collection, and the works selected for Luminous World: Contemporary Art from the Wesfarmers Collection by our curator Helen Carroll illustrate some of the ways in which the collection has grown in recent years. For instance, the inclusion of art from New Zealand, where Wesfarmers now has a significant business presence, and the heightened emphasis on representing the great diversity of contemporary Indigenous art. I thank Bill Henson and Richard Mills for allowing us to see through the eyes of the artist and musician to glimpse something of what it means to create a work of art, and John Kinsella for creating a body of work in response to works in the collection. These are gifts from one artist to another and open an artistic dialogue we can all share in. I thank the Art Gallery of Western Australia, and its Director Dr Stefano Carboni, for working with Wesfarmers to present the exhibition to the Western Australian community and to the wider Australian public through the exhibition’s national tour. Above all, I thank the artists whose resonant and timeless works form part of Australia’s rich cultural heritage. We hope that the community will enjoy these works and marvel at the ingenuity and vision of the artists represented, as we at Wesfarmers do, surrounded by inspirational art in our daily working lives. Richard Goyder Managing Director, Wesfarmers Limited
Wakartu Cory Surprise Mukurrutu 2007 (detail) Previous pages: Stieg Persson Offret 1998 (detail) 7
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CONTENTS
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12
PREFACE
One of the first works of art encountered by the visitor to Wesfarmers’ head office in Perth is a photograph from Bill Henson’s Paris Opera project –a close-up image of a young girl’s face illuminated against a black void that suggests the darkened auditorium of a theatre. A road-sign construction by Rosalie Gascoigne and a stand of hollow log poles from Arnhem Land are displayed nearby. Sharing the space with works produced as recently as 2010 are paintings that date from the first years of European settlement in Australia, including one of the earliest views of Sydney painted by the convict artist John Eyre circa 1805. Surrounded by art from Australia and New Zealand, employees at Wesfarmers work in an environment where the collection is a focus for lively discussion and where colleagues, family and community groups participate in regular talks with artists and curators. Wesfarmers has collected art for more than three decades and the focus has remained consistent: works must serve as a sound investment and be accessible to the community through an active loan and exhibition program. While the collection is most readily associated with its important holdings of historical and early modern landscapes, equally stimulating, though perhaps less well known, is its rich and diverse holdings of contemporary art. This exhibition gathers together a selection of contemporary paintings, photographs and works of sculpture collected in recent decades and displayed to reflect something of the informality in which the art ‘lives’ within the company’s offices. Rather than following a chronological or stylistically ordered presentation, the exhibition reveals more of a loosely intuitive flow –much as the works do through the offices and public spaces at Wesfarmers, or as a personal collection might be displayed at home. Our emphasis has been on drawing out interconnections across the diversity of the work as well as highlighting directions in which the collection has evolved, particularly in response to the flourishing of Indigenous art as one of Australia’s most important contributions to contemporary world culture in recent decades. This is the third exhibition presented by Wesfarmers in collaboration with the Art Gallery of Western Australia and the first time the contemporary collection has been shared with the Australian public.
Wesfarmers House 2012
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14
INTRODUCTION
Helen Carroll
An intangible medium that permeates and defines all that is visible, light is the primary phenomenon through which we experience the surroundings of our earth and the wider continuum of space. The visual world is defined by light: everything we see is processed by the eye as patterns of brightness and colour. Monumental formations in the landscape as well as the most subtle nuances of atmosphere and weather are made real to us by the action of light, transmitted in wavelengths as an infinitely varied register of colours. These combine within the eye to shape our sense of space and form. It is the action of light –reflecting off, refracting through and being absorbed by the material substance of the world –that enables the eye to perceive contours, hues and textures and mark the passing of time from day to night and season to season. Human beings have observed the behaviour of light and its connection to life on earth throughout history. The astronomical knowledge gathered by our continent’s first inhabitants gave rise to the development of seasonal calendars and navigational systems that remain in use today and continue to underpin Indigenous understandings of the relationship between people, nature and the wider cosmos. Our scientific understandings about light and its relationship to vision likewise trace their origins to accounts of optical phenomena recorded in antiquity. The earliest documented experiments with light and refraction are found in Euclid’s observations of rainbows, and the trajectory of investigation into the optical experience continues across astronomy, physics and art to the present day. In an imaginative sense, how we think about light is in part shaped by our experience of its antithesis –the dark. Human beings have always been attracted to darkness, both material and psychological. The speculative capacity of the subconscious comes to the fore in our responses to physical darkness: we can experience fear of the unknown, imagine what might exist beyond the limits of sensory perception and invoke the otherworldly through ritual or dream. At night we can be more acutely attuned to the senses –and we can clearly see the stars. Obscuring the terrestrial details that flood the eye in daylight, the night opens up to us, in a real way and imaginatively, with a sky that is familiar, but also profoundly mysterious.
Siné MacPherson Lexical spectrum COPD The Canadian Oxford Paperback Dictionary 2002 (detail) 15
INTRODUCTION
A wonder of the universe offers a starting point for a number of works in this exhibition that explore humanity’s interaction with the stars, both from the perspective of myth and cosmology and in the context of a poetic response to the enigma of space. Both approaches converge in the work of Tiwi Islands artist Timothy Cook, whose Kulama paintings resonate with a sense of the cosmos as sacred in essence. One of two ceremonies central to Tiwi life (the other is the
conceptual source for their work and esoteric
Pukumani mortuary rites), the Kulama (yam)
meaning is embedded in each artist’s treatment
ceremony is enacted annually towards the end
of traditional materials and rarrk (crosshatching)
of the wet season in accord with specific phases
designs. Yet each responds with fresh vision
of the moon. Boys are initiated into manhood
to the aesthetic possibilities of established
and children receive their adult Tiwi names over
the shutter to focus on a specific segment of
techniques and ideas, creating paintings alive
three days and nights of ritual body decoration,
sky for several hours, then closing it to refocus
with light and visual complexity. All make
singing, dancing and feasting on roasted yam.
his lens on a slightly different field of vision. The
extensive use of white ochre, reflecting a subtle
resulting overlay of exposures creates arcs of light
shift from the more traditional red ochre–
that intersect at different trajectories across the
dominated palette to one in which white ochre
surface of his prints. The effect is one of whole
is emerging as a new aesthetic force in a more
fields of stars wheeling at speed through space,
conceptually and visually abstracted approach to
suggesting something of the form and structure
art-making across the Northern Territory. As used
of entire galaxies. Stephenson’s engagement with
on an expansive scale by many leading figures,
light is both factual and abstract. An accurate
including Yirrkala’s Nyapanyapa and Barrupu
record of celestial events, as well as an expressive
Yunupingu, white ochre, with its intrinsic qualities
drawing with light, his images are alive with
of optical brilliance, now occupies a place at the
the detail of stars whose radiance may have
foreground of Arnhem Land painting.
Cook explores the symbolism of the Kulama ceremony with a resolutely contemporary and personal visual language. In expansive compositions that sit both conceptually and aesthetically between representation and abstraction, he situates the traditional Kulama motif of concentric circles within the context of a deep space brilliant with stars. The effect is one of an unfolding elliptical cosmos cycling through the continuum of time. Certainly, a sense that the universe is shaped by the movement of celestial bodies over vast distances resonates in the photography of David Stephenson, whose Star drawings, produced from images taken of the night skies over the Central Australian Desert, are a poetic response to the immensity and spectacle of deep space. Stephenson uses long, multiple and periodic exposures to craft his Star drawings, opening
taken anywhere from decades to hundreds of thousands of years to reach our eyes. Through them Stephenson is striving, in his own words, for ‘a contemporary expression of the sublime – a transcendental experience of awe with the vast space and time of existence.’1 With daylight, the brilliance of all but one star recedes from vision, and the spectacle of night gives way to the optical variety presented by the sun. The visual rhythms of light on water exert a subtle influence in the work of John Mawurndjul, Ivan Namirrkki and Owen Yalandja, each of whom lives around the coastal and inland waterways of West Arnhem Land in the Northern Territory. The union of nature and the spirit realm, as conceived in Kuninjku culture, provides the
Timothy Cook Kulama 2010 (detail) 16
INTRODUCTION
The work of these Arnhem Land artists highlights for us that the artistic response to light and atmosphere entails an exploration of ephemerality itself. Rosalie Gascoigne works with the inherent fluorescence of discarded retro-reflective road-signs to embody the volatile combustive energy of fire. Gretchen Albrecht stains raw canvas in washes of incandescent colour, poured, dripped and pooled across the weave of the linen to record the memory of an incendiary sunset. Others, including Cory Surprise and Elizabeth Nyumi, embrace the expressive freedom of the painterly gesture to suggest both the changing light and vast panorama of open landscape. By contrast Howard Taylor shows us the subtlety to be found in the most fugitive of visual phenomena. In one image we see the orb of the sun, diffuse to the point of translucence, as perceived through the haze of bushfire. In another, our attention is drawn to the fine grain of shadow cast by the fragment of weathered wood in the light-filled space of the artist’s studio. Taylor is as much concerned with the containment of light and shadow as he is with depicting form and volume as we observe it in space and interpret it through the substance of paint.
At a symbolic level, the suggestion is of transcendence and infinitude. By introducing the additional element of scale, it becomes possible to take this intimation of transcendence further still, creating immersive optical environments where not just the eye and the mind are brought into an active engagement with the canvas, the full body is too. Dale Frank works with the viscosity and optical brilliance of liquid aluminium, pouring it across a vast canvas in layers of varying translucence and opacity. Debra Dawes and Karl Wiebke calibrate precise arrangements of pattern and colour to play out over extended compositions that saturate the eye with oscillating light. When viewed from different distances and angles, their surfaces generate a tessellation of reflected light in continual flux. With Siné MacPherson’s Lexical spectrum paintings, the colour play is twofold
Yet it is the perceptual experience itself that is
as she transposes every chromatic reference
brought to the fore when optical phenomena
in the dictionary into bars of corresponding
become subjects for experimentation in and of
colour. The kaleidoscopic result suggests a
themselves. Robert Hunter and Carol Rudyard
kind of DNA sequencing of the spectrum as
work from simple geometric motifs to consider
contained by language.
the interrelation of light and colour at the threshold of perception –amplifying the inherent luminosity of individual blocks and bands of colour to create optically active zones of light that seem to be liberated from the material substance of paint. These works draw our attention to the psychological dimension of vision, particularly as it regards the subjective experience of colour.
In all of these works, time is invoked as a crucial element to the perceptual experience, drawing us into a visual dynamic that enables the eye to travel over and into the canvas in an unhurried engagement with the very act of looking. Our sustained gaze is rewarded by the sensation
Nyapanyapa Yunupingu Pink and white circles 2010 (detail)
that we might be looking ever deeper into architectures of space and light that could be infinitesimally small or endlessly expanding. And so essential is our own contribution to the visual dynamic set in motion by the artist, that this very engagement could be said to represent the work’s true completion.
Carol Rudyard Continuum 1972 (detail) 19
INTRODUCTION
Part of what makes these works so compelling is that they activate our instinctual orientation towards light and space. Yet darkness has its own subtle influence on the subconscious. In a recent photograph by Bill Henson, an island on which no evidence of life is discernible is illuminated in the dusk against a darkened merging of sky and ocean. What is represented in collective imagination by the concept of island will
the threshold of a void that appears absolute. On
inevitably inflect our response to such an image.
the edge of dissolution between ocean and land,
In this work the island is an eruption of eroded,
day and night, the island assumes a metaphoric
fractured rock, a primordial form embodying
dimension that suggests something of the
something of the immense age and mass of the
impossibility of certainty in an uncertain world.
earth. We might think of the mythic island –that of Calypso or Circe –or the desolate funerary
As far as it is possible to distance ourselves from
dreamscape of Arnold Böcklin’s symbolist Isle
the implied realism of photography, Dale Hickey’s
of the dead. Indeed, there is a quality of unease
uncompromising 1969 Black painting brings us
that emanates from the still emptiness of the
to a confrontation with a material darkness so
scene that could suggest solitude, death, journey
profound it might seem impenetrable. Painted
into afterlife. But it is our perception of the light
in a flat, matt black with subliminal traces of an
that shapes our response at the most intuitive
underlying grid, Hickey’s monochrome square is
level. This island occupies a half-light zone on
blackness at its most unyielding. Devoid of image and perspective, neither emitting nor reflecting light, it is timeless and spaceless in a way that takes abstraction to its limits. This is the point at which we, as viewers, must step into the creative space occupied by the artist. In the intimacy of the encounter with a work that resists interpretation, that contains true enigma, we are paradoxically brought back to our own capacity for imagination. It is a capacity for wonder that makes us human. Helen Carroll Curator of The Wesfarmers Collection of Australian Art
1 David Stephenson, quoted in Sublime space: photographs by David Stephenson 1989–1998, National Gallery of Victoria, np.
Dale Hickey Black painting 1969 (detail) 20
22
REFLECTIONS
Bill Henson
It’s funny –when we hear the term ‘professional’ we tend to think of someone who is good at what they do; proficient, certainly, and one who at least has an adequate understanding of and commitment to the technical requirements of their craft. I’ve never felt like a professional, perhaps in part because I’ve been able to hide in the imaginary world of the amateur through working alone, through not having to function as part of a group –as, let’s say, one would in an orchestra or band. Yet I’d like to think that there is more to this amateurishness than just a little social dysfunctionality on my part. In the eighteenth century, the amateur was one who did something for the love of it –the term had none of the condescending, perhaps even derogatory, connotations it carries now. In fact I would venture to say that, increasingly, when I hear the term ‘professional’ today, I’m not automatically inclined to anticipate something exceptional. I’m not sure what to make of this …
I think we are all part of an ‘arts industry’ –for sure –and at times the din of all this industry around us can drown our own thoughts, and our own unique take on things, right out. And yet certain things –particular experiences that we have –are exceptional. They stand apart from the rest of the general activity. What causes this apprehension of significance –of something in fact powerfully apprehended yet not always fully understood? And why is it that all of us, at some time or other, will have this ‘epiphany’ – Christian or otherwise –in the presence of some work of art, in the experiencing of a performance piece or in some unexpected encounter with the true magic of a particular piece of sculpture? When it happens, I always think of it as being as if one’s life –and everything that it contains –had just been ever so slightly changed, forever. Nothing, if you will, is ever quite the same again. Bill Henson Untitled 2009–10 (detail) 23
28
HARMONIES
Richard Mills
Music comes to me from another region, somewhere outside time, yet is barely able to be captured and confined in the captivity of notation. Like the ancient wisdom, her essence finds a resonance in these words: Wisdom is radiant and unfading, And she is easily discerned By those who love her, and is found by those who seek her … For she is … a pure emanation Of the glory of the Almighty … A reflection of eternal light A spotless mirror of the working of God (Wisdom 6:12, 7:25, 26.) Harmony is a musical resonance of light, simple in its essence, yet capable of infinite combination and variety –all that is necessary to render the world in sound and song. For me harmony is an echo of the immutable proportions first described by Pythagoras: the mysterious symmetries of the harmonic series, a mystic orthography of an absolute which seems too great for the possibilities of human perception. Thus harmony is a portal to the wisdom of the eternal for which we hunger and to which the sacred art of music opens a door, giving access to the joy of harmony which comforts the soul, expresses the dynamism of the will, and unites us when we play, sing or listen to music together.
Debra Dawes What’s on your mind? 2006 (detail) 29
32
ECHOES
John Kinsella
My purpose in writing these poems is not to affirm the private or corporate ownership of art with public significance, but to assist in making that art and the discourse around it available to the broader public. I aim for my poems to function as interpretative bridges on the one hand, but also as creative departures on the other, not as descriptions of artworks. My work in this project is not an affirmation of capitalism, but an echo of a commitment to community and open conversation. That a company or individual ‘owns’ an artwork does not mean they own the discussion around it. I am sure artists who have sold their work to private collections have often felt this as well. They need to live, as well as give to the public. It must be pleasing to see their artworks then offered or siphoned back into the community. One of the factors that convinced me this project was not only worthy but essential was talking with workers who lived with these artworks on a daily basis. They did their jobs and lived with the art, which they conversed about freely and enthusiastically, having favourites and opinions that can only come through a deep association with such works. In a sense, the people become part of the artworks, and also part of the public notion of the private collection. In itself, this is truly one of the most remarkable collections of Australian and New Zealand art outside major state or national galleries in either country, and it is essential people see it, talk about it, and live with it.
Alex Spremberg Double tilting 2005 (detail) 33
Stieg Persson Offret 1998 oil on canvas 183.0 x 167.0 cm
48
49
Ganyu – the universe This is the universe. I can translate. In this, I surprise myself. But a quota of wonder is something. Knowledge, which I don’t have, is another. But formation and dark matter and light we might even think of as conventional transpire to make it easy. Wherever we come from. Which is of importance because the universe mapped from country will know special and unique aspects of itself. Formations and endings. The between formulation. Where we go before birth and after death. Where we fit into us, and where rock and air and all days and nights meet. And are made. Unmade. Remade. I know this. I can translate. In this I surprise myself. This is the universe.
Gulumbu Yunupingu Ganyu –the universe 2008 (detail) 58
59
Pulse nightphase pulse pulse pulse emanation pulse pulse pulse ghost-words pulse pulse pulse i am mistaken i never saw it pulse pulse pulse or any other neologism pulse pulse pulse apparition or will-o’-the-wisp pulse pulse pulse flying or floating or suspended pulse pulse pulse incorporeal pulse pulse pulse figment pulse pulse pulse once bitten pulse pulse pulse twice shy pulse pulse pulse manifest truth pulse pulse pulse escaping or seeking pulse pulse pulse sliver of daylight writhing in nightlight pulse pulse pulse of dead joy or anguish pulse pulse pulse entity
64
Paul Uhlmann Pulse 2006 oil on canvas 213.0 x 330.0 cm
65
66
Visitation The root is tuber is twigfall is clot is mass is skull is hair roots is negatively gravitropic is pneumatophore is parasitic is aerial is rhizomic is supportive is invasive is affirmation is worship is requiem for earthliness and in being requiem walking through dark gardens at the end of summertime when cold is clasping and darkness makes light subterranean where particles glow to show the way to go through soil I replay the Victoria Requiem of 1606 in Renaissance soprano alto tenor bass plainchant rhythms and polyphony dead growth the burying to lift aloft in holy or unholy light precise as doubt or emphatic belief and belief there was in roots spreading out over seats through chapel wood and stone six parts squeezed into through canvases memento mori and lux aeterna so the aorta of growth caught in its end its distension its green blood sapped to bone and cartilage as roots feed spires and touch skies with root-strength propulsion and energy the root is tuber is twigfall is clot is mass is skull is hair roots is negatively gravitropic is pneumatophore is parasitic is aerial is rhizomic is supportive is invasive is affirmation is worship is requiem for heavens.
Andrew Browne Visitation 2009 (detail) 67
Rosemary Laing Brumby mound #5 from the series One dozen unnatural disasters in the landscape 2003 C Type photograph 110.0 x 222.0 cm
88
89
94
Silence Screen silence is the silence we fill in our emptiness: letting evening in before it arrives, the switching into cicada rhythms, crickets; a worn redness desultory as heat in a car waiting
who might have homes, the opalescent leer of the screen, its frame, its mouthing of our words:
for images, sound from other lives, other places: fantastical. We survive the day, waiting.
giant breasts and bums and mouths that could swallow you whole: drool dropping into the dry, dry night air.
But it’s the events of the now, the pregnancies, the fights, the bloody face looking up into headlights
Where I live it’s aureate. But I am absent and a dullness films the wide white window of difference.
as the cars bump away into town, out to the farms, quarters.
I was beaten by ‘whites’ and ‘blacks’ who hated each other most of the time. I brought union at the drive-in. A cause.
A bungarra works a protractor tail and the cracked and fragmenting wheel
Any kind of oneness is preferable to the nothing of hate. Bats across the transom. Owl on the edges. Rodents
of a Spirograph emerges from the hard dirt, into the dust, then breaks up under the wheels
about the wheels, gnawing at hot rubber. A glowing cigarette butt that falls into fire risk.
of a trailbike. That’s daytime, still. Night closes and the heat drops. I fraternise. I witness.
It sucks the dead air dry. Combustion echoes through the town, through the edge paddocks
A pump hustles and urges water from deep somewhere more emphatic than a windmill driven to distraction
and sermons being written for small churches. Yesterday, I read Isaiah on the Underground,
during a summer storm – water drawn to meet the only deluge of the year.
and swords becoming ploughshares morphed into ploughshares becoming swords:
But in truth, that storm never arrives. Not now. Irony is water, an old car, a pack of stray dogs
I’ve seen it happen at seeding and again at harvest and it confused me less in the silence between breaths drawn by great screen lovers, black and white having nothing to do with night
Brad Rimmer Dowerin autumn 2005 2005 from the series Silence: the West Australian wheatbelt C Type photograph 120.0 x 120.0 cm
or day, the blitz of colour up there, all acts of remembrance.
95
Judy Watson Stake 2006–09 pigment, acrylic, aquarelle and chinagraph pencil on canvas 209.0 x 195.0 cm
100
101
Lydia Balbal Winnpa 2008 acrylic on canvas 180.0 x 150.0 cm
122
123
Elizabeth Nyumi Parwalla 2010 acrylic on canvas 120.0 x 180.0 cm
128
129
Untitled J/04 So let me tell you how it is from the zone. I have spent much time in the zone. I have written reports and sent them out to Karl but haven’t heard back. I think he thinks I’m too weird when I am in the zone he has laid out offered prompted drawn up from the surface, making light of terrain that in truth runs yellow rivers, off-fire just below, small greenish patches that never make fields but promise so much – I linger too long in such places, hope for a revelation of tranquillity, but it never comes, or danger is so close that I don’t take the chance and move on. In the zone all ridges are encounters with conscience. Are encounters with prospects of silence and noise, of calm and restive echoes. The bell ring solidified. It is a terrifying if pleasurable prospect. I sense you all looking down on me as I make the journey overland. I live off its land. Travel light.
Through the centre from north to south, then east to west, or zigzagging. I am often lost. Being lost brings loss but makes for new awareness. I find metaphors. I do not understand language that’s not figurative. I find Biblical punctuation but no God. But there might be many gods between ridges, always escaping as I scale another challenge, come to grips with profile. I pass colours through the spectrograph. The flame lights up with mineral deposits. Beneath crests of the waves pigment consolidates. Layers accrete on something solid, though I have sand feet when I scale the largest ridges. The lulls are calm and melodious, but I favour the high places where winds riff off edges. Up there, it’s all feedback. But it’s the sum of its parts, the zone, and it’s up to you to step in and risk all: discovery is work, Overlanders: make each step add up to more and more.
130
Karl Wiebke Untitled J/04 1996–2004 enamel on wood 144.0 x 92.5 x 5.0 cm
131
Tom Gibbons UFOs 1973 acrylic on canvas 137.0 x 137.0 cm
138
139
176
Titles of the artworks have been
Index
shortened for indexing
Aberhart, Laurence Taranaki (afterglow into night) 2002
82
Taranaki, Midhurst 1991–2000
83
View in Pickersgill Harbour (after William Hodges) 2003
84, 85
Pink and orange sherbet sky 1975 10, 126
71, 160
Winnpa 2008
123
Bedford, Paddy Merrmerrji –Queensland creek 2005
121
Blanchflower, Brian 96, 99
Browne, Andrew Visitation 2009
66, 69
Laing, Rosemary 21, 145
134
Iyuna, James Lorrkon hollow log 2010
Balbal, Lydia
73
Hunter, Robert Untitled 1966
Andrew, Brook
22, 75
Hickey, Dale Black painting 1969
Albrecht, Gretchen
Concretion: Oceanic 1:8 2007
Untitled 2009–10 Untitled from Paris Opera project 1990–91
Adams, Mark
Owl 2005
Henson, Bill
104
102
112, 113
56
Black painting 144
What’s on your mind? 2006
28, 153
Derums, Adam A remote dawn 2009–2011
70
Double moonbow 2006
46, 47
Frank, Dale The sound of two balls dropping 1998
26, 147
133
139
155
Rudyard, Carol
Lorrkon hollow logs 2011
105
Spremberg, Alex
Untitled works from The Incident series 2007–08
Hunting crocodile under the Milky Way 2011 Lorrkon hollow log 2010
Pink and orange sherbet sky 127 Pink and white circles 109
Lavished living 1983–84
Nyumi, Elizabeth
Portrait of a life cast of Adele d’Urville 81
Parwalla 2010
Silence 95 Tree fork fragment 116 Trees in moonlight II 38
Portrait of a life cast of Adele d’Urville 2010
Ramsey, Rammey
Untitled (Robert Hunter) 135
Stony Creek Warlawoon country 2010
Visitation 67
61 104
104
62, 176
79
128
Star drawing 2005/4 2008
43
Star drawing 2006/1 2007
25, 45
Star drawing 2006/4 2007
44
6, 125
Taylor, Howard Bushfire sun 1996
115
Tree fork fragment 1997
117
Uhlmann, Paul Pulse 2006
30, 65
Watkins, Dick Constellation 1972
41, 172
Watson, Judy Stake 2006–09
101, 174
Wiebke, Karl Red on yellow 2003
149, 150
Untitled J/04 1996–2004 80
4, 49
131
Wurrkidj, Debra Lorrkon hollow log 2010
104
Yalandja, Owen Yawkyawk 2008
106
Yarinkura, Lena Ceremonial object 2011 118, 119
Riley, Michael Untitled from the series Cloud [Feather] 2000
Stephenson, David
Mukurrutu 2007
Persson, Stieg Offret 1998
32, 148
Surprise, Wakartu Cory
Pardington, Fiona
Untitled (Bill Henson) 74 Untitled J/04 130
76, 77
Norrie, Susan
Poems of sunrise and sunset 156 Pulse 64
39
Napangarti, Pansy Seven sisters travel north c1995
18, 137
Double tilting 2005
Namirrkki, Ivan
Lorrkon hollow log 2010
Lavished living 78
94
Continuum 1972
Daylight 37 Gestation 50
93
Dowerin autumn 2005
103
Namunjdja, Samuel
Ganyu –the universe 58
Wylkatchem summer 2009
Milmilngkan, under Wak Wak 2009
Continuum 136
Two-step 152
Gimblett, Max Black fire 2004
Concretion: Oceanic 1:8 98
The sound of two balls dropping 146
Gibbons, Tom UFOs 1973
Bushfire sun 114
Red on yellow 151
Gascoigne, Rosalie Hung fire 1995
Brumby mound #6 90
Lexical spectrum APOD 142
Duxbury, Lesley
14, 141
Milsom, Nigel
Ceremonial object 2011
Dawes, Debra
Lexical spectrum COPD 2002
Kerinauia, Raelene
Black fire 154
17, 51
140, 142
Trees in moonlight II c1960–64
Jilamara designs 2009
Rimmer, Brad
Lexical spectrum APOD 2002
Ngarrangkarni, moon and hill 2009 52, 53
56
Kulama 2010
Macpherson, Sine
Miller, Godfrey
Morning star ceremonial object 2011
Cook, Timothy
91
Juli, Mabel
Kinsella, John – poetry
Burruwal, Bob
89
Brumby mound #6 2003
Mawurndjul, John
Jubelin, Narelle Port Adelaide Lighthouse: a distanced view 1987
Brumby mound #5 2003
56
Yunupingu, Barrupu Ancestral fire 2010
8, 86
55
Yunupingu, Gulumbu Ganyu –the universe 2008
59, 60
Yunupingu, Nyapanyapa Pansy Napangarti Seven sisters travel north, old man chasing them c1995 (detail)
Pink and white circles 2010
19, 108, 111
177