#kaiadilt people

[tenth-sentence]

One of the hypotheses my research colleagues and I worked with is that over the last three or four millennia, the Kaiadilt chose to expand the quantity of rock-wall fish traps they built and embellish the combinations and permutations of the traps for different annual and lunar tidal contexts, as well as design strong spearheads to kill dugong and turtles inside the traps.

"Design: Building on Country" - Alison Page and Paul Memmott

[mybeingthere]

Mirdidingkingathi Juwarnda Sally Gabori, (1924 - 2015) an amazing aboriginal artist who started painting in her 80s.

Sally Gabori was born around 1924 on Bentinck Island in the Gulf of Carpentaria, a small island of the Kaiadilt people. Her tribal name, Mirdidingkingathi Juwarnda, means ‘dolphin born at Mirdidingki’. Gabori lived her first twenty-three years according to an unbroken ancestral culture, uninfluenced by the encroachment of Europeans. Yet in 1948, following severe drought and a tidal wave that struck Bentinck Island, the Kaiadilt people were moved to the Presbyterian Mission on nearby Mornington Island. Here Gabori bore eleven children, raising them along with several others of her husband’s children to other wives, as is Kaiadilt tradition. Although she spent most of her life away from her country, Gabori maintained Kaiadilt culture, singing its songs with family and community, fishing and gathering bush foods. She remained on Mornington Island until the 1980s, when some of the Kaiadilt people began to return to their ancestral country after the Land Rights movement saw small outstations erected on Bentinck.

Gabori didn’t hold a paintbrush until she was in her eighties. She was first introduced to painting materials in 2005 while at the Mornington Island Arts and Crafts Centre. Her immediate love of paint and raw talent triggered an outpouring of artistic expression as Gabori instinctively engaged with a full spectrum of colour to visualise the glories of her country. Mixing wet paints on canvas to create tonal shifts and gestural brushstrokes, she evoked geological and ecological flux on Bentinck. Bold, hard-edged forms and sharp colour contrasts describe enduring natural structures such as ancient rock-walled fish traps, or the cliffs meeting the ocean.

[artbookdap]

And now, a look inside 'Sally Gabori' — note the special inserted sections printed on lavendar and yellow paper. ⁠ ⁠ The Indigenous Australian artist Sally Gabori (c. 1924–2015) began painting late in life, at about the age of 80. Over the course of her 10-year career, she produced around 3,000 paintings, a volume that speaks to the unfettered passion with which she embarked upon her art. Published in conjunction with the artist’s first retrospective in France — at @fondationcartier⁠ — this monograph features 96 artworks, including the selection of 30 paintings in the exhibition.⁠ ⁠ The book invites further discovery of Gabori’s colorful, abstract oeuvre—which is keenly informed by the history of her people, the Kaiadilt—with contributions from Nicolas Evans, a scholar of Kaiadilt culture and friend of Sally Gabori’s family, as well as Judith Ryan and Bruce McLean, curators of Indigenous art. These contributors read her practice through the context of Indigenous traditions.⁠ ⁠ Read more via linkinbio.⁠ ⁠ #SallyGabori #MirdidingkingathiJuwarndaSallyGabori #aboriginalart #indigenousart #australianart #contemporaryart #colors #painting @brucemcleanofficial⁠ ⁠ https://www.instagram.com/p/CkgZNEVuzMF/?igshid=NGJjMDIxMWI=

[sanjeevarao]

Local languages are dying out and taking invaluable knowledge with them

Local languages are dying out and taking invaluable knowledge with them

Local languages rely on both oral tradition and physical documentation (like dictionaries) for survival. (Pisit Heng/Unsplash/) Linguist Nicholas Evans had heard the Kaiadilt people, an Aboriginal group in Northern Australia, utter “malji” on the beach many times. He knew the term meant “schools of mullet” and “holes of a fishing net,” but they would say it even when pointing at empty water. It…

[jeremystrele]

A Public Art Event Puts Australia’s Female Artists In The Limelight

A Public Art Event Puts Australia’s Female Artists In The Limelight

Art

Sasha Gattermayr

Sally Smart’s name and work up in lights! Artwork –Imaginary anatomy #7 March 1995, monotype and stencil, printed in colour inks, from one plate; collage additions of cut paper, printed fabric and tape, 134.5 h x 60.5 w cm, Australian Print Workshop Archive 2, purchased with the assistance of the Gordon Darling Australasian Print Fund 2002, © Courtesy of the artist

Artwork – Interior in yellow by Grace Cossington Smith. 1962-64, oil on composition board, 121.7 h x 90.2 w cm, National Gallery of Australia, Canberra. Purchased 1965.

Artwork – Arlatyeye by Emily Kame Kngwarreye (Anmatyerr people) c. 1995, synthetic polymer paint on canvas canvas, 121.0 h x 91.0 w cm, National Gallery of Australia, Canberra, Bequest of the late Warwick Flecknoe and the late Jane Flecknoe 2018, © Emily Kame Kngwarreye/Copyright Agency.

Artwork – Psychogeography by Patricia Piccinini, 1996, colour photograph, 20.5 h x 259.1 w cm. Purchased with Funds from the Moet & Chandon Australian Art Foundation.© Patricia Piccinini.

Artwork – Self-portrait by Nora Heysen, 1932, oil on canvas, 76.0 h x 64.0 w cm, National Gallery of Australia, Canberra, Masterpieces for the Nation Fund 2011.

Artwork – Ocean man by Polixeni Papapetrou. 2013, pigment inkjet print, 120.0 h x 120.0 w cm, National Gallery of Australia, Canberra. Purchased 2016.

A billboard on Lonsdale and Swanston Streets, Melbourne.

Artwork – Outside Dibirdibi by Mirdidingkingathi Juwarnda Sally Gabori (Kaiadilt people). 2008, synthetic polymer paint on canvas, 196.0 h x 608.0 w cm, National Gallery of Australia, Canberra. Acquired with the Founding Donors 2009 Fund, © Mirdidingkingathi Juwarnda (Sally Gabori)/Copyright Agency.

You may have already noticed the billboards featuring a piece of art and a name you’ve never seen before materialise this morning. Maybe it was at your local shopping centre? Or bus shelter? You may not have noticed that they’re all around the country – from Darwin to Toowoomba – taking over retail spaces, airports and busy intersections, to spruik the names and works of just some of Australia’s female artists.

From heavyweights Del Kathryn Barton and Tracey Moffat to lesser known names like Nonggirrnga Marawili and Cherine Fahd, this billboard takeover is a chance for everyday Australians to get to know 76 different artworks by female-identifying visual artists from our national collection. oOh! media have offered their billboards nation-wide in support of the National Gallery of Australia’s #KnowMyName initiative, which is part of a global effort to increase the visibility of women artists and push their work into the public consciousness.

‘Recognising and celebrating the work of women artists is the first step in addressing gender equity,’ says Sally Smart, an artist whose work will be featured in the display. ‘And we hope that as many people as possible see their art, hear their stories and know their names.’

It’s a call to action, to understand, appreciate and respect the influence and contributions female artists have made to the country’s cultural fabric. The aim is to insert art into your everyday life, to make it as obvious and proliferate as the advertising we see every single day and recognise these artists for the contribution they and their works have made on Australian life.

From major cities to regional communities, it’s estimated 12 million people will view the works on digital and static platforms across the country, and that’s only the beginning. This 6-week-long public art show is just the first installation in a major and exciting campaign from the National Gallery, whose mission is to diversify their public program and collection and by doing so, lead a progressive and inclusive cultural agenda toward gender equity.

Know My Name joins the network of international organisations dedicated to supporting to gender equity across the arts such as the Sheila Foundation and #5WomenArtists at the National Museum of Women in the Arts in Washington, DC.

Learn more about the artists and artworks featured in the national art event here.

From Monday 24 February, view the Know My Name national  art event at more than 1,500 static and digital locations across regional and metropolitan Australia, and learn more about Know My Name here.

[tenth-sentence]

Lardil artefacts with no Kaiadilt equivalent included the dugong net, large fishing nets, the message stick, the handball, septum ornaments and dance artefacts.

"Design: Building on Country" - Alison Page and Paul Memmott

[tenth-sentence]

The Lardil were thus less dependent on the traps and appear to have relied more on group hunting strategies; they had far fewer traps than the Kaiadilt.

"Design: Building on Country" - Alison Page and Paul Memmott

[artbookdap]

"For approximately the first 25 years of her life, Gabori lived on Bentick Island, off the northern coast of Queensland, home to a tiny Kaiadilt community considered to be among the last Aboriginal peoples to come in contact with European settlers. In the late 1940s a natural disaster on the island forced the 63 surviving Kaiadilt to evacuate to a Presbyterian mission on nearby Mornington Island, where children were separated from their parents and forbidden from speaking their native Kayardild. The resettlement, which many hoped would be short lived, turned out to be permanent.…"⁠ ⁠ Read about the remarkable late Indigenous Australian artist Sally Gabori, who did not start painting until her eighties, in this @hyperallergic review by @katiewattz — linkinbio.⁠ ⁠ Gabori's work is on view now @fondationcartier with superb exhibition catalog featuring writing by Nicholas Evans, Judith Ryan and Bruce McLean.⁠ ⁠ #SallyGabori #MirdidingkingathiJuwarndaSallyGabori #aboriginalart #indigenousart #australianart #contemporaryart #colors #painting @brucemcleanofficial https://www.instagram.com/p/CkgORqrOizb/?igshid=NGJjMDIxMWI=