Posts Tagged ‘Bindi Cole Crystal

01
Oct
13

Exhibition: ‘My Country, I Still Call Australia Home: Contemporary Art from Black Australia’ at The Gallery of Modern Art (GOMA), Brisbane

Exhibition dates: 1st June – 7th October 2013

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R U SORRY?

Do you feel FORGIVEN?

What do I have to feel sorry for
I only arrived here yesterday

I FORGIVE you for all the SADNESS and SORROW that COLONISATION has CAUSED

You gutless wonder

GUILT, GUILTY, GUILTLESS, GUILELESS, GUTLESS

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The persistence of memory – how the past lingers and subverts

MEMORY – inflicting more DAMAGE on the already DAMAGED

(TIME) to MOVE ON… Nothing to  see here

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Many thankx to the The Gallery of Modern Art (GOMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Tony Albert (QLD b.1981) Girramay people 'Sorry' 2008

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Tony Albert (QLD b.1981)
Girramay people
Sorry
2008
Found kitsch objects applied to vinyl letters
The James C Sourris, AM, Collection. Purchased 2008 with funds from James C Sourris through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery

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Bindi Cole (VIC b.1975) Wathaurung people 'I forgive you' 2012

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Bindi Cole (VIC b.1975)
Wathaurung people
I forgive you
2012
Emu feathers on MDF board
Purchased 2012. Queensland Art Gallery Foundation
Collection: Queensland Art Gallery
© Bindi Cole 2012. Licensed by Viscopy, Sydney, 2013

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Arthur Koo-ekka Pambegan Jr (QLD 1936-2010) Wik-Mungkan people 'Flying Fox Story Place' 2002-03

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Arthur Koo-ekka Pambegan Jr (QLD 1936-2010)
Wik-Mungkan people
Flying Fox Story Place
2002-03
Carved milkwood (Alstonia muellerana) with synthetic polymer paint and natural pigments
Commissioned 2002 with funds from the Queensland Art Gallery Foundation Grant
Collection: Queensland Art Gallery

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Ron Yunkaporta (QLD b.1956) Wik-Ngathan people 'Thuuth thaa' munth (Law poles)' 2002-03

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Ron Yunkaporta (QLD b.1956)
Wik-Ngathan people
Thuuth thaa’ munth (Law poles)
2002-03
Cottontree wood (Hibiscus tiliaceus), ibis feathers, bush string with natural pigments
Commissioned 2002 with funds from the Queensland Art Gallery Foundation Grant
Collection: Queensland Art Gallery

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Jennifer MYE Jr. (QLD b.1984) Meriam Mir people 'Basket with short handles' 2011

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Jennifer Mye Jr. (QLD b.1984)
Meriam Mir people
Basket with short handles
2011
Woven polypropylene tape (blue with Australian flag motif)
Purchased 2011 with funds from Thomas Bradley through the Queensland Art Gallery Foundation

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Ken Thaiday Sr (QLD b.1950) Meriam Mir people 'Symbol of the Torres Strait' 2003

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Ken Thaiday Sr (QLD b.1950)
Meriam Mir people
Symbol of the Torres Strait
2003
Plywood, synthetic polymer paint, feathers, black bamboo, plastic tubing, fishing line
Purchased 2004 with funds from Corrs Chambers Westgarth through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery

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Dinny McDinny (NT c.1927-2003) Marnbaliya people, Balyarrinji skin group 'Kalajangu - Rainbow Dreaming came through Marnbaliya Country' 2003

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Dinny McDinny (NT c.1927-2003)
Marnbaliya people, Balyarrinji skin group
Kalajangu – Rainbow Dreaming came through Marnbaliya Country
2003
Synthetic polymer paint on canvas
Purchased 2004
Queensland Art Gallery Foundation
Collection: Queensland Art Gallery

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Sally Gabori (QLD b.c.1924) Kaiadilt people 'Dibirdibi Country' 2008

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Sally Gabori (QLD b.c.1924)
Kaiadilt people
Dibirdibi Country
2008
Synthetic polymer paint on linen
Purchased 2008 with funds from Margaret Mittelheuser, AM, and Cathryn Mittelheuser, AM, through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery
© Sally Gabori 2008. Licensed by Viscopy, Sydney, 2013

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Wakartu Cory Surprise (WA 1929-2011) Walmajarri people 'Mimpi' 2011

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Wakartu Cory Surprise (WA 1929-2011)
Walmajarri people
Mimpi
2011
Synthetic polymer paint on canvas
Purchased 2012
Queensland Art Gallery Collection: Queensland Art Gallery
© Wakartu Cory Surprise 2011. Licensed by Viscopy, Sydney, 2013

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Ruby Tjangawa Williamson (SA b.1940). 'Ngayuku ngura (My country) Puli murpu (Mountain range)' 2012

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Ruby Tjangawa Williamson (SA b.1940)
Pitjantjatjara people
Artist Nita Williamson (SA b.1963)
Suzanne Armstrong (SA b.1980)
Pitjantjatjara people (Collaborating artists)
Ngayuku ngura (My country) Puli murpu (Mountain range)
2012
Synthetic polymer paint on linen
Purchased 2012 with funds from Margaret Mittelheuser, AM, and Cathryn Mittelheuser, AM, through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery

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Ruby Tjangawa Williamson is a senior law woman committed to fostering traditional culture. She began painting in 2000. Her distinctive works are acclaimed and she is regarded as one of Amata’s most significant artists. Williamson also weaves tjanpi (desert grass) baskets and makes punu (wood carvings) with pokerwork designs.

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My Country, I Still Call Australia Home: Contemporary Art from Black Australia is the Gallery’s largest exhibition of contemporary art by Aboriginal and Torres Strait Islander artists to date. The exhibition examines the strengths of the Gallery’s holdings and explores three central themes – presenting Indigenous views of history (My history), responding to contemporary politics and experiences (My life), and illustrating connections to place (My country).

From paintings and sculptures about ancestral epicentres to photographs and moving-image works that interrogate and challenge the established history of Australia, to installations responding to political and social situations affecting all Australians, the thread that binds these artists is their collective desire to share their experiences and tell their stories.

“Drawing on three decades of research, collaboration and Collection development, My Country, I Still Call Australia Home highlights the connection Aboriginal and Torres Strait Islander artists have with country as both ‘land’ and ‘nation’, and features over 300 works by 116 artists from every state and territory,” Mr Saines said.

“Curated by Bruce McLean, a Wirri/Birri-Gubba man with heritage from the central coast of Queensland and the Gallery’s Curator of Indigenous Australian Art, the exhibition gives voice to artists who investigate historical and contemporary political and social issues. Many of these issues and works are confronting and controversial, and we are proud of the role our Gallery plays as a forum for discussion, debate and education.”

Mr Saines said the exhibition was divided in to three broad thematic strands that explore how Aboriginal and Torres Strait Islander artists depict the stories of their communities and highlight contemporary Indigenous experiences in Australia.”

Press release from The Gallery of Modern Art (GOMA) website

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Michael Cook (QLD b.1968) Bidjara people 'Civilised #13' 2012

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Michael Cook (QLD b.1968)
Bidjara people
Civilised #13
2012
Inkjet print on paper
Purchased 2012
Queensland Art Gallery
Collection: Queensland Art Gallery
© The artist

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Michael Cook’s works depict an ethereal dreamworld, a timeless place that traverses both the colonial and contemporary worlds and is sustained on ‘what ifs’ and hypotheticals. It is a place of Cook’s own modern Dreaming. His central question is quite simple: what if the British, instead of dismissing Aboriginal society, had taken a more open approach to their culture and knowledge systems? This all-Aboriginal world is a sort of utopia where questions can be posed and answered without the complication of race – there is no black and white, no right or wrong. The figures within them are both conquerors and conquered. Through the use of images of Aboriginal people, often in roles opposite to the stereotypical, Cook ensures that an Aboriginal voice is ever-present.

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Fiona Foley (QLD/NSW b.1964) Badtjala people, Wondunna clan, Fraser Island 'The Oyster Fishermen #1' 2011

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Fiona Foley (QLD/NSW b.1964)
Badtjala people, Wondunna clan, Fraser Island
The Oyster Fishermen #1
2011
Inkjet print on Hahnemühle paper
Purchased 2012
Queensland Art Gallery Foundation
Collection: Queensland Art Gallery

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Bindi Cole (VIC b.1975) Wathaurung people 'Crystal' 2009

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Bindi Cole (VIC b.1975)
Wathaurung people
Crystal
2009
Pigment print on Hahnemühle Photo Rag paper
Purchased 2011 with funds from the Bequest of Grace Davies and Nell Davies through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery
© Bindi Cole 2009. Licensed by Viscopy, Sydney, 2013

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Bindi Cole (VIC b.1975) Wathaurung people 'Frederina' 2009

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Bindi Cole (VIC b.1975)
Wathaurung people
Frederina
2009
Pigment print on Hahnemühle Photo Rag paper
Purchased 2011 with funds from the Bequest of Grace Davies and Nell Davies through the Queensland Art Gallery Foundation
Collection: Queensland Art Gallery
© Bindi Cole 2009. Licensed by Viscopy, Sydney, 2013

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Vernon Ah Kee (QLD b.1967) Kuku Yalanji/Waanyi/Yidinyji/GuuguYimithirr people 'Tall Man' (still) 2010

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Vernon Ah Kee (QLD b.1967)
Kuku Yalanji/Waanyi/Yidinyji/GuuguYimithirr people
Tall Man (still)
2010
Four-channel digital video installation from DVD
Purchased 2012
Queensland Art Gallery
Collection: Queensland Art Gallery

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Gordon Hookey (QLD/NSW b.1961) Waanyi people 'Blood on the wattle, blood on the palm' 2009

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Gordon Hookey (QLD/NSW b.1961)
Waanyi people
Blood on the wattle, blood on the palm
2009
Oil on linen
The James C Sourris, AM, Collection
Gift of James C Sourris, AM, through the Queensland Art Gallery Foundation 2012
Donated through the Australian Government’s Cultural Gifts Program
Collection: Queensland Art Gallery

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Michael Riley (NSW 1960-2004) Kamilaroi/Wiradjuri people 'Sacrifice (portfolio)' (detail) 1993

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Michael Riley (NSW 1960-2004)
Kamilaroi/Wiradjuri people
Sacrifice (portfolio) (detail)
1993
Colour cibachrome photograph
Purchased 2002
Collection: Queensland Art Gallery

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Christian Thompson (QLD/NSW/VIC b.1978) Bidjarra/Kunja people 'Black Gum 2' (from 'Australian Graffiti' series) 2008

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Christian Thompson (QLD/NSW/VIC b.1978)
Bidjarra/Kunja people
Black Gum 2 (from ‘Australian Graffiti’ series)
2008
Type C photograph
Purchased 2008
The Queensland Art Gallery Foundation Grant
Collection: Queensland Art Gallery

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Warwick Thornton (NT b.1970) Kaytej people 'Stranded' (still) 2011

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Warwick Thornton (NT b.1970)
Kaytej people
Stranded (still)
2011
3D digital video: 11.06 minutes, colour, sound
Commissioned by the 2011 Adelaide Film Festival Investment Fund
Purchased 2011
Queensland Art Gallery Foundation
Collection: Queensland Art Gallery
© Warwick Thornton. Image courtesy the artist and Stills Gallery

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Gallery of Modern Art (GOMA)

The Queensland Art Gallery (QAG) and Gallery of Modern Art (GOMA) are located 150 metres from each other, on the south bank of the Brisbane River. Entrance to both buildings is possible from Stanley Place, and the river front entrance to the Queensland Art Gallery is on Melbourne Street. The Galleries are within easy walking distance to the city centre and South Bank Parklands.

Opening hours:
10.00am – 5.00pm Monday to Friday
9.00am – 5.00pm Saturday and Sunday
9.00am – 5.00pm Public Holidays

Gallery of Modern Art (GOMA) website

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24
Jul
10

Review: ‘Sistagirls’ by Bindi Cole at Nellie Castan Gallery, Melbourne

Exhibition dates: 8th – 31st July 2010

 

Bindi Cole. 'Bimbo' 2009

 

Bindi Cole
Bimbo
2009

 

Bindi Cole. 'Buffy' 2009

 

Bindi Cole
Buffy
2009

 

 

The exhibition Sistagirls by Bind Cole at Nellie Castan Gallery contains some beautiful photographs and others that are less successful. The successful portraits the ones that depict the Sistagirls in a more natural, less stylised way – they are the more interesting photographs. The subjects seem to speak for themselves without restriction, to be not so beholden to the pose that photographer wishes them to assume and/or the pose they wish to impose on themselves.

For example, the photograph of Jemima (see below) is just stunning in it’s naturalness and beauty. The two photographs of Crystal and Patricia, where the transgendered person asked to be photographed in traditional body paint with traditional objects, are highly successful in their form, composition and in the ability of the photographs to challenge stereotypical notions of Aboriginal culture.

Other portraits are anachronistic and a little try hard, with the misplacing of persons and objects in regard to each other. The portrait of Bimbo (very top photograph) did not need the two objects placed on the beach next to the person to make it a successful photograph; the portrait of Frederina (below) had enough going on in the photograph without the seemingly gratuitous placement of traditional objects in the background. We get the point and there was really no need to labour it.

One of the problems, of course, of a ‘stylised’ portrait (Bind Cole’s word in her artist statement) is that the portrait can become a double forgery, that of the pose of the person and that of the photographer imposing the style …

” … in a sense, the posed photograph is a kind of forgery, an imposition of an artificial composition before the recording instrument. On the other hand, the photo of a posing subject captures the authenticity of the practice of posing. A version of a person’s image is still an image of that person …

We are confronted with the pose, the conscious composition of the image to be photographed, the inherent constructedness of the posed photograph. Our heretofore implicit faith in the photograph as an evidentiary document is shaken. This is not to imply an outright rejection of photography … the effect is more properly an inducement to engage the document directly, personally, and on its own terms.”1

 

As noted at the end of the quotation, we, the viewer, must cut through this com-pose-ition to address the document directly. We must cut away the appendages of style and view the person and the photograph on its own terms. This is why the simpler portraits in the exhibition have so much more power than the overly constructed ones – they reach for an intangible essence that Cole is seeking by dropping away style and surrendering to the ineffable, a recognition of the lightness and joy in just being.

Marcus Bunyan for the Art Blart blog

 

  1. Feiereisen, Florence and Pope, Daniel. “True Fiction and Fictional Truths: The Enigmatic in Sebald’s Use of Images in ‘The Emigrants’,” in Patt, Lise (ed.,). Searching for Sebald: Photography after W.G. Sebald. Los Angeles: The Institute of Cultural Inquiry, 2007, p. 175.

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Many thankx to Olivia Poloni and Nellie Castan Gallery for allowing me to publish the photographs in the posting. The permission is most appreciated. Please click on the photographs for a larger version of the image. All photographs © Bind Cole, courtesy of the artist and Nellie Castan Gallery.

 

Bindi Cole. 'Crystal' 2009

 

Bindi Cole
Crystal
2009

 

Bindi Cole. 'Frederina' 2009

 

Bindi Cole
Frederina
2009

 

 

“The term ‘Sistagirl’ is used to describe a transgender person in Tiwi Island culture. Traditionally, the term was ‘Yimpininni’. The very existence of the word provides some indication of the inclusive attitudes historically extended towards Aboriginal sexual minorities. Colonisation not only wiped out many indigenous people, it also had an impact on Aboriginal culture and understanding of sexual and gender expression. As Catholicism took hold and many traditions were lost, this term became a thing of the past. Yimpininni were once held in high regard as the nurturers within the family unit and tribe much like the Faafafine from Samoa. As the usage of the term vanished, tribes’ attitudes toward queer indigenous people began to resemble that of the western world and religious right. Even today many Sistergirls are excluded from their own tribes and suffer at the hands of others.

Within a population of around 2500, there are approximately 50 ‘Sistagirls’ living on the Tiwi Islands. This community contains a complex range of dynamics including a hierarchy (a queen Sistergirl), politics, and a significant history of pride and shame. The Sistagirls are isolated yet thriving, unexplored territory with a beauty, strength and diversity to inspire and challenge.

During August and September of 2009, I was fortunate enough to have the opportunity to spend a month living with the ‘Sistagirls’ on the Tiwi Islands creating a series of highly stylised portraits of them. I loaded a barge with a four wheel drive, lights, a generator, cameras and enough film to fill a suitcase. Each day brought an emotional roller coaster from moments of elation around what was being achieved with the images to complete anxiety from the many dramas that occurred. This time has affected me in a profound way. The ‘Sistagirls’ have touched my heart. I only hope that in some way I have captured the essence of who they are and the spirit of their community. I know that they will always be a part of me and that I will be a regular visitor to Tiwi to visit the ‘Sistagirl’ community for the rest of my life.”

Artist statement from the Nellie Castan website [Online] Cited 22/07/2010 no longer available online

 

Bindi Cole. 'Jemima' 2009

 

Bindi Cole
Jemima
2009

 

Bindi Cole. 'Patricia' 2009

 

Bindi Cole
Patricia
2009

 

 

Nellie Castan Gallery

This gallery is no longer open.

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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