Posts Tagged ‘Warwick Thornton

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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15
May
09

Review: ‘Samson and Delilah’ Australian film directed by Warwick Thornton

May 2009

 

The Players

Rowan McNamara, Marissa Gibson, Mitjili Napanangka Gibson and Scott Thornton

 

Rowan McNamara as Samson and Marissa Gibson as Delilah in 'Samson and Delilah'

 

Rowan McNamara as Samson and Marissa Gibson as Delilah

 

 

This is a tough nugget of a film, an absolute gem. It is a love story.

The deceptively simple narrative takes you into the dark side of Aboriginal life in the remote desert communities of central Australia. It pulls no punches taking the viewer on a empathetic ride into the lives of two young people struggling to find their reason for being on this earth. Here is violence, abuse, rape and addiction with the subtle hope of redemption.

Samson is addicted to petrol sniffing. Delilah tries to ignore him. She looks after her grandmother who is an artist, pushing her around in an wheelchair, feeding her medicine and taking her to the health clinic. Samson forces himself on Delilah, sleeping next to her but never with her. Then her grandmother dies and Delilah is blamed by the women elders of the community. Samson’s addiction escalates. He steals a car and with Delilah in tow they flee to Alice Springs to live under a flyover and sniff petrol, to be looked down upon by tourists in trendy cafes. Things get worse before they get (slightly) better.

That is the bare bones of the story. But I want to talk about other things.

The film is the traditional three acts but the narrative reads like an oral history only shown in images: themes are repeated over and again with subtle variations, like the arc of great music reiterating the flow of energy. There is little dialogue which intensifies the sounds of the desert, the band that plays on the verandah and the ringing of telephones. Every human seems to be alienated from the landscape. The Aborigines seem to be just floating on the surface of the land like everyone else, just struggling to survive. The landscape towers above the participants. Unlike our usual perception of Aboriginal people being in touch with the earth through the Dreamtime, here the director Warwick Thornton seems to suggest otherwise, until right at the end of the film.

Delilah is the strength in the film. It is her stoicism, her strength that helps Samson see it through. She ends up pushing Samson in the same wheelchair that she pushed her grandmother around in. His loss of strength is palpable, his addiction ongoing. You believe this story, the non-professional actors grounding you in the red dust of the desert.

There are several remarkable elements that lift this film to sublime places. Some of them are the most moving moments I have seen in a film in many a year:

The soundtrack, like a disjointed heartbeat, that accompanies their life under the flyover. The soundtrack of Samson’s rock and roll competing with Delilah’s music in her 4 wheel drive as one fades into the other.

Samson and Delilah sitting outside the health centre in white plastic chairs picking their feet off the ground so they won’t get bitten by ants.

Samson sitting in the wheelchair in the middle of the road at night, rocking back and forward on the wheels of the chair, so off his face that he is oblivious of the approaching 4 wheel drive until it is right upon him. Exceptional.

Delilah, towards the end of the film, washing the body of Samson with soap while he sits in a trough of water. More sensuality, more sexuality packed into 30 seconds than you will ever see in a full blown love scene. Amazing.

Samson, his head under a blanket under the flyover. The scene fades not to black as it does regularly in this film but to 80% of black and hovers there, just under the level of consciousness, before the sun rises again. This is masterful, poetic film making.

Samson, taking his ghetto blaster outside at night, dancing under the light of the verandah to rock and roll music watched by Delilah from her refuge in a 4 wheel drive. This scene is so beautiful, so genuine. The natural grace of Samson’s dancing opens Delilah’s eyes towards him. For the audience it is a revelatory, transcendent moment that crosses space and time as great cinema does. It grips you in an esoteric awareness: we are all human, we all live on the same earth. We all dance.

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Go and see this film. It is one of the finest ever made in Australia. Besides a beautiful love story it will take you to places and connect with your heart like no other. It’s not perfect by any means (in terms of some improbabilities in the narrative) but this can be forgiven in the arc of the story telling. It is harrowing there is no doubt, but in the almost timeless ebb and flow of the film, in the communion with the infinite, something that defines human existence, this film stands above all else.

Dr Marcus Bunyan

 

 

Township in 'Samson and Delilah'

Marissa Gibson and Mitjili Napanangka Gibson in 'Samson and Delilah'

 

Marissa Gibson and Mitjili Napanangka Gibson

 

Rowan McNamara as Samson in 'Samson and Delilah'

 

Rowan McNamara as Samson

 

Rowan McNamara as Samson in 'Samson and Delilah'

 

Rowan McNamara as Samson

 

 

Samson and Delilah website

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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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