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Teaching Aboriginal and

Torres Strait Islander Art in

the gallery and the classroom

Kylie Neagle, Education Officer

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Inappropriate

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Not at all

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How to teach Aboriginal Art

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image: Kulata Tjulta project as a part of Tarnanthi, Art Gallery of South Australia, Adelaide, photo by Nat Rogers

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Darren Siwes, Ngalkban people, Northern Territory, born 1968, Adelaide, Gold female, from the series Oz Omnium Rex Et Regina, 2008, Adelaide; printed 2009 Adelaide, type C photograph; Gift of Susan Armitage through the Art Gallery of South Australia Foundation 2009, Courtesy of the artist and GAGPROJECTS

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Feedback

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July and November 60 Educators at each

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Artist as Educator

Raymond Zada, photo: Ben Searcy.

Image: Model wearing a selection of neckpieces by Grace Lillian Lee; photo: Carly K.

Photography

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‘I learnt that when programming for art I need to focus less on

recreating the work of artists and have more emphasis on the

connection between the core concept of the artist, the student

and their own personal experience’

– Nina, Secondary School Teacher

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‘This is the best professional development session I have completed in a long time.

Anyone wanting to get on the right path for incorporating Aboriginal perspectives

across the curriculum NEEDS to sign up for How to Teach Aboriginal Art. I am inspired

and much more confident in this area now. Thank you all’

– Paul, Middle School Teacher

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Using Artists AppropriatelyCase Study

image: Erub Arts Collaboration, Erubam people, Torres Strait Islands, Emarr Totol, 2017, Erub,

Darnley Island, Torres Strait Islands, Ghost nets (reclaimed fishing net and rope), 160.0 x 160.0 x 52.0 cm; © the artists, courtesy of Erub Arts, photo: Lynnette Griffiths.

Lavinia Ketchell, Erubam Le, Torres Strait Islands, Queensland, born 1993, Thursday

Island, Torres Strait Islands, Queensland, Pelly (Squid), 2017, Erub (Darnley) Island,

Torres Strait Islands, Queensland, recycled discarded fishing nets, rubber, metal

armature, 104.0 x 44.0 x 18.0 cm; Courtesy the artists and Erub Arts, photo: Lynnette Griffiths

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Using Artists Appropriately Teacher Feature

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St. John’s Grammar, South Australia

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St. John’s Grammar, South Australia

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St. John’s Grammar, South Australia

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The Essential Introduction to Aboriginal

Art was created in collaboration with the

Kluge-Ruhe Aboriginal Art Museum at

the University of Virginia,

Charlottesville, USA.

Resources – The Essential Introduction to Aboriginal Art (25 Facts)

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Yvonne KOOLMATRIE Ngarrindjeri people, South Australia, born Wudinna, South Australia 1944, Sister baskets, 2015, Berri, South Australia, woven spiny-headed sedge (Cyperusgymnocaulos), Acquisition through TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2015

Esme Timbery , Bidjigal people, Sydney Opera House , 2010, plywood, synthetic fabric, glitter, shells (various), PVA glue and flour 59 x 33 x 29 cm; Purchased 2011, National Gallery of Australia, Canberra

Tjunkaya Tapaya, Australia, born 1947, Pitjantjatjara people, South Australia, Length of fabric, 2008, Ernabella, South Australia, silk batik, 185.0 x 110.0 cm; South Australian Government Grant 2008, Art Gallery of South Australia

Reko Rennie, Australia, born 1974, Kamilaroi/Gamilaraay/Gummaroi people, New South Wales, OA_RR, 2016-17, Walgett, New South Wales and Melbourne, 4K three channel digital video, PAL, stereo sound, 7 minutes, 47 seconds, Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2017, Art Gallery of South Australia, 20173MV1(a-e)

ABORIGINAL AND TORRES STRAIT ISLANDER PEOPLES ARE DIVERSE, AND THEIR ART IS TOO.

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ABORIGINAL AND TORRES STRAIT ISLANDER ART IS CONTEMPORARY

John Mawurndjul, Billabong at Milmilngkan, 2002, natural pigment on bark, Art Gallery of South Australia

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ABORIGINAL AND TORRES STRAIT ISLANDER ART IS ALWAYS CHANGING

Peter Tjutjatja Taylor, 2014, watercolour on paper. Courtesy the artist and Ngurratjuta Iltja Ntjarra/Many Hands Art Centre, photo: Saul Steed.

Albert Namatjira Untitled 1948, watercolour and pencil on paper, 39.2 x 28.5 cm, Gift of Emeritus Professor Anne Edwards AO, Andrew Gwinnett, Lipman Karas, Andrea Helen Katsaros, Thomas Mansfield, Dick Whitington QC and Peter Wilson through the Art Gallery of South Australia Foundation Collectors Club 2016, Art Gallery of South Australia.

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ARE ABORIGINAL AND TORRES STRAIT ISLANDER ARTISTS MAKING POLITICAL ART?

DO ALL ABORIGINAL AND TORRES STRAIT ISLANDER ARTISTS USE DOTS?

WHAT HAPPENED AT PAPUNYA AND WHY IS IT IMPORTANT?

WHERE IS ABORIGINAL AND TORRES STRAIT ISLANDER ART CREATED?

WHAT IS THE DREAMING?

And more… Artist Willy Kaika Burton stands under Kulata Tjuta, 2014 , Dark Heart, 2014 Adelaide Biennial of Australian Art at the Art Gallery of South Australia

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How to Teach Aboriginal Art in 2019

Jonathan Jones' barrangal dyara (skin and bones), 2016. Photo: Peter Greig

image: Ali Gumillya Baker, Mirning people, Nullarbor Plain, South Australia, born

1975, Rose Park, South Australia, Sovereign Fleet (red) Faye Rosas Blanch

(performer), 2013-2016, Adelaide, pigment print on paper, 147.5 x 106.5 cm

(framed); Gift of the artist 2018, Art Gallery of South Australia, Adelaide, Ali Gumillya

Baker (the artist), photo: DENYS FINNEY VISUAL MEDIA.

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Publication Extract

The Dot: To dot not to dot.

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Kylie Neagle

Education Officer

neagle.kylie@artgallery.sa.gov.au

08 8207 7036

Thank you

Instagram & Facebook

@agsa.education

www.agsa.sa.gov.au/education

Tarnanthi is presented in partnership with BHP and with the support of the Government of South Australia.