Monterey Bay Aquarium
will byers stan first human second
Alisa U Zemlji Chuda
NASA
Kiana Khansmith
Keni
YOU ARE THE REASON
cherry valley forever
Stranger Things
pixel skylines
Claire Keane
oozey mess
⁂
let's talk about Bridgerton tea, my ask is open
hello vonnie
Cosimo Galluzzi
Xuebing Du
occasionally subtle
Cosmic Funnies
Kaledo Art
seen from Türkiye
seen from Philippines
seen from Malaysia
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seen from Malaysia
seen from Ukraine
seen from China
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@antipodeans
Hi, I am writing to ask whether I may have permission to use your photo of Warlugulong in the Art Gallery of NSW photo? It is for an assignment for my teaching degree in which I have to make a storybook and the work i am basing it on is Warlugulong. Thanks, Mitchell
Hi Mitchell. Yes, you have my permission to use the photo for your assignment, so long as you credit the original artists for the art, and the photo to my blog. Wishing you all the best with your assignment.
The Reader
Grace Cossington Smith, 1976
Oil on canvas.
Nocturne, Wynard Square
Dorrit Black, 1932
Linocut printed in black ink from one block, on ivory laid mulberry paper.
This graphic linocut is influenced by cubism and shows the night view from Black’s art school in Sydney. The black and white contrasts emphasise the streetlight and moon over the street.
Thea Proctor
Women with Fans
The Rose
Proctor was one of the most influential artists in modern print art in Sydney. She worked with woodblock printing with an aesthetic focused on design.
Photo: Zuleyka Zevallos.
[Two small prints lie flat side-by-side, each with two women with their heads bowed towards one another. They appear in traditional Spanish-style dress.]
Janet Dawson, 1960s series
Vers L’Ombre (Towards the shadow)
Reve du soleil (Sun Dream)
Grand Bruit (Big Noise)
Dawson was born in Sydney in 1935 but she grew up in Melbourne. She studied lithography in what was then Swinburne Technical College, and later in Paris. She has printed works for many of Australia’s greatest artists, including Russell Drysdale, Albert Tucker, Donald Friend, Charles Blackman before becoming established as an artist in her own right. She now lives in Binalong, a rural area near Canberra.
Photo: Zuleyka Zevallos.
[Three mid-sized framed works prominently feature black circles and swirls in abstract form against a light background]
Art Gallery of New South Wales.
Photo: Zuleyka Zevallos.
[Photo: gallery space with large paintings on the walls and a glass case in the centre. Two people stare at the art.]
Warlugulong
Clifford Possum Tjapaltjarri and Tim Leura Tjapaltjarri, 1976
Synthetic polymer paint on canvas.
Warlugulong is the site where the great fire began.
Lungkata, the blue-tongue lizard man, had rested at this site. His two sons, following behind, speared a kangaroo, cooked it, and then greedily ate it all. The father, wondering why his sons were so long, suddenly sensed what had happened. Determined to punish them, he blew on a fire-stick until it glowed, then touched it to a bush. The bush exploded into flame (as the painting illustrates), then burnt everything in its path. Tongues of flame flicked out, as do all lizards' and snakes' tongues to the present day, and soon the two brothers were fighting the flames.
They broke branches and beat at the fire, but always the front leapt beyond them, forcing them back, as the tracks indicate. Far to the south they perished, going into the ground as the bushfire lost its fury and died.
Lungkata and his two sons reside at the site where the fire began, nearly 300 kilometres north-west of Alice Springs.
Quote: Art Gallery of New South Wales. Photo: Zuleyka Zevallos.
[Image: artwork in traditional Aboriginal Australian style using white and light coloured dots against a red ochre and brown background,]
Captive
Inge King, 1965
King was born in Germany in 1915 and moved to Australia in 1951, after studying in London and Glasgow. She founded the Centre Five group of sculptors in 1961, with the aim to modernise sculpture for a wider audience. She died at the age of 100 in 2016.
Information: Art Gallery of New South Wales. Photo: Zuleyka Zevallos.
[Image: black metal sculpture made of overlapping frames.]
The Balcony 2
Brett Whiteley, 1975
'Windsor and Newton Deep Ultramarine oil colour has an obsessive, ecstasy-like effect upon my nervous system quite unlike any other colour.' Brett Whiteley 1975
Inspired by his house in Lavender Bay, Sydney, this painting is one in a series evoking Whiteley’s eroticism and love of the Harbour Bridge and Sydney’s Northern beaches.
Quote: Art Gallery of New South Wales. Photo: Zuleyka Zevallos.
[Image: the painting is a large landscape of mostly blue background representing water, with sprays of white representing the Sydney Harbour Bridge and ships. A group of four people sit in front of Whiteley’s painting, with one of them pointing to one of the boats; another person stands with his hands behind his back.]
Ripple #3
Janet Dawson, 1970.
Dawson was born in Sydney in 1935, and travelled in Europe in the late 1950s. She lives in New South Wales.
Photo: Zuleyka Zevallos.
[Image: large framed abstract landscape with yellow, greens and reds.]
Bodies in Time
Barbara Cleveland 2016
“The fourth in a series of works performed by Sydney collective Barbara Cleveland exploring the life and legacy of their namesake; the mythic performance artist Barbara Cleveland (1945-81), who they have recovered from the margins of Australian Art History.”
The exhibition aims to emphasise the gender and material gaps of museum collections and art history.
Quote: Art Gallery of New South Wales. Photo: Zuleyka Zevallos.
[Images: 1) a girl stands at the entrance to the exhibit with other people moving in the background and a screen; 2) three women watch a screen where a woman is dancing. 3) series of drawings by Cleveland; 4) close up of drawing with words performance, memory, dance, history, repetition. 1993]
Papunya Tula Artists
Dreaming Journey, Unknown
Children’s Goanna Dreaming, Timmy Payungka Tjapangati
Frog Spirit Dreaming, Charlie Tararu Tjungurrayi
Love Story of a Man and the Moon, Charlie Tararu Tjungurrayi
Dreaming Journey West of Papunya, Unknown
Untitled [c.1971] Uta Uta Tjangala
(Left to right)
The Pintupi and and Luritja people had been displaced from their homeland in the Western Desert and placed into an overcrowded government settlement of Papunya, under a forced assimilation plan. Years later, in the early 1970s, Pintupi painting was a way for these male artists to retain a connection to Country.
Art: Papunya Tula Artists. Photo: Zuleyka Zevallos.
Studio Portrait, Chelsea
Norah Simpson, 1915
Oil on canvas.
Simpson was born in Sydney in 1895 and moved to Europe in 1915. She died in England in 1974.
Photo: Zuleyka Zevallos
[A medium-sized framed painting of a young woman who sits on a wooden chair. She wears a black dress, her hands crossed at her lap, She has a stern but pensive look on her face]
Tim Storrier (Australian, b. 1949), Mangoes, 1978. Oil on canvas, 61 x 61 cm.
Sidney Nolan - The Ned Kelly Series
Iconic painter Sidney Nolan rendered one of Australia’s most famous art series featuring a most beloved Anglo-Australian anti-hero, Ned Kelly. The artist’s inspiration is as much the mythology of the outlaw as it is about the Australian landscape. He wrote in 1948: I find the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape … which persist in the memory, to find expression in such household sayings as “game as Ned Kelly.”
Images are from the Ned Kelly permanent exhibition at the National Gallery of Australia. Photos by Zuleyka Zevallos/ Antipodeans.tumblr.com.
Brett Whiteley Studio.
Photos: Zuleyka Zevallos.
Can you tell me all about John Brack's involvement in the Antipodeans group and how it influences his artworks that were made? Would help a lot. thank you :)
Hi @fit-healthyxo thanks for your question. Like the other members of the Antipodeans group, John Brack was interested in promoting a uniquely Australian visual perspective on figurative art, at a time when international abstract movement was potentially drowning out Australian developments in the art world. Brack’s paintings politicise Australian everyday life in suburbia. He offers a uniquely Australian sense of irony, which is consistent with the Antipodeans’ desire to showcase distinctive Australian experiences. The Antipodeans were profoundly political, as reflected in their manifesto, exhibitions and public commentaries. Playing with colour and emotion, Brack’s art explores the hidden dynamics of social settings, whether it be a scene of people walking to work via Collins St, 5 PM, or at a dancing competition, as with the Ballroom Dancers series. Pages 6-7 in this excellent resource may also help you understand Brack’s work. Enjoy! http://www.ngv.vic.gov.au/johnbrack/education/resources/BRACK_Online_Education_v3.pdf
