Talks & Conversations

Gallery Talk—The Stars We Do Not See: Australian Indigenous Art 

Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

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Please join us in The Stars We Do Not See: Australian Indigenous Art for a talk with exhibition curator Myles Russell-Cook. Russell-Cook was previously senior curator of Australian and First Nations art at the National Gallery of Victoria in Melbourne, Australia and is currently artistic director and CEO of the Australian Centre for Contemporary Art. This exhibition explores the varied and distinct visual iconographies of Indigenous Australia through over 200 works made by more than 130 artists, representing some of the most significant examples of modern and contemporary Australian Indigenous art. 

Image caption: Tiger Palpatja, Wati Wanampi Tjukurpa, 2010, synthetic polymer paint on canvas, National Gallery of Victoria, Melbourne, Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

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A young boy with pink and tan-colored skin stands next to a seated woman with an ashen white face, and both look out at us in this vertical portrait painting. The scene is created with broad areas of mottled color in rust and coral red, pale pink, lilac purple, ivory white, and shades of tawny brown. The eyes of both people are heavily outlined with large, dark pupils. To our right, the woman’s pale, oval face is surrounded by a muted, mint-green cloth that covers her hair and wraps across her neck. Her eyes are outlined with charcoal gray, and her heavy lids shaded under arched brows with smoky, plum purple. She has a straight nose, and her burgundy-red lips are closed in a straight line. Her long, rose-pink dress is lavender purple below the knee, and is scrubbed with darker pink strokes across her lap. Her sleeves are tan on the upper arms and cream white on the forearm, over two blush-pink forms that represent her hands resting on her thighs. Along the top of her shoulders, her dress is terracotta red. A rectangular, fog-gray form behind her could be a chair or a half-wall, the top edge of which is higher to our right of her head. To our left, the boy has dark brown, short hair over putty pink, protruding ears. The area between his eyelid and arched brow is filled in with chocolate brown, giving his staring eyes a hooded look. His jawline, chin, and lips are outlined with dark brown. His khaki-brown, knee-length coat has pale, rose-pink sleeves and a black collar. An area of pale, ice blue could be a kerchief or high-collared shirt, and he wears fawn-brown pants. One of his slippers is coffee brown and the other, closer to the woman, is slate gray. He holds a loosely painted, pale, turquoise-blue object in one hand at his waist. The pair are situated against a background painted in areas of coral, ruby, crimson, and wine red. Two vertical, concrete-gray strips behind the boy and woman could be columns. The floor along the bottom edge of the painting is pale pink.

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