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matching indigenous art
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Federation University Art Collection
Artwork, other - Artwork, 'Reconciliation' by Shanaya Sheridan and Josh Muir, 2018
This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan -
Federation University Art Collection
Painting, Adam Rish, Anjing Gila, 2007
... as 'world art' to affirm indigenous culture and regional diversity....-cultural collaboration as 'world art' to affirm indigenous culture ...Adam RISH (1953-) Sydney based artist Adam Rish completed a BA (Hons) in Fine Art at MFA and has exhibited in Australia since 1975. He has been the recipient of a Visual Arts Board Studio Residency in 1981 and 1984 and an Asialink Residency in Indonesia in 1997. He is interested in cross-cultural collaboration as 'world art' to affirm indigenous culture and regional diversity.Timber Sculpture of a dog like firm.available, adam rish, sculpture -
Federation University Art Collection
Work on paper, Bath Icon, 1986
Judy WATSON (1959- ) Born Mundubbera, Queensland. Waanyi people Judy Watson lives and works in Brisbane, Queensland. She is an Indigenous artist whose matrilineal family is from country in North West Queensland. She co-represented Australia in the 1997 Venice Biennale and won the Moet & Chandon Fellowship in 1995. judy watson, gippsland art collection -
Mont De Lancey
Decorative object, Franz Streizel, Indigenous Carved Pictures
These hand carved framed wooden pictures are part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.Two hand carved Indigenous busts in wood frames.1: A mother wearing a headband and striped gold, white blue and pink painted clothes draped over a baby. Only the face of the baby is depicted. 2: A father's upper body bust also has clothes draped over the baby he is holding. Both are framed using natural sticks which are painted brown on a white backfround.wood carvings, carvings, portraits, artworks, objects -
Wodonga & District Historical Society Inc
Booklet - Mining the Collection: Discover Albury's Hidden Treasures, Damian Kelly et al, May 2011
Mining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition.non-fictionMining the Collection was an Arts NSW funded project in which nine community members and four artists were invited to discover and select works from Albury City's seven cultural collections. The collections were Indigenous Collection, Textile Collection, Social History Objects Collection, Social History Collection (paper based), Photography Collection, Works on paper Collection (Drysdale, drawings) and the Painting Collection. The community members selected individual pieces for the artists to respond to in their chosen medium. All four artists – Arthur Wicks, Ponch Hawkes, Treahna Hamm and Frank Burgers – have a connection with the region and a national profile. The artists' responses to the individual works chosen for them and the range of works selected became an exhibition that introduced visitors to the collection and to the contemporary artworks it inspired. This is a publication to accompany that exhibition. albury art gallery and museum, museum collection albury, exhibitions albury -
Darebin Art Collection
Photograph - Karla Dickens, Karla Dickens, Looking at You VI, 2017
"Karla Dickens was born in Sydney in 1967. She is a Wiradjuri woman and an award-winning contemporary artist whose work draws on her Indigenous heritage, sexuality and experiences as a single mother on welfare. She has more than twenty years of artmaking practice, first graduating with a Diploma of Fine Arts in 1993, then a Bachelor of Fine Arts in 2000, both from the National Art School, Sydney." -
Darebin Art Collection
Sculpture, Helen Bodycomb, Chris Rak & Enver Camdal, Westgarth precinct public art, 1998
Installed in the Westgarth Shopping Strip, the artworks include aerial, street level and inlaid pieces. The aerial installations consist of eight pairs of steel dragonfly wings. The street level series feature ten sculptural pieces of welded steel depicting enlarged body/skeletal parts of fauna that are indigenous to the area. The inlaid artworks are a series of stainless steel mosaic in the pavement.Five pairs of steel dragonfly wings mounted on eight painted PTC power poles. Ten sculptures of welded steel depicting enlarged body / skeletal parts of fauna that are indigenous to the area. These also function as bicycle racks. A series of stainless steel, ceramic and glass mosaic inlays. -
Federation University Art Collection
Ceramic, Sarah Canham, #Fliporflop 1, 2 & 3, 2021
'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni -
Darebin Art Collection
Film - wāni toaishara, Final Solution, 2021
wāni toaishara is a Congolese artist living and working in Melbourne. His practice explores African Futurisms, Statelessness, Indigeneity, climate justice, those on the margins of those movements and dialogues, Indigenous knowledge production and the effects of dislocation in a globalised anti-Black, Afrophobic society. Final Solution enters the Darebin Art Collection as the winning work of the 2021 Darebin Art Prize. A personal and introspective moving image work, Final Solution features the artist’s family and friends as a way of interrogates some of these broader ideas, speaking to urgent issues both in this nation and on an international level. The powerful message is offset by a sense of intimacy, much needed as we move forward amid the paradigm shifts of the last two years. -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
... Indigenous Art Award, Australia Council, 2019. References “Jenna Lee ...Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Within ten miles of Melbourne 2, 2022
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Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Splitting logs for a “feed” 1, 2022
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Merri-bek City Council
Photograph - Digital print on Ilford Fibre Pearl paper, Kim Kruger, Within ten miles of Melbourne 1, 2022
merri-bek public art collection