aboriginal art from : "ASTO JIWO" 2011

Successful Investment in Australian Aboriginal Art

Australian Aboriginal art offers excellent opportunities for financially rewarding investments. Like all investment decisions, however, successful investment in Aboriginal art demands that the investor be well informed, has access to good advice, and takes a suitably long term view. The added bonus of investing in Aboriginal art rather than property or shares is that the investor can enjoy the aesthetic beauty of the art work while secure in the knowledge that the investment will produce a sound financial return.

The first essential ingredient in making sound investment decisions is information. Investors need a good general background knowledge of indigenous art and culture. There are a wide range of excellent books available on the subject, in addition to specialist magazines and auction catalogues. The internet is also an increasingly rich source of general information, in addition to specific information about particular artists.

Armed with solid background knowledge, the second essential step in the information gathering process is to find opportunities to view a wide range of Aboriginal art. The most effective places to do this are, not surprisingly, major public art galleries. In Australia, particularly good collections exist in Sydney, Adelaide, Canberra, Darwin and Alice Springs. Commercial galleries also frequently exhibit interesting work by both well-known artists and emerging younger talent.

There are several important factors to consider when considering investing in a particular painting. First, consider the reputation of the artist, the period of the artist's career in which the work was painted, and the relative quality of the work with respect to the artist's overall output. Also determine whether the artist's work is held in major national and international collections. This is where a solid background knowledge of the Aboriginal art world pays off. Next, consider the general condition of the work, and it's age and size. Remember that early work, such as that painted during the 1970s in Papunya, can be very valuable. Finally, determine the provenance of the work, ensuring that documentation is clear and indisputable.

Investment strategies for Australian indigenous art should be discussed with a professional investment adviser. One common strategy is to avoid acquisition of paintings by currently popular artists such as Rover Thomas, Emily Kngwarreye and the older Papunya Tula artists, instead seeking out quality artists whose work is currently out of favour or not yet in great demand. The advantage of this strategy is that less capital is required than for strategies based on acquisition of work by well-known artists. Many investors have succeeded financially by following a more personal strategy based on both background knowledge and instinctive good judgement, acquiring works with strong personal appeal where the artist clearly possesses a distinctive style or vision.

Before committing to Aboriginal art on any significant scale, potential investors are advised to discuss their plans with a financial adviser who can elaborate on the advantages and disadvantages of different types of investment. Having taken the decision to invest seriously in indigenous art, investors should also seek out professional art consultant and art investment advisers as well. Aboriginal art constitutes about 25% of the Australian art market, which has an overall estimated value of around AU$500 million per year. Most estimates of the average annual increase in value of premier Aboriginal art works range between 6% to 10%, though increases of up to 90% over a 5 year period are commonly reported.

Aboriginal Art - The Dreaming is the Foundation

The Dreaming is the center of Aboriginal religion and life. To the Aborigines it is much bigger than the world of our nightly dreams. Of all forms of Aboriginal art, including paintings, sculpture and the performing arts, the one thing that is associated with providing the most influence is the Dreaming.

When taking into consideration that the earliest forms of paintings were found on cave walls, these were little more than a handprint or footprint. Later the paintings became more focused and were drawings that represented humans, rituals, and the hunt.The Dreaming was the basis for the early paintings that told the story of how the earth was formed and life was born.

Aboriginals do not see themselves as people in the sense that we would think of ourselves as a person. They see themselves as a family that has emerged from the Dreamtime. Not only is that where they have come from but they are still connected to it. Their idea of family is contained in the mountains and nature that exists around them.

This is why the drawings of ancestors that are found on the walls of caves show the family as a symbolic form. They are also shown on ceremonial boards and rock walls. Their beliefs are that spiritual powers have given the world the reality it sees today and the powers are hidden from the world.

There is not a single part of life that the spiritual powers do not have an effect on. The beliefs of the Aboriginals were just as much a part of the painting as if they were a real person sitting beside them. The paintings are believed to be more than paintings. A painting on a rock for example no matter what is a symbol of the object depicted. The belief is you do not respect the painting it will come out of the rock or whatever it is on and overpower you.

Some of the most renowned art of the Aboriginal people were the sculptures they made. They included grave posts. These were believed to have been used in funeral processions when a person of importance died. The Tiwi posts were placed in a separate area and viewed as a community of the dead. These posts were put into the ground all around the grave sort of as a memorial marker as we do the gravestone today. Much of the sculpting centred on the death of their people. Because a high belief in spirits was and still remains, the Aboriginal people were very respectful of their dead.

The old stories and songs were handed down from generation to generation just as with any nationality or culture. The drawings were made to show the story as it unfolded. These ancestral people can be found on the walls of caves, on ceremonial items, and on stones and rocks.

One of the beliefs is that if the spirits of their ancestors felt threatened they could disappear into rocks, trees, or whatever part of nature was handy and become part of it, is a lot of the reason they used these objects upon which to draw. X-ray art was one form used by the Aboriginals for a lot of their paintings and drawings. The form of a human or an animal was drawn but the skeleton and organs were filled in the body. The history of the art they draw is very much a part of their magic and mystical, rituals and stories.

Teaching Aboriginal Art: Free Lesson Plan

Aboriginal Dot Painting is a popular art lesson classic suitable for learners of all ages as it features an irresistible combination of music, art, culture and history.

The beauty of this subject is that the lesson engages learners on a number of different levels - practical painting technique, cultural understanding, linking art with music, dance and storytelling, and getting their fingers nice & dirty in the process!

AUSTRALIAN ABORIGINAL DOT PAINTING

For beginners through to advanced level learners

3~4 hours contact time in class, extra time for research/homework

Lesson Aims:

* Students will be able to select colours, mix paint, make a preliminary sketch, complete an authentic aboriginal artwork.

* Students will understand the origin of motifs, colours, storylines in aboriginal art.

* Students will be able to connect aboriginal art with its other cultural traditions of music, dance, and storytelling.

Materials:

* Aboriginal music or video.

* B/W photocopies of aboriginal symbols.

* B/W photocopies of a real aboriginal painting.

* Sketching paper or thin card for B/W draft - about 40cm x 25cm.

* Watercolour paper for final draft artwork - about 60cm x 40cm.

* Black marker pens, watercolour or acrylic paints, sponges for dab effects etc.

In Class Lesson Stages:

1. As a lead-in my students respond really well to closing their eyes as they listen to real aboriginal music and imagining they are an eagle flying over the Australian Outback. What did you see? How far did you go? What animals came into your mind? In the course of introducing the people, the country, and their traditions you can reveal how each sound from the didgeridoo depicts the sound of a distinct animal - a snake, a fish, a crocodile, an emu. This visualisation exercise will help when they come to start their first draft sketch.

2. A short video of aboriginal dancing features at the end of this lesson plan.

3. Students speculate in groups on the meaning of common symbols in aboriginal art as per 'Aboriginal Symbols' worksheet pictured below. Which symbolize a kangaroo, a boomerang, a waterhole, footprints, and the sun, rain, and moon?

4. At the end of the first session students annotate a B/W copy of a real aboriginal painting and identify which lines/dots/patterns symbolize what. Students should also understand the following elements of design - contrast, colour choice (how did the aborigines find paint? why are coours of nature prevalent?) Show other examples of aboriginal paintings.

5. The next session begins with a first draft in B/W. Students should select a unifying 'theme' for their artwork - the hunt, the dance, animals, nature, tools & weapons, food are all good subjects. Allow students to progress to their final larger colour draft when they have clearly demonstrated an understanding of colour, line, pattern, contrast, theme.

6. Two sessions should be devoted to the final draft. Show students how to use sponges, fingertips, brushes, and combs to create authentic painterly effects. Monitor students as they work - paying careful attention to the 'tightness' of their patterns and the relatively 'minimal' use of colour. I find that my students really get into it when there's some music blasting out - which in this case should be funky didgeridoo.

* Depending on the level of the students you could set a short essay on one of the following subjects: 1. The things I learned from creating an aboriginal artwork, 2. My critique of an aboriginal artwork, 3. How aboriginal art reflects the cultural and historical background of the aborigine people.

Evaluation and feedback should take place throughout each session in the form of peer evaluation (what do you think of each other's work?) and final evaluation in the form of a clear grading scale. For a project of this nature you could include such criteria as:

* Originality 1-2-3-4-5

* Authenticty 1-2-3-4-5

* Elements of design - colour/line/pattern 1-2-3-4-5

* Participation and level of completion 1-2-3-4-5

Sydney's Aboriginal Art and Culture

The rock paintings and engravings of Sydney reflect the artistic inclinations of the Aboriginal population before the Europeans came to settle in this historical city. Rock engravings and paintings show the close relation the Aborigines had with the sea. The engravings and paintings were mostly about creatures related to the sea such as whales and sharks and other fish. Gwion Gwion is a form of rock painting seen in caves, which is believed to belong to a culture that existed long before the Aboriginal culture as it is known today.

In addition to rock painting, engraving, carving and sculpture, indigenous art also includes painting on leaves, carving on wood, sand painting and artworks on cloths. Body painting is an indigenous art which covers the body with intricate, exquisite patterns. The same art is seen in a varied form in bark painting. Paintings were done traditionally on bark walls and ceilings.

Stone arrangements of large and small stones embedded into the soil are unique to Aboriginal Australian art as well as weaving, jewelery making and crafts made from various forms of fibers.

Other forms of art such as dancing and singing were interlaced with the daily routines of Aboriginal life. The Aboriginal people sang while they performed their daily chores. Aboriginal fishing women sang all day paddling in rhythm with their music.

Bush operas which were traditionally called corroborees were conducted at Bennelong Point where the Sydney Opera House situates today. The operas were usually stories woven around subjects like hunting and fishing and sometimes folk tales themed on human relationships. There are Aboriginal art centers in The Rocks area and at the Sydney Opera House. The Sydney Opera House is also a venue for the Sydney Festival which brings together art from different parts of the world, both modern and classic.

Traditional Aboriginal art faded out since European invasion. However, in the modern times, efforts have been made to protect and preserve the different forms of Aboriginal art. Though there has been a lot of evolution in the methods of creating and presenting the different art forms, the indigenous element has been preserved. Moreover, new art forms have been evolved from Aboriginal art without losing its cultural essence. Traditionally art and artifacts used to be created using organic agents and materials; however artists of the present day are creating traditional art using modern, synthetic materials preserving the cultural flavor.

Indigenous art and culture of Australia, as that of anywhere else, give a great insight into the history, the relationships and the lifestyle of its Aboriginal people. They throw light on their social and religious lives, their politics and economy, and the environment they lived in.

Sydney today celebrates its Aboriginal art and culture through several events and festivals. Today more and more non-Aboriginal people are taking interest in and contributing their efforts to preserving this tradition which is one of the oldest surviving in the world!

Australian Aboriginal Art - Hiding Deep Sacred Mysteries

Aboriginal art, in particular the dot painting style, has become associated closely with Australian art world wide, and is a popular addition to Australian art galleries and many private collections.

Few may be aware however, of the deep sacred mysteries and spiritual meanings behind some of the symbols and dots depicted in each painting, or art work, by the Aboriginal artists themselves.

To gain an understanding of Australian Aboriginal art, it is essential to look deeper into the Aboriginal people's strong connection and respect of the land, the animals, their elders and the spiritual side of their dreamtime beliefs.

Significance of Dreamtime Stories

The dreamtime stories, as they are referred to now, were passed down from generation to generation. The significance and meanings of these stories, were such that Aboriginal elders were made custodians of these stories, and many are still closely guarded.

The Aboriginal people themselves, did not relate to the stories as dreamtime stories, but rather, they were a way of explaining the creation of the world, how the animals came to have certain characteristics, and to pass on the Aboriginal lore (law) to the children.

To the Aboriginal people, these stories were a way of life, and were not necessarily considered as something special. They was simply the way that the traditions of their culture, was passed down throughout the generations.

Sacred Ceremonies

Traditionally, Aboriginal people would decorate their bodies and shields using paint made from ochre, for their sacred ceremonies. They drew ceremonial signs and symbols in the sands as part of the ritual, to maintain their culture. Afterwards, these pictures, or images in the ground, would be smoothed over to hide their deep sacred mysteries.

The Origin of Dot Painting

The dot painting technique itself, came about after the Papunya art movement began in Western Australia in the 1970's. European art teacher,Geoffrey Bardon, encouraged the art movement, and was the instigator of a wall mural on an external wall in the school grounds.

The Papunya art movement, encouraged Aboriginal artists to shift their art symbols and dreaming circle designs, drawn in the ground, to more permanent art works on canvas.These dreaming designs were usually outlined with dancing circles representing the spiritual ceremonies and sacred secrets.

The designs revealed maps made up of circles, spirals, lines and dashes. As public interest in the Australian Aboriginal art style grew stronger, an internal political uproar arose regarding the protection of symbolic meaning and hidden secrets to the Aboriginal people. After this, the symbols were often disguised by Aboriginal artists by using the dot painting style to 'break up' symbols and hide their meanings.

Aboriginal Art Painted by Wesley Willika

Wesley Willika is an Aboriginal Artist who was born in Katherine on 19/2/68. Katherine is a small town, even though it is the 3rd largest town in the Northern Territory, 300klms south of Darwin. He is from the Jawyon tribe whose land takes in Nitmiluk Gorge, and the communities of Beswick, Bulman and Barunga, amongst others. At present he lives in the Werrenbun community near Katherine in the Northern Territory. It is a beautiful little community situated close to Edith Falls, part of the Nitmiluk Gorge. Nitmiluk Gorge is actually a system of 13 Gorges running from the Kakadu National Park all the way down to Katherine. During the Wet Season the waterfalls are absolutely spectacular. He learnt the craft of an Aboriginal Artist from established artists such as Paddy Fordham, as well as utilizing his natural instincts.

He went to school at the Barunga Community School, about an hours drive from Katherine, reaching Yr9. Wesley has 3 sisters and 2 brothers, is married but has no children. He is a shy, quietly spoken man with very little formal education who is trying to make his way in the world the only way he knows how, by utilizing his natural artistic instincts. The subjects of his Aboriginal Art are Echidna, Kangaroo, Fish and Water Moniter. Wesley can't paint in a room or studio, well he can, but he won't, he only feels the flow of his artistic juices out in the open air, under a tree, or next to a creek.

I first met Wesley when I was working for a remote employment agency, needless to say, there are not many employment opportunities for an Aboriginal man who has only achieved an education level of year 9, who lives 50klms from a small town of only 9,000 people, with English being his second language. He had already been painting for a number of years, the only thing that I could think of, employment wise, was to encourage him to continue with his Aboriginal Art, and urge him to spend more time with his painting and less with his hunting. But a man has to feed his family. Hunting is not only a necessity for Wesley, it is also his pleasure in life, he loves to be out in the bush, that is where he truly belongs.

Wesley travelled to Sydney once, and he felt like Crocodile Dundee going to New York for the first time. He saw things that he had never seen before; he told me that he could never live in the big city. He needs the fresh air, the bush, hunting, fishing, and taking the time to just think about things that really matter.

Wesley's Aboriginal Artwork has been sold Internationally, as well as at exhibitions held in Sydney, Australia. His mediums are canvas and Bark (Rarrk) as well as Didgeridoos. If you would like to see some of Wesley's Art just search the internet you will be quietly surprised by the popularity of his art which should be a great investment for the future.