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===Career=== |
===Career=== |
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Throughout the 1990s, Daisy Jugadai was a regular exhibitor at the [[Araluen Centre for Arts and Entertainment|Araluen Art Centre]] in Alice Springs, and well as other major exhibitions such as the Australian Heritage Art Awards in Canberra in 1994.<ref name="Birnberg213"/> She was one of a group of artists whose work was selected for an exhibition that toured regional Australian public galleries in 1999–2000, ''Ikuntji tjuta – touring'', which was curated by the art centre coordinator who had first helped develop the Ikuntji centre in Haasts Bluff some years earlier |
Throughout the 1990s, Daisy Jugadai was a regular exhibitor at the [[Araluen Centre for Arts and Entertainment|Araluen Art Centre]] in Alice Springs, and well as other major exhibitions such as the Australian Heritage Art Awards in Canberra in 1994.<ref name="Birnberg213"/> She was one of a group of artists whose work was selected for an exhibition that toured regional Australian public galleries in 1999–2000, ''Ikuntji tjuta – touring'', which was curated by Marina Strocchi, the art centre coordinator who had first helped develop the Ikuntji centre in Haasts Bluff some years earlier.<ref name="Strocchi99">{{cite book|last=Strocchi|first=Marina|title=Ikuntji tjuta: touring|publisher=Campbelltown City Bicentennial Art Gallery|location=Campbelltown, NSW|date=1999}}</ref> |
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Works by Daisy Jugadai are held by the [[National Gallery of Victoria]],<ref name="DaisyNGV">{{cite web|url=http://www.ngv.vic.gov.au/collection/pub/artistItemListing?view=fwimg&artistID=4176&page=1|title=Daisy Napaljarri Jugadai – Memory and Five Mile Creek 1995 |work=NGV Collection|publisher=National Gallery of Victoria|accessdate=2 July 2009}}</ref> [[National Gallery of Australia]] and the [[Museum and Art Gallery of the Northern Territory]].<ref name="Birnberg213"/> They are also held in major private collections, such as Nangara (also known as the Ebes Collection).<ref name="Nangara">{{cite web|url=http://www.nangara.com/collection/artists.htm|title=The artists|publisher=Nangara: the Australian Aboriginal art exhibition|accessdate=2 July 2009}}</ref> A finalist in the [[National Aboriginal & Torres Strait Islander Art Award]]s on several occasions,<ref name="Birnberg213"/> she was a section winner in 2000.<ref name="DaisyAA"/> Her work is also featured alongside other Indigenous artists such as [[Gloria Petyarre]] in the Melbourne international airport terminal, completed in 1996.<ref>{{cite journal|last=Battersby|first=Jean|date=1996|title=Art and Airports 2|journal=Craft Arts International|volume=37|pages=49–64}}</ref> ''Antiti, near Five Mile'', a 1998 painting, has appeared as cover art on an issue of the [[Medical Journal of Australia]].<ref>{{cite journal|date=20 May 2002|title=(Cover image) |journal=Medical Journal of Australia|volume=176|issue=10|pages=cover|url=http://www.mja.com.au/public/issues/176_10_200502/contents_200502.pdf|accessdate=13 December 2009}}</ref> |
Works by Daisy Jugadai are held by the [[National Gallery of Victoria]],<ref name="DaisyNGV">{{cite web|url=http://www.ngv.vic.gov.au/collection/pub/artistItemListing?view=fwimg&artistID=4176&page=1|title=Daisy Napaljarri Jugadai – Memory and Five Mile Creek 1995 |work=NGV Collection|publisher=National Gallery of Victoria|accessdate=2 July 2009}}</ref> [[National Gallery of Australia]] and the [[Museum and Art Gallery of the Northern Territory]].<ref name="Birnberg213"/> They are also held in major private collections, such as Nangara (also known as the Ebes Collection).<ref name="Nangara">{{cite web|url=http://www.nangara.com/collection/artists.htm|title=The artists|publisher=Nangara: the Australian Aboriginal art exhibition|accessdate=2 July 2009}}</ref> A finalist in the [[National Aboriginal & Torres Strait Islander Art Award]]s on several occasions,<ref name="Birnberg213"/> she was a section winner in 2000.<ref name="DaisyAA"/> Her work is also featured alongside other Indigenous artists such as [[Gloria Petyarre]] in the Melbourne international airport terminal, completed in 1996.<ref>{{cite journal|last=Battersby|first=Jean|date=1996|title=Art and Airports 2|journal=Craft Arts International|volume=37|pages=49–64}}</ref> ''Antiti, near Five Mile'', a 1998 painting, has appeared as cover art on an issue of the [[Medical Journal of Australia]].<ref>{{cite journal|date=20 May 2002|title=(Cover image) |journal=Medical Journal of Australia|volume=176|issue=10|pages=cover|url=http://www.mja.com.au/public/issues/176_10_200502/contents_200502.pdf|accessdate=13 December 2009}}</ref> |
Revision as of 12:11, 1 April 2010
Daisy Jugadai Napaltjarri | |
---|---|
Nationality | Australian |
Known for | Painting |
Awards | Finalist, National Aboriginal & Torres Strait Islander Art Award: 1995, 1998, 2001 Section winner, NATSIAA: 2000 |
Daisy Jugadai Napaltjarri (c. 1955–2008) was a Pintupi- and Luritja-speaking Indigenous artist from Australia's Western Desert region. Her paintings are held in major collections including the National Gallery of Australia.
Life
![Daytime landscape photo, showing a range of hills with the nearest rising to a rocky red peak, below a blue sky with a few white strings of cloud, and above the tops of eucalyptus trees.](https://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/HAASTS_BLUFF_%28IKUNTJI%29.jpg/320px-HAASTS_BLUFF_%28IKUNTJI%29.jpg)
Daisy Jugadai was born circa 1955 at Haasts Bluff, Northern Territory, daughter of artists Narputta Nangala and Timmy Jugadai Tjungurrayi.[1] The ambiguity around the year of birth is in part because Indigenous Australians operate using a different conception of time, often estimating dates through comparisons with the occurrence of other events.[2]
'Napaljarri' (in Warlpiri) or 'Napaltjarri' (in Western Desert dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although they may be used as terms of address, they are not surnames in the sense used by Europeans.[3][4] Thus 'Daisy Jugadai' is the element of the artist's name that is specifically hers.
Daisy Jugadai has an older sister, artist Molly Jugadai Napaltjarri.[5] Her childhood was spent at both Haasts Bluff and a nearby camp, Five Mile, while she was schooled at Papunya. She married Kelly Multa, and they had a daughter Agnes. They lived on an outstation, Kungkayunti, but Daisy moved back to Haasts Bluff when Kelly died.[6] Daisy died in 2008, her funeral held at Haasts Bluff, where she was born.[6]
Art
Background
Contemporary Indigenous art of the western desert began when Indigenous men at Papunya began painting in 1971, assisted by teacher Geoffrey Bardon.[7] This initiative, which used acrylic paints to create designs representing body painting and ground sculptures, rapidly spread across Indigenous communities of central Australia, particularly following the commencement of a government-sanctioned art program in central Australia in 1983.[8] By the 1980s and 1990s, such work was being exhibited internationally.[9] The first artists, including all of the founders of the Papunya Tula artists' company, had been men, and there was resistance amongst the Pintupi men of central Australia to women painting.[10] However, there was also a desire amongst many of the women to participate, and in the 1990s large numbers of them began to create paintings. In the western desert communities such as Kintore, Yuendumu, Balgo, and on the outstations, people were beginning to create art works expressly for exhibition and sale.[9] Daisy Jugadai learned to draw during her schooling at Papunya and Haasts Bluff.[11] From the Pintupi/Luritja language group, Daisy Jugadai was one of a range of artists who came to painting through the Ikuntji Women's Centre in the early 1990s.[1] She is credited with a significant role in the centre's establishment.[11] She began with screen-printing and linocut printmaking, but quickly shifted to acrylic painting, producing many of her best works during the mid 1990s.[11] Western Desert artists such as Daisy will frequently paint particular 'dreamings', or stories, for which they have personal responsibility or rights.[12] In Daisy's case, these include honey ant, spinifex and emu dreamings.[13]
Career
Throughout the 1990s, Daisy Jugadai was a regular exhibitor at the Araluen Art Centre in Alice Springs, and well as other major exhibitions such as the Australian Heritage Art Awards in Canberra in 1994.[1] She was one of a group of artists whose work was selected for an exhibition that toured regional Australian public galleries in 1999–2000, Ikuntji tjuta – touring, which was curated by Marina Strocchi, the art centre coordinator who had first helped develop the Ikuntji centre in Haasts Bluff some years earlier.[14]
Works by Daisy Jugadai are held by the National Gallery of Victoria,[15] National Gallery of Australia and the Museum and Art Gallery of the Northern Territory.[1] They are also held in major private collections, such as Nangara (also known as the Ebes Collection).[16] A finalist in the National Aboriginal & Torres Strait Islander Art Awards on several occasions,[1] she was a section winner in 2000.[6] Her work is also featured alongside other Indigenous artists such as Gloria Petyarre in the Melbourne international airport terminal, completed in 1996.[17] Antiti, near Five Mile, a 1998 painting, has appeared as cover art on an issue of the Medical Journal of Australia.[18]
Alone amongst the Ikuntji artists, Daisy Jugadai worked at an easel. She cited the Hermannsburg School as an influence on her work.[11] Her works reflect her Tjuukurrpa, the complex spiritual knowledge and relationships between her and her landscape;[19] she also portrayed those of her late husband and late father.[11] Her painting reflects fine observation of the complex structures of the vegetation and environment, its features "obsessively detailed", with the artist "devotedly [including] all the bush tucker of that area", as well as choosing "a time of year in which to depict her country".[14] Vegetation would be carefully painted with a trimmed brush, while even finer detail, such as pollen, would be painted using a matchstick.[6] Describing Daisy's work as "extraordinary", Morag Fraser wrote that "nature is so wholly internalised, and its rendering so uninhibited."[20]
Collections
- Museum and Art Gallery of the Northern Territory[1]
- National Gallery of Australia[1]
- National Gallery of Victoria[15]
Awards
- 1993 — exhibited, 10th National Aboriginal & Torres Strait Islander Art Award[13]
- 1995 — finalist, 12th National Aboriginal & Torres Strait Islander Art Award[1]
- 1998 — finalist, 15th National Aboriginal & Torres Strait Islander Art Award[1]
- 2000 — section winner, 17th National Aboriginal & Torres Strait Islander Art Award[6]
- 2001 — finalist, 18th National Aboriginal & Torres Strait Islander Art Award[1]
References
- ^ a b c d e f g h i j Birnberg, Margo (2004). Aboriginal Artist Dictionary of Biographies: Australian Western, Central Desert and Kimberley Region. Marleston, South Australia: J.B. Publishing. pp. 213–214. ISBN 1-876622-47-4.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Birnberg, Margo (2004). Aboriginal Artist Dictionary of Biographies: Australian Western, Central Desert and Kimberley Region. Marleston, South Australia: J.B. Publishing. pp. 10–12. ISBN 1-876622-47-4.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ "Kinship and skin names". People and culture. Central Land Council. Retrieved 2009-10-23.
- ^ De Brabander, Dallas (1994). "Sections". In David Horton (ed.). Encyclopaedia of Aboriginal Australia. Vol. 2. Canberra: Aboriginal Studies Press for the Australian Institute of Aboriginal and Torres Strait Islander Studies. p. 977. ISBN 9780855752347.
- ^ Martin, Mandy (2005). Strata: deserts past, present and future (PDF). Canberra: Land & Water Australia. ISBN 095 77481 4 0.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ a b c d e Strocchi, Marina (2008). "Daisy Napaltjarri Jugadai (art tribute)". Art and Australia. 46 (1): 61.
- ^ Bardon, Geoffrey (2006). Papunya – A place made after the story: The beginnings of the Western Desert painting movement. University of Melbourne: Miegunyah Press.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Dussart, Francoise (2006). "Canvassing identities: reflecting on the acrylic art movement in an Australian Aboriginal settlement". Aboriginal History. 30: 156–168.
- ^ a b Morphy, Howard (1999). Aboriginal Art. London: Phaidon. pp. 261–316.
- ^ Strocchi, Marina (2006). "Minyma Tjukurrpa: Kintore / Haasts Bluff Canvas Project: Dancing women to famous painters". Artlink. 26 (4).
- ^ a b c d e Kleinert, Sylvia (2000). The Oxford Companion to Aboriginal art and culture. Oxford: Oxford University Press. p. 613.
{{cite book}}
: Unknown parameter|coauthors=
ignored (|author=
suggested) (help) - ^ Johnson, Vivien (1994). "Introduction". Aboriginal Artists of the Western Desert: A Biographical Dictionary. Roseville East, NSW: Craftsman House. pp. 7–12.
- ^ a b Johnson, Vivien (1994). Aboriginal Artists of the Western Desert: A Biographical Dictionary. Roseville East, NSW: Craftsman House. p. 116.
- ^ a b Strocchi, Marina (1999). Ikuntji tjuta: touring. Campbelltown, NSW: Campbelltown City Bicentennial Art Gallery.
- ^ a b "Daisy Napaljarri Jugadai – Memory and Five Mile Creek 1995". NGV Collection. National Gallery of Victoria. Retrieved 2 July 2009.
- ^ "The artists". Nangara: the Australian Aboriginal art exhibition. Retrieved 2 July 2009.
- ^ Battersby, Jean (1996). "Art and Airports 2". Craft Arts International. 37: 49–64.
- ^ "(Cover image)" (PDF). Medical Journal of Australia. 176 (10): cover. 20 May 2002. Retrieved 13 December 2009.
- ^ "Tjukurpa – Anangu culture". Uluru – Kata Tjuta National Park. Department of the Environment, Water, Heritage and the Arts. 2009. Retrieved 18 July 2009.
- ^ Fraser, Morag (1999). "Substance and illusion: crosscurrents in Australian landscape painting and Australian literature". LiNQ. 26 (1): 30.