Queensland Art Gallery Annual Report 1993-94

Yalanja, O w e n CONTEMPORARY (Kuninjku) A u s t r a l i a c . 1 9 6 0 AUSTRAL IAN ART Y a w k y a w k 1992 Acquisitions of contemporary Australian art during the 4 f I n t e r n a t i o n a l Year for the World's Indigenous People included a I I I s t r o n g component of works by Aboriginal artists. Significant acquisitions included three works representing the resurgence in the 1970s of painting at Papunya in JJ Central Australia: Dingo Dreaming 1978 by Mick Namerari Tjapaltjarri, Medicine Corroboree Dreaming 1971, and Old man's bush tucker Dreaming 1972 by Johnny Warrangula Tjupurrula. The acquisi- tion of Barramundi Dreaming 1989, a large painting by Rover Thomas from the Kimberleys, has given the Gallery a major example of Western Australian Aboriginal art. The Aboriginal sculpture collection was expanded with the acquisition of three large sculptures T h o m a s , Rover ( k u k a t j a / W a n k a j u n g a ) from Arnhem Land. These were , \ A u s t r a l i a b . 1 9 2 6 Yawkyawk 1992 by Owen Yalanja B a r r a m u n d i D r e a m i n g 1 9 8 9 and Morning Star ceremonial poles - Mularra and Buyamali 1992 by Jack Nawilil (both from Maningrida), and Gurrmirringu—First man 1992 by David Malangi from Rarningining. Three Burial poles and an early example of painting on canvas by Paddy Fordham Wainburranga, from Katherine in Arnhem Land, have also been acquired. The Gallery continued to acquire the work of contemporary Queensland artists. New paintings included Bitch magnet 1993 by Robert Moore, Brisbane # 6 1992 by Sandy Herberte, Virgins 1993 by Anne Wallace, and four panels from the 'Underlay' series by Sebastian Di Mauro, which variously explore themes of raucousness, alienation 26