|
|
|
|
|
|
Art Born of Daily Struggle the . . . painting I saw. . . even if it accepts the label ‘traditional’ as a marketing strategy, in fact arises out of conditions of historical struggle and expresses the contradictions of its production. This is really where its value and interest as ‘serious’ fine art lies; furthermore it may also be its source of social legitimacy. To make other claims is to cheat this work of its position in the modernist tradition as well as to misappropriate it and misunderstand its context. (Eric Michaels, Bad Aboriginal Art (1988), Allen & Unwin, 1994, p147) In viewing art, people like to know what they are looking at, and find it helpful if the work is classified or contextualised in some way for them. With non urban Aboriginal art this is usually done by locating it to a particular region: to an Art Centre in a particular community with specific language groups; family groups of painters are sometimes described in terms of a kind of ‘art royalty’ lineage and genealogies are given so as to position an ‘important’ painter in an anthropological sense. Tangentyere Artists is not like any other Art Centre, the Alice Springs town camps are not like any other community. To begin with there is the sheer diversity of the artists / residents: their language groups; the immense geographic region from which people are drawn; and the extent to which people embrace and survive all that town life has to offer - from the good through to the downright detrimental. Today Aboriginal people are drawn to town by the pull of the ‘bright lights’, to be with family, or to access health care such as renal dialysis. There are also long term town residents – up to 3 and 4 generations of families living in town camps. Contemporary town camp culture is an amalgam of this diversity of language groups, the traditional and contemporary, the old residents and the recent arrivals, with the blessings and curses of western society thrown into the mix. In the introductory quote, Eric Michaels refers to art at Yuendumu twenty years ago ‘arising from historical struggle’ – the art you see in this exhibition arises from historical struggle, but also from daily struggle – every day life is hard for these artists. Many Aboriginal people in Alice Springs have serious health problems and could not travel interstate for their own exhibition because they have heart conditions or would miss their dialysis, for example. Many people have lost immediate family in car accidents / violence / due to ill health / substance abuse, or they have suffered these things themselves. Some have responsibility for bringing up their grandchildren. Many people are illiterate and constantly bewildered by letters from Centrelink or some other bureaucracy, and have difficulty accessing their money. Few people have cars, and if they do might not be able to afford petrol. Most people live in houses with no refrigerator / air conditioning / heating / washing machine, and try to feed themselves and their families with no transport to go shopping. Of the 370 plus artists on Tangentyere Artists’ books only a handful have paid employment; most are long term welfare dependent. Outsiders might see town camp residents as ‘fringe dwellers’ both socially and geographically, but naturally enough, from the residents’ perspective the camps are central not ‘other’ – they are home, and accorded the loyalty which goes with that. Artist Carmel Chisholm says “I like living there (Trucking Yard Camp) because my grandchildren belong to there. I’m a grandmother. They was all born there, my grandchildren. I’m happy in town ‘cause I like [being] with my children and them good dogs still looking after me!” The artists you see represented in this exhibition are the stalwarts of the Art Centre – all women, mainly older (grandmothers, great grandmothers) and a few younger women. They live in different camps within a 20km radius of Alice Springs and speak different languages but share these traits: all are committed, consistent painters, relentlessly positive despite often harrowing circumstances in their lives. Life is hard for these artists in ways most visitors to this exhibition could barely imagine. And yet, in viewing the work and should you be fortunate enough to meet these artists in person, you would realise they are not defined by hardship or suffering. Rather, they are strong, capable, knowledgeable women with a clear sense of self. The work is a great indicator of the character of these artists. One cannot help but to be uplifted by the lyricism of the floating ‘pretty flowers’ in Eileen Moore’s work, the ephemeral wafts of colour created by Carmel Chisholm. There is stability and confidence in the sturdy and map-like knowledge of country expressed by Kitty Collins and Margaret Boko. Yvonne Kunoth’s work dazzles with its precision and order – her painting is concerned with plants and fruits she finds on the Utopia lands (north east of Alice Springs) and her use of colour and layering of dots is both sophisticated and methodically planned. Cheryl Wilson’s ways of describing traditional ideas and knowledge through experimental means is masterly, her enjoyment of using the paint, the colours and the texture are always apparent in her work. The paintings in this exhibition have been created over a 12 month period in history when Aboriginal issues have gained the serious national attention they require. The work in this exhibition however is not a commentary on Governmental policy, such as the Intervention, but rather a snapshot of a time and a place in history. The economic imperative for painting is not the only reason to paint and does not detract from the concerns inherent in the work: reaffirming one’s link to homelands (often distant country); expressing the power and the pleasure of knowledge of one’s place, the plants, the flora, the medicinal purposes of these; where to find water; where ancestors travelled; the telling of personal histories and defining oneself. Painting is an occupation. It is constructive, creative and often a communal activity. It is impossible to work with these artists and not be affected by their world view and distressed by their circumstances. However there are too many hopes pinned on the Aboriginal art industry as being a means of pulling people out of by now the deeply entrenched poverty which has come hand in hand with prolonged welfare dependence, removal from traditional lands and being subjected to decades of changing ideologies and policies. Only a relative few Aboriginal artists hit ‘the big time’ and even when they do, that sudden injection of cash does not necessarily change people’s life expectancy, ensure financial security for their children or protect them from the broader problems many Aboriginal people face today. In many instances the sudden influx of money has been detrimental to individuals, their families and even communities – money alone does not change poverty patterns and cycles and can fuel or fund dysfunctional behaviour. However successful Art Centres such as Papunya Tula are cognisant of these issues and are in a financial position to undertake projects using art earnings for the long term benefit of entire communities – building a renal unit and community swimming pool for example. Against the backdrop of the artists’ daily struggles working in an Art Centre can sometimes feel like rearranging the deckchairs on the Titanic: the temptation is to work frantically trying to fix something over which ultimately, we have no control because we have little impact on the core problems. Simply being armed with ‘good intentions’ and working hard are not enough. The big picture issues need to be addressed. Art Centres are an essential part of life for the artists they serve. Art Centres engage in a dialogue with the artists about their work and give critical feedback. They document stories – not only for interested buyers but become a safe keeping place of such knowledge for future generations, and descendents of the elders who seem to be passing away at an alarming rate. Art Centres work to educate the broader public about Aboriginal culture and concerns. The making of art is engaging, purposeful, creative activity. Art Centres support this activity. This exhibition honours strength in adversity, beauty and success born of struggle. It is dedicated to the now deceased P Brown. The fact that the artists represented here are strong and positive in the face of daily hardship should be applauded and celebrated. But in celebrating these achievements we must also be mindful that there is no reason for complacency.
By Penny Watson |
