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y separately published work icon Yiwarra Kuju: The Canning Stock Route selected work   prose   art work  
Alternative title: Canning Stock Route
Issue Details: First known date: 2010... 2010 Yiwarra Kuju: The Canning Stock Route
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AbstractHistoryArchive Description

Art exhibition Yiwarra Kuju: The Canning Stock Route tells the story of the Canning Stock Route's impact on Aboriginal people, and the importance of the Country that surrounds it, through the works of senior and emerging artists and the stories of traditional custodians. (Source: National Museum Australia website)

Notes

  • "Yiwarra Kuju : The Canning Stock Route, an exhibition at the National Museum of Australia, 30 July - 26 January 2010". (Title page verso)
  • see National Museum Australia website http://www.nma.gov.au/exhibitions
  • Contents indexed selectively.

Contents

* Contents derived from the Canberra, Australian Capital Territory,:National Museum of Australia Press , 2010 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Lumpulumpu, Manmarr Daisy Andrews , single work art work
'These are the hills around Lumpulumpu, a place with mixed memories for me. It is beautiful Country with sad feelings from the past. This is my mother and father’s Country, between Christmas Creek station and Cherrabun station. Before I was born, my family lived around this area. It is good rocky Country. There is good living water here. My father [father’s brother] was killed here at Lumpulumpu.' (Source: Mira webiste)
Kaningarra, Manmarr Daisy Andrews , single work art work
'This is Kaningarra, near Well 48 on the Canning Stock Route. There were little birds that [would] come before the rain to the waterhole, but now it’s all dried up. Old people used to sing for the rain and the birds would come down.' (Source: Mira website)
Cannibal Story, Yunkurra Billy Atkins , single work art work
'My grandfather went to Lake Disappointment … that [cannibal] woman grabbed his arm and put her very long sharp fingernail through his wrist and paralysed him. [She] took him to a group of other cannibals, ready to cook him up to eat. My grandfather is a strong maparn [magic man]. Lucky for him, he got out of there. They were trying to kill him and eat him.' (Source: Mira website)
Kumpupirntily Cannibal Story, Yunkurra Billy Atkins , single work art work
' It’s dangerous, that Country. I’ve seen that [cannibal] man, he’s there and I know it. I don’t know how white people go over there. If they were to run into him he would eat them straight out. Kumpupirntily, that’s a no good place … leave it alone and have nothing to do with it at all. Just leave it how it is.'
Puntawarri, Hayley Atkins , Pukarlyi Milly Kelly , single work art work
'Puntawarri is the Country where Pukarlyi grew up as a young girl. This painting is a collaborative work by Pukarlyi and her granddaughter, Hayley Atkins, one of the curators of this exhibition. ' (Source: Mira website)
Canning Stock Route and Surrounding Country, Ngamaru Bidu , Jakayu Biljabu , Morika Biljabu , Clifford Brooks , single work art work
'Kumpaya Girgaba laid out the initial design for this painting, which all the artists collaboratively customised and elaborated. When the painting was nearing completion, Kumpaya called out the names of all the waterholes depicted here. This painting, which was produced by 14 women artists at Kunawarritji (Well 33), represents a stretch of Country crossed by the Canning Stock Route. It depicts a number of the waterholes that were made into wells, but many other permanent and ephemeral water sources are also included. When the Canning Stock Route was in use as a droving highway, many of the artists relied on these other waters to ensure their safe passage through this contested land.' (Source:Mira website)
Martilirri, Kalypa, Kartarru, Ngamaru Bidu , single work art work
'This is a well called Martilirri [Well 22]. And around there is also Kalypa [Well 23] and Kartarru [Well 24], in the middle. And in summertime we could stop in those places because they have permanent water. After the rain we could move back to our homeland because the rock holes and soaks would all be filled again. And the footprints are a Dreamtime story of a man looking for a water. Wanti [woman] and a man travelling together and flying. When they checked it, there was no water around that rock hole, and when there was no water they flew. They went forever. That was in the Dreamtime when they were walking around.' (Source: Mira website)
Martumili Ngurra, Ngamaru Bidu , Jakayu Biljabu , single work art work
Six Martu women from central Western Australia created this painting, Martumili Ngurra, to tell the stories of their country.
Kumpupirntily, Yunkurra Billy Atkins , Jakayu Biljabu , single work art work
'This painting shows two different chains of waters in the artist’s Country leading towards Kumpupirntily (Lake Disappointment). The larger black circles on the left of the painting depict ‘rubbish one waterholes, green one [algae] killed the water’. The smaller circles in the white line of Kupayiyura (Savory Creek) have been kept clean.' (Source: Mira website)
Wikirri, Jakayu Biljabu , single work art work

'Wirnpa and another man were travelling from the west. When he landed at Wikirri, he spread all the food, mitutu, nyunjin and yukiri seeds.'

'At Yinyaru, they saw flashing lights and the man found an enormous hailstone pulsating with light. He flew with Wirnpa, holding the hailstone against his belly. He dropped it when it became too heavy, and they picked it up and kept going.' (Source: Mira website)
Minyipuru, Jakayu Biljabu , single work art work
'This painting describes the journey of the Minyipuru while they were still travelling as a large group of sisters and their mothers. The white U-shapes represent them as they flew close to Parnngurr, where women’s law tells that an important event took place. Afterwards, they flew on to Kalypa. The dance for this site is performed by both men and women.' (Source: Mira website)
Kiriwirri, Jarran Jan Billycan , single work art work
'This painting represents the tali (sandhills), jila (waters) and warla (salt lakes) in the Country surrounding the artist’s birthplace.' (Source: Mira website)
Blood on the Ground, Wells 33–41, Clifford Brooks , single work art work
'Clifford’s father, Charlie Brooks, was away travelling when Rover was taken by drovers. When Charlie returned and found Rover gone, he went looking for him. On this journey he encountered a horrible scene somewhere near Well 41' (Source: Mira website)
Kunawarritji to Wajaparni, Clifford Brooks , Putuparri Tom Lawford , single work art work
'This tapestry is based on a collaborative painting, by eight Indigenous men from regions around the Canning Stock Route, which was acquired by the National Museum of Australia in 2008.The Canning Stock Route, running almost 2,000 km across Western Australia, marks an intersection of Indigenous and non-indigenous histories.Their painting depicts the layout of the land where, for generations, their tribes have come together to trek from waterhole to waterhole, covering the 200 km between Kunawarritji and Wajaparni.' (Source: austrapestry website)
Lake Disappointment, Clifford Brooks , single work art work
Clifford Brook's father set off in search of his brother Rover Thomas from Martilirri (Well 22), just north of Lake Disappointment. Clifford painted this canvas on his return from the ‘return to Country’ trip, having been given permission to paint this area by Jeffrey James, who, like Clifford’s fathers, also belongs to Kunawarritji (Well 33).
My Father Looking for His Brother, Clifford Brooks , single work art work
'Charlie Brooks and Rover Thomas were finally reunited in the 1980s, a lifetime later, after family recognised the artist’s face in a newspaper. ' (Source: Mira website)
Wantili (Well 25) to Wuranu (Well 29), Jiwara Sarah Brooks , Mantyil May Brooks , single work art work
'Wantili is significant because this is where Kartujarra, Manyjilyjarra, Putujarra and Warnman people all come together. It is a jurnu (soak) and a claypan, where Jukurrpa women threw seeds. Well 25 is located close to Wantili at Yilkarr, but because of the site’s significance this well is usually referred to as Wantili.' (Source: Mira website)
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y separately published work icon Remote Avant-Garde : Aboriginal Art under Occupation Jennifer L. Biddle , London : Duke University Press , 2016 12379857 2016 multi chapter work criticism

'In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation. Following directly from the unprecedented success of the Western Desert art movement, contemporary Aboriginal artists harness traditions of experimentation to revivify at-risk vernacular languages, maintain cultural heritage, and ensure place-based practice of community initiative. Biddle shows how these new art forms demand serious and sustained attention to the dense complexities of sentient perception and the radical inseparability of art from life. Taking shape on frontier boundaries and in zones of intercultural imperative, Remote Avant-Garde presents Aboriginal art "under occupation" in Australia today.' (Publication summary)
y separately published work icon Remote Avant-Garde : Aboriginal Art under Occupation Jennifer L. Biddle , London : Duke University Press , 2016 12379857 2016 multi chapter work criticism

'In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation. Following directly from the unprecedented success of the Western Desert art movement, contemporary Aboriginal artists harness traditions of experimentation to revivify at-risk vernacular languages, maintain cultural heritage, and ensure place-based practice of community initiative. Biddle shows how these new art forms demand serious and sustained attention to the dense complexities of sentient perception and the radical inseparability of art from life. Taking shape on frontier boundaries and in zones of intercultural imperative, Remote Avant-Garde presents Aboriginal art "under occupation" in Australia today.' (Publication summary)
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Last amended 8 Jul 2021 15:17:46
Subjects:
  • Canning Stock Route, Central desert areas, Western Australia,
Common subjects:
Settings:
  • ca. 1800-1900
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