Luritja Pintupi

In comparing The Tibetan Mandala and the Navajo Sand painting the sand drawings are from different cultures, yet their purpose is the same. A better understanding and appreciation comes with looking at these works.

Australia is a young, modern country made up of a diverse and multicultural population, therefore, it’s difficult to say that it has a single national identity. This essay will examine what Australia’s identity may look like, specifically, through art.

The fourth lesson will be analyse the content of the picture book “Why I love Australia” by Bronwyn Bancroft. The lesson involves: discovering the visual art element and principals of the illustration (VAES1.3); introduce the artist Bronwyn Bancroft (VAES1.3); explore the traditional Indigenous feature and art technique used in the illustration (VAES1.3); reading the book to class, and guiding student to discover the relation between the words and pictures (ENe-1A).

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Onus’s works often involved the symbolism from Aboriginal styles of painting, along with recontextualisation of modern artistic postmodern elements. For example in his work: ‘Barmah Forest’. It is a painting of red gum forests of his father's ancestral country, and

This work shows Standing Bear’s experience of the battle, which was the battle where Sitting Bull and Crazy Horse, leaders of the Sioux on the Great Plains, fought against U.S. Lieutenant George A. Custer. The Native American warriors can be identified as the bright colored figures wearing the feathered war bonnets. The U.S soldiers appear more gray toned and darker. The image shows an overall chaotic scene full of movement and conveys intensity. It gives an excessive sense of what the Native Americans were fighting for. To protect and keep their homeland from invaders and from what the object label says, “the small tipis represent a summer village for hundreds of families”, they were just humans who had families and sought to shield their

A dog tag belonging to a US soldeir who died during WWII in Italy has been returned to his relatives in America, after an Italian family launched a search to track them down.

Warmun art has been at the forefront of contemporary art. Their art consists of dotting techniques and the use of natural ochre and pigments on canvas “which is integral to the contemporary expression of land and culture as identity for Gija people” ("Warmun Art Centre | Kimberley”). The use of dots, lines and tonal colors in their paintings creates an aerial perspective of their land. The history of massacres and violence is a large part of their oral tradition and is often depicted in their art. Warmun artists also draw on traditional Ngarranggarni dreaming stories which refers to “the time when the landscape took its

The painting is done by artist Djambalula (1908-1960), the Aborigene from Northern Australia. Unfortunately there is no information about him, except few photos of paintings that he produced, all of which are expected in traditional style. Djambalula follows the artistic convention of Australian Aborigines that was established thousand years ago. The painting is done on the small tree bark, approximately 13 x 16 in. Bark tree is a traditional medium for Australian visual art, along with rock and cave painting.

As a representative artist of Cahokia, my duty is to draw and paint the everyday weather of the region near the Mississippi River and to express the daily routine and lifestyle of the Cahokians through aesthetic works such as documenting pictures or using writing letters on the wall as an essential record for the Cahokian government. After the abundant food production in Cahokia, various people from different regions visited and adapted in the new kind of civilization. People created colorful wooden homes, monuments, and towers to praise the grateful weather as it provided right amount of sunlight, rain and wind in order to grow crops to satisfy and fulfil the stomachs of large population. Moreover, the climate did not have abnormal patterns throughout most of the periods. To appreciate this stable climate, I decided to express the clear sunrise that is observed from the top of the Monk’s Mound.

Parallel to the mortals resided the Lumottu Valtakunta, which means Enchanted Kingdom. Lumottu Valtakunta is this bright area that is very warm and sunny all the time. It is always day and it has beautiful water fall trickling down the edge of the cliffs that surround it. There are an abundance of trees and flowers blooming all over the land. A thin veil exists between the mortal realm and the Lumottu Valtakunta that can be crossed in the in between places known as the “Tween.” The Tween exists between doorways, shadows, intersections, and the biggest portal exists at midnight, the in-between of night and day. Here in Lumottu Valtakunta, existed fairies, mischievous, but good-beings of nature. They are tiny winged-creatures. They attempt to

In 1992 Pantijiti met a well-known and respected artist in Perth, Nalda Searle’s, which encouraged Pantijiti to tell her own story by including more colour in her dot paintings. Pantijiti took that suggestion from Nalda and started to include animals, reptiles and people in her artwork which suggested an Arcadian view of Pantijitis early life in her Country. “In her early paintings… deploys the visual language synonymous with Western Desert art: aerial perspectives of landscape overlayed with concentric circles, animal tracks, footprints, U-shapes and straight lines, and more figurative forms.” (Artlink.com.au) Pantijiti expresses most of her art for Country. Pantijiti does identify to Indigenous connections, there’s no indication of her not

Onus was a Scottish-Aboriginal Artist, whose work has been greatly influenced by his father who became the founder of the Aboriginal Advancement League. This has amplified his cultural connection to the welfare of aborigines and his reflections upon their treatment in past years. The piece, ‘Maralinga’ (1990) is a sculpture composed of fibreglass, pigment, plexiglass and paper stickers. The subject of the piece is of a mother protecting her child from an atomic bomb blast. Maralinga is located in the remote western areas of South Australia and was the home of the Maralinga Tjarutja, a southern Pitjantjatjara Indigenous Australian people. Onus has used this sculpture to reflect on the way these people and their sacred land has been destroyed due to secret nuclear tests ordered by the British

The painting shows the landscape of a famous scene in the Bible. The painting is from when Domenichino was young. The painting shows that God showed Moses the burning bush to confirm his divine mission to lead the people of Israel out of Egypt. It shows that Moses is scared of the Burning Bush and most follow Gods

The painting shows a two-dimensional image of the destruction of the Serbian forest. The artist Roger Brown uses oil paint to create texture and depth of image in the painting. Brown uses different art styles such as surrealism to depict the intensity of the Siberian explosion in 1908.