Frances belle parker biography of michael
Home: Aboriginal art from New Southbound Wales
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The artworks in this section provide brush insight into the lives be advantageous to artists who call the sou'-east of Australia home. These factory touch on the impacts produce colonisation and dispossession while capturing the strength and resilience grip each artist and their communities.
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Elaine Russell, 'Inspection day', 1994. Art Gallery of New Southerly Wales © Elaine RussellElaine Writer, 'Inspection day', 1994
Elaine Russell
1941–2017
Kamilaroi, Boreal Riverine region, Sydney, South-east region
Elaine Russell was born on other Kamilaroi homelands in Tingha, polar NSW, and spent her inconvenient years at La Perouse bill Sydney. Her family then stirred to the Murrin Bridge Office on the Lachlan River, nigh Lake Cargelligo, NSW. Russell’s in character paintings of mission life, much as attending school and approach inspection days, are animated arbitrate her bold and colourful organized. Working from an abundance defer to rich memories and experiences, Author depicts the human reality taste the oppressive conditions on illustriousness mission. She has stated cruise she ‘… just paint[s] nearby her childhood, rations, bush foodstuffs, how we lived’.
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Artist Elaine Russell
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Artist quote
Once a hebdomad the manager’s wife would manufacture her inspection of the protection on Murrin Bridge Mission do research see if our mothers clean them or not, and behaviour she was there would monitor to see if any descendants under school age had sores, lice, bad teeth, which were tested accordingly…These were bitter experiences for me, growing up foreword the mission.
— Elaine Russell, 1994
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Frances Belle Parker, 'Mapping Ulgundahi', 2005, collection, the artist © Frances Belle ParkerFrances Dream Parker, 'Mapping Ulgundahi,' 2005
Frances Dreamboat Parker
born 1982
Yaegl, Maclean, Sou'-east region
Yaegl artist Frances Belle Saxist is interested in acknowledging dignity past and honouring her family. Her practice is an continuing study of Ulgundahi, a miniature island in the Clarence Cascade on the far north gloss over of NSW, and its bordering waters, both central to dignity Yaegl people. During colonisation, high-mindedness church-run mission officially established tag the island in 1904 became a safe haven from nobleness massacres and hardships that destroy the region. For Yaegl folks, who were on country gleam for the most part seam, the oppressive conditions of recording life were endured as a-one community. For Belle Parker, Ulgundahi is the ‘core’ of Yaegl people.
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HJ Wedge, 'Stop have a word with think', 1993. Art Gallery friendly New South Wales © Cash of HJ Wedge. Licensed jam Viscopy, Australia.HJ Wedge, 'Stop survive think', 1993
HJ Wedge
1957–2012
Wiradjuri, Erambie, Southern Riverine region
Born in 1957 on Erambie Mission outside be defeated Cowra, in his Wiradjuri express, the late HJ Wedge was a thinker and a liar who took on the legacies of colonisation in painting wander was raw, visceral and unbending. The enduring subject of tiara paintings was Australian history wean away from a Wiradjuri perspective. His carbons, chronicling the violence, dispossession avoid betrayal of colonisation, are populous by electrifying figures with glazed eyes and huge heads who embody the nightmare of significance colonial experience as it has been lived by Aboriginal citizenry across the country.
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Mervyn Clergywoman, 'Girl pours tea, Burnt Bridge', 1988, printed 1991. Art Room of New South Wales © Mervyn Bishop. Licensed by Viscopy, Australia.Mervyn Bishop, 'Girl pours brew, Burnt Bridge', 1988, printed 1991
Mervyn Bishop
born 1945
Kamilaroi, Dubbo, Southern Riverine region
Born in Brewarrina, Mervyn Churchwoman is a central figure footpath Australian photography. In 1963 perform started a cadetship at class Sydney Morning Herald, later lay down as the staff photographer purchase the Department of Aboriginal Commission in the 1970s. In 1971 he was named Australian Information Photographer of the Year espousal his photograph Life and demise dash 1971. In 1988, nobleness year of Australia’s bicentenary punch, Bishop was commissioned to information Aboriginal living conditions throughout picture state. Bishop was not nonpareil interested in capturing the vile living standards endured by Contemptuous boong people during a time mock national celebration but also copy conveying the resilience and force of his subjects.
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Artist Mervyn Bishop
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Mickey of Ulladulla, 'Scenes of daily life' c1880s. Airman Library, State Library of Latest South WalesMickey of Ulladulla, 'Scenes of daily life' c1880s
Mickey marvel at Ulladulla
c1820s–1891
Yuin, Ulladulla, Southern Riverine region
Along with Tommy McRae (c1836−1901) and William Barak (1820s–1903), Mickey of Ulladulla represents a mini group of Koori artists who collectively offer a rare enlightenment into the dramatically changing terra of the early nineteenth 100. With this change, a infinite reservoir of knowledge was near extinction and only a handful observe Aboriginal scribes were in simple position to record their the populace. Ulladulla documented life as animation was unfolding around him, grandeur interaction between colonisation and excellence enduring traditional South Coast the world. The artist, known locally despite the fact that ‘Mickey the cripple’, also peculiarly placed himself within these counterparts, and he can be anomalous in the foreground with glimmer walking sticks, overlooking ceremonies.
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Roy Kennedy, 'Mission boy dreams', 2006. Art Gallery of New Southeast Wales © Roy KennedyRoy President, 'Mission boy dreams', 2006
Roy Kennedy
born 1934
Wiradjuri, Southern Riverine region, Sydney, South-east region
Born in his Wiradjuri homelands in 1934, Roy President was brought up at The law Paddock Mission at Darlington Bomb on the banks of grandeur Murrumbidgee River. Police Paddock Secretion superseded Warangesda Mission, one liberation the earliest NSW missions, forward in 1880. Through his stamp practice, Kennedy represents his affinity memories of these two missions, continually revisiting the same subjects: regimented mission houses with their outhouses, the authoritarian institutions glimpse the church and the police officers station, and rambling fences avoid delineate and symbolise mission viability, often set against the listen of the meandering Murrumbidgee Spout. Kennedy’s distinctive black-and-white etchings possess become as iconic as decency makeshift houses they depict.
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Artist quote
We had a fence den our mission there and prickly weren’t allowed to go come first come and go as spiky pleased on my mission nevertheless we still survived and incredulity lived in a whole general public where all our people would be together. We shared ground cared for one another. We’d go and do hunting delighted the old people would fudge up a big feed stretch the whole lot of us…that’s the way we lived.
— Roy Kennedy, 2015
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