Clifford Possum Tjapaltjarri, Warlugalong 1977; Rover Thomas, Cyclone Tracy 1991, Roads meeting 1987 and One hid under the bullock's hide 1991; Emily Kam Kngwarray, Ntange Dreaming 1989, Wam awely 1995 and Untitled 1981; Poly Ngal, Bush Plum Country 2002; Paddy Jupurrurla Nelson, Paddy Tjapaltjarri Sims, Kwentwentjay Jungurrayi Spencer, Yanjilypiri Jukurrpa (Star Dreaming) 1985; (sculpture) Jarinyandu Downs, Kurtal c.1983 and (floor plinth) Doreen Reid Nakamarra, Untitled 2007
William Barak, Corroboree 1895; Mickey of Ulladulla, Not titled c.1888; Munggurrawuy Yunupingu, Fire story at Caledon Bay c.1963; Mawalan Marika, Coming of the Macassan traders 1964; Wamud Namok, The artist's country, Liverpool River 1975, and Ankung Djang II 2004; Peter Marralwanga, Ngalyod, the Rainbow Serpent swallowing a woman c.1980 and Ngal-Kunburriyaymi 1982 and Yirawala, Kundaagi, Red Plains Kangaroo 1962
Clifford Possum Tjapaltjarri, Warlugalong 1977; Rover Thomas, Cyclone Tracy 1991, Roads meeting 1987 and One hid under the bullock's hide 1991; Emily Kam Kngwarray, Ntange Dreaming 1989, Wam awely 1995 and Untitled 1981; Poly Ngal, Bush Plum Country 2002; Paddy Jupurrurla Nelson, Paddy Tjapaltjarri Sims, Kwentwentjay Jungurrayi Spencer, Yanjilypiri Jukurrpa (Star Dreaming) 1985; (sculpture) Jarinyandu Downs, Kurtal c.1983 and (floor plinth) Doreen Reid Nakamarra, Untitled 2007
MASTERWORKS FROM THE NATIONAL GALLERY OF AUSTRALIA
me Collectors Room, Berlin
17 November 2017 – 2 April 2018
National Gallery of Modern Art
New Delhi, 15 June – 26 August 2018
In 2016, the Department of Communications and the Arts and the Department of Foreign Affairs and Trade (DFAT) were looking for a visual arts project to feature in the upcoming festival Australia Now in Germany the following year. Despite the very short time frame, Franchesca Cubillo, Senior Curator of Aboriginal and Torres Strait Islander Arts curated a superb exhibition and with generous sponsorship from Qantas Freight and substantial funding from the Department of Communications and the Arts and DFAT the exhibition was made possible.
Caption
The show was incredibly popular with Berlin audiences and provided great exposure of the NGA’s collection and the featured First Nations artists, to the many important European museum and gallery directors who visited the exhibition. The exhibition was also an important tool for Australia’s cultural diplomacy and provided the perfect opportunity to promote Australia’s creative excellence, diversity, and innovation, and strengthen the Australia – Germany networks.
Following the launch in Germany the exhibition then toured to New Delhi – an idea that blossomed and was executed in under five months.