{"id":3331,"date":"2023-05-03T18:11:20","date_gmt":"2023-05-03T18:11:20","guid":{"rendered":"https:\/\/madayin.kluge-ruhe.org\/?p=3331"},"modified":"2023-05-11T03:03:16","modified_gmt":"2023-05-11T03:03:16","slug":"humanities-magazine-aboriginal-expressionism","status":"publish","type":"post","link":"https:\/\/madayin.kluge-ruhe.org\/humanities-magazine-aboriginal-expressionism\/","title":{"rendered":"Humanities Magazine: Aboriginal Expressionism"},"content":{"rendered":"\n

Originally published as \u201cAboriginal Expressionism\u201d<\/a> in the Spring 2023 issue of Humanities<\/a><\/em> magazine, a publication of the National Endowment for the Humanities.<\/a><\/p>\n\n\n\n

<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Ma\u1e0fayin<\/em>, a monumental survey of Aboriginal Australian bark painting at the American University Museum in Washington, D.C., opens with the image of a shark<\/a>, anchored in a sea of black and rust-red brushwork, speared. Next, a crocodile shoots fire across an ocean, wire-thin strokes of white giving way to pools of russet and amber.<\/p>\n\n\n\n

The show, its name translating to \u201csacred\u201d and \u201cbeautiful,\u201d comprises more than 80 paintings: most elongated, some figurative, and all deceptively simple. What appears at a distance as a dense field of color is up close a latticework of delicately handled pigment, each stroke intentional.<\/p>\n\n\n\n

\u201cWe want you to come to the grassroots level, to sit in the sand and let us show you a different way of coming to the paintings,\u201d Wukun Wanambi, one of the show\u2019s curators, writes in the exhibition catalog, insisting on a kind of looking as expansive as the pictures themselves. These works on bark, all from Yirrkala in northern Australia, are layered with meaning, gesturing to\u2014or, precisely, embodying\u2014ancestral beings.<\/p>\n\n\n\n

To the Yol\u014bu, or Indigenous people living in the northeast Arnhem Land region (the word \u201cYol\u014bu\u201d translates to \u201cpeople\u201d), these works are far from folktales; they are alive, thunderously, in the here and now.<\/p>\n\n\n\n

In Ma\u1e0fayin<\/em>, walls of indigo and white are arrayed with variegated, column-like barks: Intricacy is vividly on display. The curators, some of whom are Indigenous artists themselves, let the Yol\u014bu speak. The show\u2019s bilingual catalog<\/a>\u2014a series of artist essays presented first in the painters\u2019 native languages, then in English\u2014foregrounds the artists, who are also authors in their own right. Here are people worth knowing, the show proclaims, here is a story worth telling.<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

The story begins, in Ma\u1e0fayin<\/em>, when five Japanese fishermen were killed, in 1932, at Caledon Bay in northern Australia. Three Yol\u014bu men, sons of the clan leader Wo\u014bgu Munu\u014bgurr, were sentenced to prison for the murders. Australian anthropologist Donald Thompson was sent to the community on a peace mission, later organizing for the release of Wo\u014bgu\u2019s sons. In thanks, the clan leader painted for Thompson, in 1935, a lively work on bark\u2014the earliest in the show<\/a>\u2014peopled with lizards, tortoises, and other abstracted designs, silhouetted against a wash of black pigment.<\/p>\n\n\n\n

While bark painting in Australia has a long history\u2014there are nineteenth-century accounts of paintings on the walls of bark huts\u2014Wo\u014bgu\u2019s 1935 picture signaled the beginning of the practice in Yirrkala. Preserved under glass in the exhibition, the only work so presented, Wo\u014bgu\u2019s painting is sacred, jewel-like\u2014a superbly rendered claim on the land.<\/p>\n\n\n\n

\u201cEvery time [the Yol\u014bu] have their backs against the wall, they have responded by producing art, by producing masterpieces,\u201d notes Henry Skerritt, curator at the University of Virginia\u2019s Kluge-Ruhe Aboriginal Art Collection, which co-organized the show with the Buku-Larrnggay Mulka Centre<\/a> in Yirrkala. \u201cThey have responded to aggression with this beautiful gift of art, and, in the long run, the Yol\u014bu have prevailed.\u201d<\/p>\n\n\n\n

The paintings are more than art. To the Yol\u014bu, they are a way of keeping ancestral beings alive, of \u201csinging life,\u201d as artist Djambawa Marawili puts it. The poet Mona Tur, writing about Ayers Rock in central Australia, captures something of their pathos: \u201cMy heart bleeds, our beloved rock . . . \/ As evening comes, . . . your haunting beauty \/ Mirrors beauty beyond compare.\u201d<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Midway through the show is a work of electric blues. A departure from the exhibition\u2019s sand-tinged palette, the bark reverberates with a life all its own. Following a car accident, artist Dhambit Munu\u014bgurr<\/a> was unable to grind the traditional ochres normally applied as bark pigments and turned instead to acrylics. The effect is arresting. At the azure-blue picture\u2019s center is the sacred rock Dhambit, from which the artist takes her name. Meanwhile, the ground is overlaid with cobalt-blue, Basquiatesque, octopuses. Nothing is still in this bark. Passages of navy and black cut across the visual field like glass shattering.<\/p>\n\n\n\n

These bark paintings, Skerritt says, represent \u201cone of the modern and contemporary art movements of our time.\u201d<\/p>\n\n\n\n

Indeed, when the National Gallery of Victoria, in 1995, staged a show of Indigenous bark paintings<\/a>, the director chose to hang Pablo Picasso\u2019s\u00a0Weeping Woman<\/em>\u00a0opposite the exhibition entrance, a nod to the barks\u2019 modernism and their growing popularity.<\/p>\n\n\n\n

But this popularity is relatively new. In the preface to a 1965 catalog of Australian Aboriginal bark paintings, the work is described as the \u201cart of primitive people,\u201d adding that the barks are \u201cat first sight simple and ever childlike.\u201d<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

The Milky Way<\/em> (2019)<\/a> is a powerful rejoinder to this. Hanging in the show\u2019s second, half-lit, room, the bark is layered with thick bands of bespeckled black and white pigment. Intercut with four-point stars that seem to emerge and recede, it is suspended, aglow. For artist Naminapu Maymuru-White, the work speaks to two qualities of the Yol\u014bu aesthetic: shimmering brilliance, or bir\u2019yun<\/em>, and faintness, or buwayak<\/em>, the latter harking back to the soul\u2019s transition to the spiritual realm. The work feels hushed, careful not to give itself away. As anthropologist Howard Morphy puts it, the bark exudes \u201cthe felt presence of a transcendent spirit seen \u2018through a glass darkly,\u2019\u201d referring to Paul\u2019s first letter to the church in Corinth, wherein truth, in this life, is known only obliquely.<\/p>\n\n\n\n

Most of the catalog essays open with a kind of disclaimer: \u201cI can only talk of the surface part of the story,\u201d says artist No\u014bgirr\u014ba Marawili<\/a>. Her work, of orbs oscillating on fields of dust-pink and brown, contains secret or esoteric meanings. For the Yol\u014bu, each painting tells multiple stories: some restricted and some public. What is restricted, and known only to initiated men, runs parallel to what is public. As Morphy insists, the Yol\u014bu\u2019s theory of knowledge is cumulative: \u201cThe layering is as important as the secrecy.\u201d<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Layers abound in Wa\u014bupini <\/em>(Clouds<\/em>)<\/a>, a bark piled high with rippling black flourishes. A signal of monsoon rains to come, the billowing clouds float on a cobweb-like bed of razor-thin brushstrokes. The joy is in following the lines, losing oneself at every turn.<\/p>\n\n\n\n

A fluidity of perspective permeates Ma\u1e0fayin<\/em>. Forms are elusive, patterns break free of their mold: Everything is tenuous. At first glance\u00a0Retja I<\/em>\u00a0(Rainforest I<\/em>)<\/a> is a subtle play of blossoms. Up close, its sumptuous, cranberry-red berries spiral, as if rustling in the wind. In the catalog, Wa\u1e49ambi writes, \u201cWhen we see the flowers blossoming, we sing,\u201d each bud a reminder of the ancestors who will \u201cbloom again.\u201d<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

In Bonba<\/a><\/em>, an energetic field of russet-red and burnt-orange stripes is interrupted by a flurry of white feather-like forms. The figures, we learn, are by turns humans, butterflies, and kites, their very being flitting back and forth. \u201cTheir physical identity is unstable,\u201d anthropologist Frances Morphy writes in the catalog. \u201cThey move easily between two states of being.\u201d Here, as elsewhere, the world is in flux.<\/p>\n\n\n\n

Traversing the show are stories of the ancestors. Known as songlines, these stories are traditionally sung in ceremonies and are recorded in the catalog and the show\u2019s wall text in a kind of prose-poetry. One songline, reproduced in the exhibition book, recalls lost souls: \u201cThe wind comes singing for the dead \/ Hear its song as it chases over the rocks.\u201d Each line transcends what is, thrilling to what has been and will be. \u201cThese songlines,\u201d artist Wanyubi Marika remarks, \u201ctake you to another world, different from the physical world.\u201d<\/p>\n\n\n\n

By singing these prose-poems, by painting them, the center can hold. These stories, Marika stresses, exist within his very being, never to be lost: \u201cStand in both worlds if you want. But make sure you hold this one first: your roots and your foundation.\u201d<\/p>\n\n\n\n

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Ma\u1e0fayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala at American University Museum, Washington, D.C. Photo by Tom Cogill.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Among the most absorbing works in the show is Dhatam | Waterlily<\/em> (Nymphaea sp.<\/em>)<\/a>, a picture of interlocking lace-like spheres softly veiling the deep, receding space. The painting, alive with a silvery tonality, feels impermanent: In a second, it might be gone. Dreamlike, the densely packed water lilies seem to take flight, one after another, then all at once.<\/p>\n\n\n\n

The speared shark that opens Ma\u1e0fayin,<\/em> we learn in the adjacent wall text, calls out in anguish: \u201cMy flesh is broken with weariness \/ Where is my home?\u201d For a moment, he is lost to us, a mere shadow among forms. But, in the upper half of the bark, we can make out the subtle strokes of his fins, set against the motley pattern of the ground. He has found his way, pronouncing by the text\u2019s end, \u201cHere I am.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

Angelica Aboulhosn is an associate editor for HUMANITIES<\/a> magazine.<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

In Ma\u1e0fayin, walls of indigo and white are arrayed with variegated, column-like barks: Intricacy is vividly on display. The curators, some of whom are Indigenous artists themselves, let the Yol\u014bu speak. The show\u2019s bilingual catalog\u2014a series of artist essays presented first in the painters\u2019 native languages, then in English\u2014foregrounds the artists, who are also authors in their own right. Here are people worth knowing, the show proclaims, here is a story worth telling.<\/p>\n","protected":false},"author":4,"featured_media":3342,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[104,6,8],"tags":[15,106,23,14,10,13,12,11],"acf":[],"yoast_head":"\nHumanities Magazine: Aboriginal Expressionism - Kluge-Ruhe: Madayin<\/title>\n<meta name=\"description\" content=\"Angelica Aboulhosn reviews Madayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala for Humanities Magazine.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/madayin.kluge-ruhe.org\/humanities-magazine-aboriginal-expressionism\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Humanities Magazine: Aboriginal Expressionism - 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