Preamble
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II
Introduction[1]
Located within the Casuarina campus of Charles Darwin University in Darwin, Northern Editions collaborated with artists to produce limited edition fine art prints between 1993 - 2014.
Northern Editions' team of printmakers conducted printmaking workshops on campus and in remote communities with artists from across the Top End, Central Australia, the Kimberley and Queensland. Northern Editions predominately worked through indigenous-governed Aboriginal Art Centers and facilitated printmaking as a viable art form and source of income to hundreds of artists.
Northern Editions have published etchings, silk screen prints, lithographs, Japanese woodblocks and linocuts by many of Australia's most famous Aboriginal artists. Well-known artists who have worked with Northern Editions in the past include the late Rover Thomas, Queenie McKenzie, Prince of Wales, Sally Gabori and Dorothy Napangardi (to name only a few!)
The artists created the matrix from which the prints were editioned. This involved carving a design into a lino or wooden block, drawing onto a stone (lithograph), painting on a zinc plate (etching), or acetate sheet (screen-print).
The artist collaborated with a senior Northern Editions printmaker who would advise on technical aspects of production. Each matrix was then editioned by hand in the Northern Editions Printmaking Studio. Each print from an edition was numbered, embossed with the Northern Editions 'chop mark' and signed by the artist. Limited edition prints were considered to be multiple originals.
Visitors, cultural institutions and private collectors from around the world have purchased prints from their comprehensive stock room. Selected Northern Editions prints have achieved investment status and have dramatically increased in value since their publication.
The Charles Darwin University Art Collection and Art Gallery’s permanent holdings feature more than 1,000 limited edition prints. Since 1993, the Collection has been the beneficiary of workshop proofs of prints gifted by Northern Editions Printmaking Studio, its predecessor printmaking studios and workshops, and artist-printmakers who have collaborated with University printers for 21 years. The CDU Art Collection plays a significant role in the preservation and record keeping of prints created through Northern Editions Printmaking Studio. It also houses prints created or editioned by University printmaking staff from the School of Creative Arts and Humanities.
For more details please visit the Northern Editions - Northern Editions Gallery, Building Orange 9, Charles Darwin University, Casuarina Campus, Monday - Thursday: 10am - 3pm. Email - Northern Editions.
Northern Editions - Aboriginal Prints
Dion Beasley
Dion Beasley is an independent artist born in Alice Springs in 1991 and currently lives in Tennant Creek where he attends High School. Dion applies observations of his current life including his connections with town camps in Tennant Creek and the surrounding communities in his artwork. He is particularly interested in animals. Dion also depicts social structures and relationships between people and animals, the interaction they maintain with each other and the world around them.
Title: Dog Police.
Community: Tennant Creek.
Medium: Etching.
Image Size and Paper Size: 29.5 x 20 cm and 46.5 x 38 cm.
Edition Date and Size: October 2010; 50.
Print Description[1]: This is the imaginary story of the two Tennant Creek Police officers, who will round up all the fighting dogs and put them in a "paddy wagon". The dogs are taken to Canteen Creek. The image portrays the double decked and caged wagon, which must drive through the many dry river crossings, past cows and to the community depicted by the group of houses and football oval at the top right side of the print.
Rob Brown
Since the late 1990s, Brown's wry, humorous paintings and prints have been exhibited over a dozen solo exhibitions and numerous group exhibitions throughout Australia. He is the recipient of varies awards and prizes, including a three month residency at Northern Editions printmaking studio in 2000 and more recently, the People's Choice Award in the 2009 Togasrt Art Award. Brown is represented in collections of Charles Darwin University, the Museum snd Art Gallery of the Northern Territory, the Mater Misericordiae Children's Hospital (Brisbane) and Parliament House (Canberra).
Title: Piggy Merrick.
Medium: Etching and aquatint.
Image Size and Paper Size: 25 x 17 cm and 45.5 x 25 cm.
Edition Date and Size: October 2009; 20.
Print Description[1]: 'Elephant man's horrific deformities are superficial, they are only skin deep. The love shared between Mr & Mrs Merrick is what's real. It's the kind of empowering love that makes you want to vomit!'
Nina Puruntatameri
Nina was taught to paint by her father, Romauld Puruntatameri. As a 14 year old, she would come home from school and work with him, painting his spears. Nina has worked at both Nguiu Adult Education and the Munupi Arts & Crafts doing bark paintings and screen printing. She now lives at Pirlangimpi and works on canvas, etchings, linocuts and bark paintings. In 1993 Nina won the Award for New Medium at the National Aboriginal and Torres Strait Islander Art Awards in Darwin, providing recognition for her skills in etching. Her work is held in such prestigious galleries as the MCA. Nina has four children.
Nina's father, Romuald Puruntatameri, is represented in the Museum and Art Gallery of the Northern Territory Collection. Her grandfather, Paddy Teeampi Tepomitari Puruntatameri and her aunt, Rosina Puantulura, both carvers, are represented in the Melbourne Museum.
Title: Kulama Design.
Community: Munupi Arts and Crafts.
Medium: Woodcut.
Image Size and Paper Size: 39.5 x 52.4 cm and 52.5 x 64 cm.
Edition Date and Size: June 2010; 20.
Description[1]: This design depicts the Kuala ceremony of the Tiwi people: the dancers and singers create a circle and prepare the poisonous yam for eating, as indicated by the circles in the painting. It is a celebration of life and food, the Kulama occurs at the end of the wet season.
Maria Josette Orsto
Josette started painting as a young girl, taught by her father, Declan Apuatimi. In his later years, she participated in and completed much of his work. Josette is a prolific carver, painter and batik artist. Josette lives in Nguiu, Bathurst Island and was one of the first female artists to become an official member of Tiwi Design.
Title: Pupuni Jilamara (Good Body Painting Design).
Community: Nguiu.
Medium: Woodcut.
Image Size and Paper Size: 39 x 52.5 cm and 52 x 64 cm.
Edition Date and Size: June 2010; 10.
Print Description[1]: This woodblock in two different colors is indicative of body painting designs (available in black and red - the latter is shown).
Ita Tipungwuti
'I like drawing makes me feel right, telling stories like Kulama ceremony, Jirnani Tapara, Mundungkala, like dancing, like funeral, like hunting, my paintings tell stories.' - Ita Tipungwuti.
Title: Kulama.
Community: Tiwi Design Aboriginal Corporation.
Medium: Woodcut.
Image Size and Paper Size: 39 x 23.7 cm and 47 x 31.9 cm.
Edition Date and Size: June 2010; 20.
Print Description[1]: Kulama is the celebration of the Yam Festival Harvest time. This ceremony is seen as a rite to passage for the initiation in Tiwi Culture.
Margaret Renee Kerinauia
'I learnt how to paint from the old people, they use to teach us at school. My grandfather, Jerry Kerinauia was an artist, we have the book at home. That's why I'm one'.
Title: Kulama Pukumani.
Community: Tiwi Design Aboriginal Corporation.
Medium: Woodcut.
Image Size and Paper Size: 44.5 x 27.5 cm and 53.3 x 36.7 cm.
Edition Date and Size: June 2010; 20.
Print Description[1]: This image depicts a traditional Pukumani pole with a Kulama motif. Kuala is a very special ceremony for the Tiwi people. At the end of the wet season they have Kulama. They make fire and cook special Kulama yam. This ceremony is for the initiation, good health, good marriage, good hunting, and children get Tiwi names from the family. They sing for three days and three nights. After the Kulama is finished they dance for their sister 'kulama'. 'Old people use to come and teach us how to make tuna and then paint it at school. I liked learning about traditional art. Jean Baptiste Apuatimi and Marie Evelyn Puautjimi showed me how to make ochre colors and they taught me about Tiwi Jilamara and other designs.'
Jean Baptise Apuatimi
She was born on 24th of June 1940 and died in Feburary 2013. Her birthplace is Pirlangimpi on Melville Island. Her skin group is Japijapunga (March Fly) and her dance is buffalo.
Title: Miyinga.
Community: Tiwi Design Aboriginal Corporation.
Medium: Etching.
Image Size and Paper Size: 98 x 24.8 cm and 120 x 40 cm.
Edition Date and Size: May 2012; 20.
Print Description[1]: 'This is olden days painting (Parlini Jilamara). A long time ago in the early days we put red, yellow and white ochre on our face and body for Pukamani and Kulama ceremonies. Sometimes we still do this. My husband taught me this style, he used to tell me story about that painting.'
Reference
[1] Northern Editions Gallery, Building Orange 9, Charles Darwin University, Casuarina Campus.
For your convenience I have listed below other posts on Australian aboriginal textiles and artwork.
Untitled Artworks (Exhibition - ArtCloth: Engaging New Visions) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya, Ernabella Arts (Australia)
ArtCloth from the Tiwi Islands
Aboriginal Batik From Central Australia
ArtCloth from Utopia
Aboriginal Art Appropriated by Non-Aboriginal Artists
ArtCloth from the Women of Ernabella
ArtCloth From Kaltjiti (Fregon)
Australian Aboriginal Silk Paintings
Contemporary Aboriginal Prints
Batiks from Kintore
Batiks From Warlpiri (Yuendumu)
Aboriginal Batiks From Northern Queensland
Artworks From Remote Aboriginal Communities
Urban Aboriginal ArtCloths
Western Australian Aboriginal Fabric Lengths
Northern Editions - Aboriginal Prints
Aboriginal Bark Paintings
Contemporary Aboriginal Posters (1984) - (1993)
The Art of Arthur Pambegan Jr
Aboriginal Art - Colour Power
Aboriginal Art - Part I
Aboriginal Art - Part II
The Art of Ngarra
The Paintings of Patrick Tjungurrayi
Warlimpirrnga Tjapaltjarri
Australian Aboriginal Rock Art - Part I
Australian Aboriginal Rock Art - Part II
Introduction[1]
Located within the Casuarina campus of Charles Darwin University in Darwin, Northern Editions collaborated with artists to produce limited edition fine art prints between 1993 - 2014.
Northern Editions' team of printmakers conducted printmaking workshops on campus and in remote communities with artists from across the Top End, Central Australia, the Kimberley and Queensland. Northern Editions predominately worked through indigenous-governed Aboriginal Art Centers and facilitated printmaking as a viable art form and source of income to hundreds of artists.
Northern Editions have published etchings, silk screen prints, lithographs, Japanese woodblocks and linocuts by many of Australia's most famous Aboriginal artists. Well-known artists who have worked with Northern Editions in the past include the late Rover Thomas, Queenie McKenzie, Prince of Wales, Sally Gabori and Dorothy Napangardi (to name only a few!)
The artists created the matrix from which the prints were editioned. This involved carving a design into a lino or wooden block, drawing onto a stone (lithograph), painting on a zinc plate (etching), or acetate sheet (screen-print).
The artist collaborated with a senior Northern Editions printmaker who would advise on technical aspects of production. Each matrix was then editioned by hand in the Northern Editions Printmaking Studio. Each print from an edition was numbered, embossed with the Northern Editions 'chop mark' and signed by the artist. Limited edition prints were considered to be multiple originals.
Visitors, cultural institutions and private collectors from around the world have purchased prints from their comprehensive stock room. Selected Northern Editions prints have achieved investment status and have dramatically increased in value since their publication.
The Charles Darwin University Art Collection and Art Gallery’s permanent holdings feature more than 1,000 limited edition prints. Since 1993, the Collection has been the beneficiary of workshop proofs of prints gifted by Northern Editions Printmaking Studio, its predecessor printmaking studios and workshops, and artist-printmakers who have collaborated with University printers for 21 years. The CDU Art Collection plays a significant role in the preservation and record keeping of prints created through Northern Editions Printmaking Studio. It also houses prints created or editioned by University printmaking staff from the School of Creative Arts and Humanities.
For more details please visit the Northern Editions - Northern Editions Gallery, Building Orange 9, Charles Darwin University, Casuarina Campus, Monday - Thursday: 10am - 3pm. Email - Northern Editions.
Northern Editions - Aboriginal Prints
Dion Beasley
Dion Beasley is an independent artist born in Alice Springs in 1991 and currently lives in Tennant Creek where he attends High School. Dion applies observations of his current life including his connections with town camps in Tennant Creek and the surrounding communities in his artwork. He is particularly interested in animals. Dion also depicts social structures and relationships between people and animals, the interaction they maintain with each other and the world around them.
Community: Tennant Creek.
Medium: Etching.
Image Size and Paper Size: 29.5 x 20 cm and 46.5 x 38 cm.
Edition Date and Size: October 2010; 50.
Print Description[1]: This is the imaginary story of the two Tennant Creek Police officers, who will round up all the fighting dogs and put them in a "paddy wagon". The dogs are taken to Canteen Creek. The image portrays the double decked and caged wagon, which must drive through the many dry river crossings, past cows and to the community depicted by the group of houses and football oval at the top right side of the print.
Rob Brown
Since the late 1990s, Brown's wry, humorous paintings and prints have been exhibited over a dozen solo exhibitions and numerous group exhibitions throughout Australia. He is the recipient of varies awards and prizes, including a three month residency at Northern Editions printmaking studio in 2000 and more recently, the People's Choice Award in the 2009 Togasrt Art Award. Brown is represented in collections of Charles Darwin University, the Museum snd Art Gallery of the Northern Territory, the Mater Misericordiae Children's Hospital (Brisbane) and Parliament House (Canberra).
Medium: Etching and aquatint.
Image Size and Paper Size: 25 x 17 cm and 45.5 x 25 cm.
Edition Date and Size: October 2009; 20.
Print Description[1]: 'Elephant man's horrific deformities are superficial, they are only skin deep. The love shared between Mr & Mrs Merrick is what's real. It's the kind of empowering love that makes you want to vomit!'
Nina Puruntatameri
Nina was taught to paint by her father, Romauld Puruntatameri. As a 14 year old, she would come home from school and work with him, painting his spears. Nina has worked at both Nguiu Adult Education and the Munupi Arts & Crafts doing bark paintings and screen printing. She now lives at Pirlangimpi and works on canvas, etchings, linocuts and bark paintings. In 1993 Nina won the Award for New Medium at the National Aboriginal and Torres Strait Islander Art Awards in Darwin, providing recognition for her skills in etching. Her work is held in such prestigious galleries as the MCA. Nina has four children.
Nina's father, Romuald Puruntatameri, is represented in the Museum and Art Gallery of the Northern Territory Collection. Her grandfather, Paddy Teeampi Tepomitari Puruntatameri and her aunt, Rosina Puantulura, both carvers, are represented in the Melbourne Museum.
Community: Munupi Arts and Crafts.
Medium: Woodcut.
Image Size and Paper Size: 39.5 x 52.4 cm and 52.5 x 64 cm.
Edition Date and Size: June 2010; 20.
Description[1]: This design depicts the Kuala ceremony of the Tiwi people: the dancers and singers create a circle and prepare the poisonous yam for eating, as indicated by the circles in the painting. It is a celebration of life and food, the Kulama occurs at the end of the wet season.
Maria Josette Orsto
Josette started painting as a young girl, taught by her father, Declan Apuatimi. In his later years, she participated in and completed much of his work. Josette is a prolific carver, painter and batik artist. Josette lives in Nguiu, Bathurst Island and was one of the first female artists to become an official member of Tiwi Design.
Community: Nguiu.
Medium: Woodcut.
Image Size and Paper Size: 39 x 52.5 cm and 52 x 64 cm.
Edition Date and Size: June 2010; 10.
Print Description[1]: This woodblock in two different colors is indicative of body painting designs (available in black and red - the latter is shown).
Ita Tipungwuti
'I like drawing makes me feel right, telling stories like Kulama ceremony, Jirnani Tapara, Mundungkala, like dancing, like funeral, like hunting, my paintings tell stories.' - Ita Tipungwuti.
Community: Tiwi Design Aboriginal Corporation.
Medium: Woodcut.
Image Size and Paper Size: 39 x 23.7 cm and 47 x 31.9 cm.
Edition Date and Size: June 2010; 20.
Print Description[1]: Kulama is the celebration of the Yam Festival Harvest time. This ceremony is seen as a rite to passage for the initiation in Tiwi Culture.
Margaret Renee Kerinauia
'I learnt how to paint from the old people, they use to teach us at school. My grandfather, Jerry Kerinauia was an artist, we have the book at home. That's why I'm one'.
Community: Tiwi Design Aboriginal Corporation.
Medium: Woodcut.
Image Size and Paper Size: 44.5 x 27.5 cm and 53.3 x 36.7 cm.
Edition Date and Size: June 2010; 20.
Print Description[1]: This image depicts a traditional Pukumani pole with a Kulama motif. Kuala is a very special ceremony for the Tiwi people. At the end of the wet season they have Kulama. They make fire and cook special Kulama yam. This ceremony is for the initiation, good health, good marriage, good hunting, and children get Tiwi names from the family. They sing for three days and three nights. After the Kulama is finished they dance for their sister 'kulama'. 'Old people use to come and teach us how to make tuna and then paint it at school. I liked learning about traditional art. Jean Baptiste Apuatimi and Marie Evelyn Puautjimi showed me how to make ochre colors and they taught me about Tiwi Jilamara and other designs.'
Jean Baptise Apuatimi
She was born on 24th of June 1940 and died in Feburary 2013. Her birthplace is Pirlangimpi on Melville Island. Her skin group is Japijapunga (March Fly) and her dance is buffalo.
Community: Tiwi Design Aboriginal Corporation.
Medium: Etching.
Image Size and Paper Size: 98 x 24.8 cm and 120 x 40 cm.
Edition Date and Size: May 2012; 20.
Print Description[1]: 'This is olden days painting (Parlini Jilamara). A long time ago in the early days we put red, yellow and white ochre on our face and body for Pukamani and Kulama ceremonies. Sometimes we still do this. My husband taught me this style, he used to tell me story about that painting.'
Reference
[1] Northern Editions Gallery, Building Orange 9, Charles Darwin University, Casuarina Campus.
