How great thou art

I dunno much about art, but I know what I like. And I like it when Indigenous Australians receive recognition right across the globe for expressions of their culture - traditional and modern.

I like it even more when an Indigenous painting sells for a squillion dollars in New York and a goodly chunk of the loot actually finds its way back to the community from which the work originated.

In the past, this hasn’t always been the case, but Federal Arts Minister Rod Kemp has recently made a commitment to put the kybosh on the carpetbaggers. On August 15, Minister Kemp announced the formation of a Senate Committee of Inquiry into the Indigenous “visual arts sector”.

The committee, which will report back to Parliament in February 2007, has been asked to make recommendations designed to address “unscrupulous and unethical conduct that occurs in the sector”.

This is an encouraging sign from the government. Once they have sorted out the irregularities of Indigenous art dealing they might care to have a crack at the equally pressing problems in Indigenous health, housing, education and employment.

Ironically, it’s often the much-maligned remote communities that produce artists capable of painting works that sell for plenty all around the world. If they’re not careful, they’ll lose their “non-viable” status, and forfeit the one-way trip to who-knows-where that Amanda Vanstone had planned for them.

But let’s jettison these churlish politics momentarily and celebrate Luritja-Walpiri woman Ngoia Napaltjarri Pollard - winner of the 2006 Telstra Art Award (pdf 1.66MB) for her work entitled Swamps west of Nyirripi.

This is her father’s country, sacred Walpiri land associated with the stories of the watersnake.

Prior to 2006, the winning work was automatically acquired by the Museum and Art Gallery of the Northern Territory. However a change in policy this year means that the winner will be entitled to sell the work, providing opportunity for further financial benefit.

Telstra deserve a pat on their corporate back for getting behind this event. They have been principal sponsors of these awards since 1992 and are committed to continuing in this capacity.

To the sponsor’s credit, there is no attempt to shy away from the political realities of Aboriginal Australia. The prize for the “works on paper” award went to a confronting piece from Queensland artist Judy Watson, entitled A preponderance of Aboriginal blood (pdf 1.66MB).

Watson, who has works displayed at the prestigious Musée du quai Branly in Paris, describes herself as “Indigenous and non-Indigenous”. The title of her work is taken from a piece of bureaucratise which was employed to deny her grandmother the right to vote.

Judy says she is outraged at the deep personal hurt caused to her family, and underscores this statement with a work of art that depicts letters from the authorities of the time stained with blood.

Fellow Queenslander, Archie Moore submitted a controversial piece called Maltheism. It is a paper sculpture of church which has actually been made from a bible. The pages used in the sculpture are from the book of Deuteronomy.

The artist describes this passage as being God’s endorsement to Moses to invade nations, kill non-believers, and take resources without permission or treaty.

But it’s not all overtly political. There are many expressions of traditional culture here which have a magical quality about them. The otherworldliness of these works has the capacity to lift the viewer out of suburban humdrum.

Opening night of the Awards is a social highlight in Darwin. This is ritz Top-End style.

The presentations take place on the lawns outside the gallery, while a blood-red dry season sunset seeps into Fannie Bay.

Many of the award winners make speeches of acceptance in their community language, and Numbulwar’s spectacular Red Flag dancers contribute their exotic skills to the evening.

It’s a big night.

Interest in these artworks from mainstream Australia - and the wider world - is an encouraging sign.

I wonder if those who cultivate this passion speculate about why their favourite Indigenous painter is likely to die 20 years younger than her European counterparts.

Or why her children will probably face a lower standard of health, housing and education than most white Australians.

I hope so.

Otherwise they stand accused of licking the icing off the cake.