Dorothy Djukulul
Dorothy Djukulul | |
|---|---|
| Born | 10 June 1942 |
Dorothy Djukulul (born 1942) is a traditional Australian Aboriginal artist who lives in Ramingining in Central Arnhem Land.[1] She speaks Ganalbingu and is a part of the Gurrumba Gurrumba clan, who identify as being a part of the Yirrija moiety.[2]
Biography[edit]
Dorothy Djukulul was born on 10 June 1942[3] at Murrwangi, near the Arafura Swamp in Arnhem Land.[4] During her childhood, Djukulul and her family lived on Milingimbi Island, where she attended a Methodist school. Early in her career, Djukulul worked in a bakery in the newly established trading post in Maningrida, an Aboriginal community.[5] After finishing school Djukulul and her family moved back to Ramingining.[4] After marrying her first husband, she moved to Maningrida, but after his death she moved back to Ramingining.[4] Djukulul married her second husband, Djardie Ashley, in 1978.[4]
Djukulul learned to paint from her father, Ngulmarmar.[4] Ngulmarmar was a distinguished bark painter whose works have hung in numerous major art galleries and have been featured in books of art.[1] Djukulul is one of the first women painters in central Arnhem Land and is also permitted to paint images normally restricted to male artists.[4] This is because Ngulmarmar was afraid that some of the art and sacred stories would die out if his son were unable to pass them on. He asked the tribal elders to allow Djukulul to paint these designs, thus preserving the sacred art of the Ganalbingu tribe.[4]
Career[edit]
Djukulul practices her art in Ramingining, Central Arnhem Land, Northern Territory.[6] She has made several pieces with her second husband, bark painter Djardie Ashley (born 1950), including at the Aboriginal Artist Gallery in Melbourne in 1984 and 1986.[4]
Djukulul was one of several artists who created "The Aboriginal Memorial", an installation of 200 carved and painted log coffins intended to commemorate the deaths of Aboriginal people from European settlement. The installation, built in the late 1980s, was first put on display in Sydney in 1988, and currently on display at the National Gallery of Australia.[4]
Djukulul and her second husband, Djardie Ashley, have exhibited their work together, including two shows at the Aboriginal Artist Gallery in Melbourne (1984 & 1986).[4] Ten of their paintings in the Artist Gallery in Melbourne were acquired for the Robert Holmes à Court Collection at the later show. Djukulul has also participated in many group exhibitions.[4]
In 1991, Djukulul was the recipient of a commission for John Kluge title "Painting the Land Collection" in Virginia, USA.[7]
Djukulul was including in the project called Twelve Canoes which was based on the film Ten Canoes (2003). This project strives to highlight key aspects of Yolngu culture in Ramingining. Several works by Djukulul were included in this project.[8]
Djukulul paints many designs that are deemed taboo for women to work with in her culture. Within her caveat on the use of these designs and spiritual stories, Djukulul has developed her own unique style that distinguishes her among men and women painters alike, admired by both Balanda and Yolngu.[8]
Collections[edit]
Djukulul has works in the collections of the National Gallery of Australia,[9] the Art Gallery of New South Wales,[10] the National Gallery of Victoria[6] and the National Museum of Australia,[11] and the Museum of Cultural History,[12] the Hood Museum of Art at Dartmouth College and the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.
Among the several artists who created "The Aboriginal Memorial" installation (late 1980s),[4] Djukulul and Ashley had two shows at the Aboriginal Artist Gallery in Melbourne (1984 & 1986). Ten of their works were added to the Robert Holmes à Court Collection.[4] In the years following the Melbourne shows, Djukulul and Ashley exhibited together again in 1988 at Esplanade Gallery in Darwin, Australia, and again, in 1990 at Cooee Gallery in Paddington, Australia.[7]
In 2018, Djukulul was included in the Nancy Sever Gallery exhibition titled "Tim, Tom E., Harry, Rusty, Tiger & Pussycat: Recent Works on Paper with Basil Hall". In this exhibition, recent works by indigenous artists from six remote communities were hand-printed by a master printmaker.[13]
Significant exhibitions[edit]
- 1984: Dorothy Djukulul and Djardie Ashley. Aboriginal Artist Gallery in Melbourne.[4]
- 1986: Dorothy Djukulul and Djardie Ashley. Aboriginal Artist Gallery in Melbourne.[4]
- 1988: Five Dupan (Hollow Logs). The Aboriginal Memorial.[2]
- 1988: Dorothy Djukulul and Djardie Ashley. Esplanade Gallery in Darwin[7]
- 1990: Dorothy Djukulul and Djardie Ashley. Cooee Gallery in Paddington.[7]
- 2018: Tim, Tom E., Harry, Rusty, Tiger & Pussycat: Recent Works on Paper with Basil Hall. Nancy Sever Gallery.[13]
References[edit]
- ^ a b "Dorothy Djukulul". the-artists.org. 28 December 2008. Retrieved 30 March 2020.
- ^ a b "Dorothy Djukulul". Gannon House Gallery. Retrieved 30 April 2020.
- ^ "27 Feb 2014 - Dorothy Djukulul (1942–) · Australian Prints + Printmaking - Archived Website". Trove. Archived from the original on 26 February 2014. Retrieved 28 April 2020.
{{cite web}}: CS1 maint: bot: original URL status unknown (link) - ^ a b c d e f g h i j k l m n o "Dorothy Djukulul". collections.anmm.gov.au. Retrieved 26 April 2020.
- ^ Mundine, Djon (1996). "The Native Born". The Native Born: Objects and Representations of Ramingining, Arnhem Land: 29–111.
- ^ a b "Dorothy Djukulul | Artists | NGV". www.ngv.vic.gov.au. Retrieved 1 April 2020.
- ^ a b c d "Dorothy Djukulul". AAIA. 20 September 2019. Retrieved 4 May 2020.
- ^ a b LEWIS, ROBERT. "Twelve Canoes" (PDF).
- ^ "Djukulul, Dorothy 1942". artsearch.nga.gov.au. Retrieved 1 April 2020.
- ^ "Works by Dorothy Djukulul :: The Collection :: Art Gallery NSW". www.artgallery.nsw.gov.au. Retrieved 1 April 2020.
- ^ "Djukulul, Dorothy". National Museum of Australia. Retrieved 1 April 2020.
- ^ "Dorothy Djukulul". Museum of Cultural History. Retrieved 28 April 2020.
- ^ a b "MutualArt.com - The Web's Largest Art Information Service". www.mutualart.com. Retrieved 4 May 2020.
Further reading[edit]
- Coleman, Elizabeth Burns (2017-05-15). Aboriginal Art, Identity and Appropriation. Routledge. ISBN 978-1-351-96130-1.
- Australian National Maritime Museum bio
- Australian Prints + Printmaking bio, Centre for Australian Art
- Caruana, Wally. "The Collection of Aboriginal Art at the Australian National Gallery, Canberra." Pacific Arts Association, January 1991, 33–40. JSTOR 23409117.
- National Gallery of Victoria bio
- Australian Art Auction Records bio
- Mundine, Djon. "The Native Born." The Native Born: Objects and Representations of Ramingining, Arnhem Land, 1996. https://doi.org/R7401 .N38 2000.
- Coleman, E. (2001). "Aboriginal Painting: Identity and Authenticity." The Journal of Aesthetics and Art Criticism, 59(4), 385-402. www.jstor.org/stable/432291
- Djon Mundine, "The Land is Full of Signs", in Art from the Land: Dialogues with the Kluge-Ruhe Collection of Australian Aboriginal Art, edited by Margo Smith and Howard Morphy (Charlottesville: University of Virginia Press, 1999), 85-120.
- Caruana, W. (1991). The Collection of Aboriginal Art at the Australian National Gallery, Canberra. Pacific Arts, (3), 33-40. www.jstor.org/stable/23409117
- Dorothy Djukulul (1942–). Australian Prints + Printmaking. (2014, February, 27). Retrieved 27 Feb 2014 02:08:24. http://webarchive.nla.gov.au/awa/20140226150824/http://www.printsandprintmaking.gov.au/artists/5309/
- Ownership among groups. (2019, March, 24). Retrieved 24 Mar 2019 06:56:56. http://webarchive.nla.gov.au/awa/20190323195656/https://ab-ed.nesa.nsw.edu.au/go/aboriginal-art/protecting-australian-indigenous-art/background-information/taking-control/ownership-among-groups
- Lewis, Robert. Twelve Canoes. http://mediawithmrsjames.weebly.com/uploads/4/8/7/3/48739407/twelve_canoes_study_guide.pdf
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