A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.

Its not all that glitters is gold, half the story has by no means been instructed,
So now you see the sunshine, stand up to your rights
Get up, stand up, stand up to your rights,
Get up, stand up, don’t surrender the struggle1

Recorded in 1973, the tune Get up, stand up by visionary Rastafarian musicians Bob Marley and The Wailers has lengthy been synonymous with social resistance actions globally, together with these inside Indigenous Australia. Growing up in Jamaica within the Nineteen Fifties and 60s, Marley was a part of the black African diaspora, that inhabitants all through the world that had been scattered or colonized as the results of the slave commerce and imperialism.2 In the Seventies, recognising their commonalities, and at a time when Indigenous group providers had been being established throughout the nation, many social actions in Australia adopted Marleys reggae anthems as their very own. His music and its themes of social justice lent a voice to the unheard and mobilised likeminded folks trying to find change.

Similarly, the works in Get Up, Stand Up categorical their makers engagement with Indigenous cultural, familial and political actions. From depicting literal actions of the physique in dance and in protest to figurative explorations of historic actions and occasions, this Collection exhibition focuses on the works of Indigenous Queensland artists who assert their sovereignty and search political and social equality; an ongoing wrestle that has gained a renewed sense of urgency with the Black Lives Matter motion.

You can view Get Up, Stand Up on the Queensland Art Gallery from 19 December 2020 till 26 August 2021.

RELATED: Read extra about AUSTRALIAN INDIGENOUS ART

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Freedom of motion

In the latter half of the nineteenth century, Indigenous peoples freedom of motion was severely restricted: communities had been forcibly moved from their conventional lands to the reserves and missions created by the governments of the day; and kids had been faraway from their households,3 in an try to interrupt historical traces of cultural information and practices. Here, a bunch of latest work by Lardil artists Joelene Roughsey, Wunun Wayne Williams and Gordon Watt present ceremonial physique markings and dancewear, celebrating their freedom to practise tradition and symbolic of their ancestors free motion throughout the land. The freedom to bounce and conduct ceremonies is additional highlighted in ceramic works by Naomi Hobson, Lawrence Omeenyo and Janet Fieldhouse. Finally, because the title suggests, Patrick Thaidays Zugub (Dance Machines) 2011 are articulated sculptural objects activated by dancers throughout performances probably the most literal embodiment of the theme.

Naomi Hobson, Kaantju/Umpila folks, Australia b.1978 / Malkarti Poles (Dancing Poles) 2017 / Hand-built terracotta clay with incised white slip / 65.5 x 10cm (every) / Purchased 2017 with funds from Jane and Michael Tynan by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Naomi Hobson
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Janet Fieldhouse, Kalaw Lagaw Ya folks, Australia b.1971 / Dance collection: Transformation 4 2009 / Flexible
porcelain / Four components: 18.5 x 4.5cm (diam.); 6 x 34.5 x 6.5cm; 9 x 32 x 10cm; 25.5 x 5.5cm (diam.); 18 x 32 x 36cm (put in) / Purchased 2009 with funds from the Bequest of Grace Davies and Nell Davies by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Janet Fieldhouse

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Patrick Thaiday, Kulkalgaw Ya folks, Australia b.1963 / Zugub (Dance machines) (and element) 2011 / Wood, galvanized metal, nails, artificial polymer paint, nylon string / 20 items: 75 x 85 x 23cm (every) / Purchased 2011 with funds from Thomas Bradley by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Patrick Thaiday

Interruption of motion

The exhibition contains works that time to the frontier period of Australian historical past and depict restrictions on freedom, however which additionally acknowledge the introduction of recent creative aesthetics. Based on his Elders early experiences, Goobalathaldin Dick Roughseys illustrative historical past work provide glimpses of first contact with Europeans within the northern Cape. Vincent Sericos Carnarvon collision (Big map) 2006 shares an essential historic narrative, together with each pleasantries and hostilities. And whereas Serico makes use of oral accounts of colonisation from his household and group to create new visible narratives, Danie Mellor takes benefit of present colonial pictures of his ancestors and their rainforest dwelling, proven right here in a blue palette impressed by the ornament on English Spode ware. Dale Hardings summary ochre portray We breathe collectively 2017 incorporates pure pigment from his ancestral area, Carnarvon Gorge, interrupted by a area of Ricketts Blue laundry whitener, as soon as a extremely prized and traded merchandise on the frontier, and for Harding, symbolic of the home labour that generations of his feminine ancestors had been pressured into underneath authorities coverage.4

RELATED: Read extra about Danie Mellor’s ‘The pleasure and vexation of history’

RELATED: Delve into the work of Goobalathaldin Dick Roughsey

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Goobalathaldin Dick Roughsey, Lardil folks, Australia 192485 / First Missionary, Mornington Island 1977 / Synthetic polymer paint on composition board / 60 x 90cm / Purchased 2019 with funds from the Mather Foundation by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Goobalathaldin Dick Roughsey/ Copyright Agency, 2020
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Vincent Serico, Wakka Wakka/Kabi Kabi peoples, Australia 1949-2008 / Carnarvon collision (Big map) 2006 / Synthetic polymer paint on linen / 203 x 310cm / Purchased 2007. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Estate of Vincent Serico
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Danie Mellor, Australia b.1971 / The pleasure and vexation of historical past 2017 / Wax pastel, wash with oil pigment, watercolour and pencil on paper / 220 x 140cm / The Taylor Family Collection. Purchased 2019 with funds from Paul, Sue and Kate Taylor by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Danie Mellor

Involuntary motion

Reflecting their households experiences of involuntary motion off Country, away from household and onto missions and reserves, as per the Aboriginals Protection and Restriction of Sale of Opium Act 1897, private portraits by Vernon Ah Kee and Heather (Wunjarra) Koowootha expose the Acts ongoing results on group. The introduction of Christianity is a standard thread in works by Archie Moore and Cornelius Richards, presenting complicated views on its arrival, which offered each sanctuary and oppression. Richards spent a few years working with the Yarrabah Guyala Pottery from the Eighties onwards: as with Yarrabah, many different missions opened business operations involving art and craft. Artist Mervyn Riley additionally created works on the Barambah Pottery which can be typical of the Seventies period. Due to their production-line manufacture, nevertheless, many objects produced at Barambah (now often known as Cherbourg) lack artists inscriptions and as an alternative credit score Cherbourg artists with their creation.

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Vernon Ah Kee, Kuku Yalanji/Waanyi/Yidinyji/Guugu Yimithirr folks, Australia b.1967 / neither delight nor braveness (element) 2006 / Charcoal, crayon and artificial polymer paint on canvas / Triptych: 174 x 240cm (every panel) / The James C. Sourris AM Collection. Gift of James C. Sourris by the Queensland Art Gallery Foundation 2007. Donated by the Australian Government’s Cultural Gifts Program / Collection: Queensland Art Gallery | Gallery of Modern Art / Vernon Ah Kee
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Heather Marie (Wunjarra) Koowootha, Wik Mungkan and Yidinji/Djabugay folks, Australia b.1966 / The story tellers 2017 / Drypoint on Arches BFK 300gsm cotton paper, ed. 2/25 / 65 x 82cm / Purchased 2020 with
funds from Brian and Megan Sheahan by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Heather Koowootha

A collection of fibre works demonstrates the variety of supplies and methods in Queensland fibre art practices, particularly bag-making. The rotating number of works contains conventional types and stitching, kinds taught by missionaries, and modern experimentation. Examples vary from Abe Muriatas rainforest Jawun (bicornial baskets) to Jenny Mye and daughter-in-law Charlotte Myes polypropylene tape luggage (used instead of customary coconut leaves); from Clara, Margaret, Doreen and Mynor Yams string luggage related to their dwelling, Kowanyama, to Philomena Yeatman and Ruby Ludwicks coiled palm-fibre works a method launched to the areas; to Wilma Walker and Dorothy Shorts kakan and puunya (baskets), created from supplies and methods distinctive to their ancestors. These are complimented by Evelyn McGreens portfolio of prints, depicting the multitude of capabilities for a wide range of basket shapes.

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Evelyn McGreen, Guguu Yimithirr folks, Australia b.1942 / Wawu bajin dhangay bulganghi (Strainer for laundry clams and shellfish) (from Wawu bajin (Spirit baskets) portfolio) 2010 / Handcoloured linocut, ed. 14/50 / 53.5 x 38cm / Purchased 2012. Queensland Art Gallery / Collection: Queensland Art Gallery | Gallery of Modern Art / Evelyn McGreen/Copyright Agency, 2020

Providing a darkly humorous conclusion to the group is Sue Elliotts portray Christ Im drained c.1993, which options the crisp use of the colloquialism with the concentric dotted circle now synonymous with Aboriginal Art. Significantly, the early mission franchises inspired artists to make use of dominant stylistic units like dot-painting of their works, as an alternative of extra particular person methods, with the intention to elevate income.

Defiant motion

Protest takes maintain in Richard Bells Prospectus.22 19922009, through which he seeks to commerce British colonial rule because of there being no treaty in place with the Peoples Republic of China. The overtly political works of Gordon Hookey and Vincent Serico Wreckonin 2007 and Deaths in custody 1993, respectively graphically current content material regarding the deaths of Indigenous folks in authorized custody. Deliberately provocative and inflammatory, Hookeys work responds to what he sees as Australian society’s silence as regards to Aboriginal justice and the programs lack of accountability; whereas the central determine in Sericos portray suffers the punishments of each conventional beliefs and white man’s justice, trapped not simply by a cell however by inescapable despair.

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Gordon Hookey, Waanyi folks, Australia b.1961 / Wreckonin 2007 / Oil on canvas / 168 x 152cm / Gift of Timothy North and Denise Cuthbert by the Queensland Art Gallery | Gallery of Modern Art Foundation 2020. Donated by the Australian Government’s Cultural Gifts Program / Collection: Queensland Art Gallery | Gallery of Modern Art / Gordon Hookey
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Vincent Serico, Wakka Wakka and Kabi Kabi folks, Australia 1949-2008 / Deaths in custody 1993 / Synthetic polymer paint on canvas / 101 x 76cm / Purchased 1995. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Estate of Vincent Serico

Revered motion

Numerous works in Get Up, Stand Up honour hard-won achievements the liberty to play sport, to attach or reunite with household and rejoice the actions of these whose sacrifices paved the best way forward. Aboriginal fast-bowler Eddie Gilbert was Ron Hurleys childhood hero and is immortalised in Hurleys Bradman bowled Gilbert 1989. While Gilbert was an exceptionally expert cricketer, it was Bradman who would go on to be knighted and turn out to be a family title. With this work, Hurley feedback on the distinction within the lives of those two equally proficient males.

RELATED: Read extra about Shirley Macnamara’s ‘Skullcap’

A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Ron Hurley, Gurang Gurang/Mununjali peoples, Australia 19462002 / Bradman bowled Gilbert 1989 / Oil on canvas | Purchased 1990 / Collection: Queensland Art Gallery | Gallery of Modern Art / Ron Hurley/Licensed by Copyright Agency
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Shirley Macnamara, Indjalandji/Alyawarr, Australia b.1949 / Skullcap 2013 / Spinifex (Triodia pungens), crimson ochre, emu feathers, spinifex resin and artificial polymer fixative / 14 x 21cm (diam.) / Purchased 2014 with funds from Gina Fairfax by the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / Shirley Macnamara
A brand new exhibition of Indigenous art takes motion, each literal and figurative, as its theme, impressed by the well-known tune of the identical title, Get Up, Stand Up options ceramics, sculpture, etchings, pictures and portray by artists throughout Queensland whose works are underpinned by the need for engagement and justice.
Naomi Hobson, Kaantju/Umpila folks, Australia b.1978 / A Warrior and not using a Weapon 3 2018 / Digital photographic print on paper, ed. 1/6 (+2 A.P.) / Purchased 2019 with funds from the Future Collective by the Queensland Art Gallery | Gallery of Modern Art Foundation Collection: Queensland Art Gallery | Gallery of Modern Art / Naomi Hobson

On a extra sombre be aware, Shirley Macnamaras Skullcap 2013 is a memorial to the various hundreds of Aboriginal troopers who’ve fought for his or her communities and Country regionally, nationally and internationally, and in wars all through historical past each written and unwritten. Naomi Hobsons A Warrior and not using a Weapon collection of 2018 additionally highlights the function of Aboriginal males, and footage males and boys from the artists hometown of Coen and close by Lockhart River adorned with flowers a standard ornament. The collection goals to counteract the overwhelmingly detrimental modern portrayal of Indigenous males in Australian media, with Hobson having witnessed the hurt such representations could cause, and as an alternative reveals their nurturing and compassionate qualities.

Engaged with Australian social actions each literal and figurative, Get Up, Stand Up presents elegant ceramics, sculptural works, figurative etchings, portrait pictures and work by Indigenous artists from throughout Queensland, and illustrates the continued impression of the countrys fashionable historical past on Australias Indigenous peoples.

Katina Davidson is Acting Curator, Indigenous Australian Art, QAGOMA

Get Up, Stand Up is on the Queensland Art Gallery from 19 December 2020 till 26 August 2021

Endnotes
1 Lyrics from ‘Get up, stand up, penned by Bob Marley and Peter Tosh, 1973.
2 Mikal Gilmore, The life and instances of Bob Marley: How he modified the world, Rolling Stone, 10 March 2005, https://www.rollingstone.com/music/music-news/the-life-and-times-of-bob-marley-78392/, seen 20 September 2020.
3 See John Gardiner-Garden, From Dispossession to Reconciliation [Research Paper 27, 199899], Social Policy Group, Parliament of Australia, 29 June 1999, https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/rp9899/99Rp27#nineteenth, seen 13 October 2020.
4 See Ella Archibald-Binge, New exhibition re-examines Australian historical past by art, NITV, SBS, 3 October 2017, https://www.sbs.com.au/nitv/nitv-news/article/2017/09/29/new-exhibition-reexamines-australian-history-through-art, seen 14 October 2020.

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Acknowledgment of Country
The Queensland Art Gallery | Gallery of Modern Art (QAGOMA) acknowledges the normal custodians of the land upon which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander elders previous and current and, within the spirit of reconciliation, acknowledge the immense artistic contribution Indigenous folks make to the art and tradition of this nation.

It is customary in lots of Indigenous communities to not point out the title or reproduce pictures of the deceased. All such mentions and images are with permission, nevertheless, care and discretion ought to be exercised.

Featured picture element: Naomi Hobson A Warrior and not using a Weapon 3 2018

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4-2020