
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
Feature image: Three earthenware pots by Hermannsburg Potters (l–r): Judith Pungkarta Inkamala’s Eeritja (Eagle) 2001; Elaine Namatjira’s Owl 1996; and Carol Rontji’s Pot: Eerarnta (Black cockatoo) 2000 / Collection: QAGOMA / © The artists / Photograph: N Harth, QAGOMA
Ntaria is a former Lutheran mission some 130 kilometres west of Alice Springs, now home to the Hermannsburg Potters. The Arrernte (Aranda) people from this area – inspired by the example of their forebear, renowned painter Albert Namatjira (1902–59) – are famous for their watercolours of the desert interior of Australia.
When the Arrernte community took over responsibility for the mission in 1982, Pastor Nahasson Ungwanaka (a key figure in the Hermannsburg community and husband of potter Rahel Ungwanaka) sought to establish social and economic ventures for his people. Although he had some experience with modelling clay figures in the early 1960s, he lobbied for more formal instruction in ceramics. This resulted in the 1990 appointment of Naomi Sharp, a teacher from the Northern Territory Open College of TAFE, and the subsequent establishment of the Hermannsburg Pottery.
Writer Jennifer Isaacs has noted that the late north Queensland potter Thanakupi:
. . . offered an example of an Aboriginal woman from a traditional background who had been able, through her craft of clay, to create a life for herself and live independently as an Indigenous person in Australia.
As pottery-making is not a traditional practice for Aboriginal people, Hermannsburg’s women potters view their work as an avenue for self-expression – the richly decorated, full-bodied vessels document their history and their day-to-day lives. This vibrant, handmade pottery and, in more recent years, paintings on canvas have been exhibited to wide acclaim nationally and internationally.