
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
'Kin' July 2022
Haus Yuriyal is an intergenerational group of Highlander men. The collective was instigated in 2015 in the Wahgi Valley, Jiwaka Province, when a kunai grass hut or raunhaus (roundhouse) was constructed by Moses Mote Kirua – using traditional techniques and knowledge – for the group’s primary initiator, Yuriyal Eric Bridgeman. This raunhaus quickly became not only Bridgeman’s private residence and working studio but also a safe meeting place for relatives and extended family belonging to the Yuri tribe of South Simbu (now living in the Wahgi Valley), as well as local custodial landowners, who could escape outside conflicts to practise and learn about culture.
Of particular interest to this group was understanding more about the kuman, or fighting shields, crafted for generations by Yuri men, such as Bridgeman’s maternal grandfather, the late Muka Gelua. Bridgeman comments on the transformation of the shields by the group:
I first consulted with Mori Kaupa, village council, about working on a kuman project in the house with a number of young men and uncles. At our first meeting he had gathered about 30 participants. We spoke about shield designs specific to our Yuri heritage and set about creating upward of 20 personalised kuman. The sessions were part teaching, discussion and application. We renegotiated modern representations of tribal violence and our role as the storytellers of the fighting shield. This sense of responsibility saw us abandon the option of using traditional timber associated with war shields, in favour of readily available and lightweight plywood. This distinction between materials suggested that we were no longer interested in replicating the kuman; we were now in the business of kuman paintings – and expanding on the language of our forefathers as ‘latest generation’ artists.
est. 2015
- present
Full profile
for HAUS YURIYAL
1986
- present
Full profile
for BRIDGEMAN, Yuriyal