
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
Bilum are one of Papua New Guinea’s most significant contemporary forms of aesthetic and cultural expression. Celebrated for their striking abstract designs and bold exploration of colour, these ubiquitous bags are hand-looped by women and worn by both genders, though in slightly different styles and postures. Indeed, the language of the bilum is nuanced. The openness of the weave and the designs communicate complex cultural affiliations and responsibilities, while how they are carried signifies one’s gender and, at times, modernity.
Traditionally, Highlander women created open-looped, see-through bilums to carry items necessary to everyday life, from young children to food harvested from the garden. Worn suspended from the head, the bilum openly displayed the wearer’s labour and often signified the status of reaching womanhood. In contrast, special bilums generally decorated with rare materials were created for Highlander men to wear as part of their ceremonial bilas (ornamentation).
Today, men wear small, opaque bilums worked in commercial fibres, slung over the shoulder or around the neck to hold personal items, such as a mobile phones or betel. Younger women brought up in more urban environments adopt this fashion too, slinging brightly coloured, tightly looped bilums casually over the shoulder like a handbag. More recently, women have taken to wearing garments sporting distinctive bilum designs. Looped using the same techniques as the bilum bags, these garments, known colloquially as bilum‑wear, are worn as a proud assertion of local culture.
The patterns found on bilum and bilum-wear speak to newly found urban relationships and identities. Openwork patterns traditionally specific to particular villages and clan groups have been replaced with motifs from contemporary life, such as power poles, commercial slogans, the local SP Lager company logo or disciples from the Bible. These urban bilum are exchanged among those who speak the same language (wantok); the same geographical location (wanstret); or the same religion (wanlotu).