This weeks lecture was all about the role of community art centres in Australia and in particular the art centre at Irrunytju (otherwise known as Wingelina). Irrunytju is situated on the tri state border of WA, NT, and SA and is about a 700km drive from Uluru. It is a very dry and remote community with a population of around 180 people.
The Irrunytju people were aware of the success of the Papunya Tula artists and so decided to start an art centre of their own. The aims of the Irrunytju community when establishing the arts centre in 2001, was to:
– support cultural development and inter-generational learning
– to engage in cross cultural advocacy
– to be an economic initiative
It was not just a commercial venture, It was established to contribute to the social, cultural and economic strength of the community. It was responsible for a lot of other things, such as supporting the training and developing of young and emerging artists, supporting cultural maintenance and inter generational learning.
Kuntjil Cooper, an elder and artist of the Irrunytju community articulated these aims when she said (translation)
“When I am gone my grandchildren will be able to understand my culture when they see my paintings. I want my paintings to be treated with respect and I want the right amount of money”
http://www.deutscherandhackett.com/node/17000073/
Kuntjil Cooper (c1920—2010), Untitled, 2003, synthetic polymer paint on canvas, 147.0 x 184.0 cm.
http://www.vivienandersongallery.com/galleries.php?gallery_id=20?osCsid=6rtdp1gaekvkivs9pah557kj47
Kunmanara [Wingu] Tingima, Kuru Ala 2006, synthetic polymer paint on canvas, 137.5 x 141.0 cm
From 2002- 2006, when the Irrunytju art centre began gaining national and international recognition, the indigenous art market was booming. It was a dominant element of the arts in Australia and is recognized internationally. It was estimated to be worth between 100 and 300 million dollars per year.
Irrunytju was a member od Desart (an advocacy agency for aboriginal art centres in the Western desert), and it was estimated that these art centres generated 12million dolalrs per year in 2005 alone. Of this 7 million was from two of the larger art centres, Papunya Tula and Balgo.
The boom of the market was both a blessing and a curse. The market for art done by the senior artists was booming however there was little interest in the works done by young and emerging artists, which caused some tensions within the community, and created pressure for the senior artists.
These days Irrunytju art is no longer a member of Desart and is privately owned. It is still well established and works from Irrunytju artists can be seen in many private and public collections around Australia and internationally.
katewatts 