Danny First has developed a body of work utilizing reclaimed / recycled materials to create functional benches which incorporate text reflecting First’s droll sense of humour. Whether it is figurative orutilitarian in nature, First’s work is light and unpretentious. Informed by art history and the tradition of creating sculptural forms, First’s sculpture reflects the artist’s optimistic view of life.
Aboriginal and South Pacific Gallery, Surry Hills, exhibited 1995; Private collection, Sydney
Malangi’s bold style of painting was distinctive from his contemporaries. He used thick white lines, large areas of black, chocolate brown ochre and generous amounts of rarrk (crosshatching). He began bark painting as a young man, taught by his father and uncle to paint on bodies for ceremonies, on hollow logs for burials and later on stringybark. He was taught to paint the story of his creation ancestor, Gurrumurringu, and the story of the Djangkawu sisters. His style influenced several other central Arnhem Land painters.
Australian Galleries, Melbourne label attached verso (no.9451); The collection of Arkie Whiteley; The Estate of the late Christopher Kuhn, Canada
Brett Whiteley created this work in Paris in 1989. It was his second visit to the city and resulted in his celebrated Paris series of gouaches and drawings. Here is a quote from Whiteley relating to this period of his work;
“I first went to Paris at age 20, but was so obsessed with modernism and abstraction to paint it. Now with fresh eyes, I could respond figuratively and lyrically to the one ravishing subject – Paris and her cultural heroes. I love the stoniness and creaminess, that wonderful soiled magnolia feeling. Paris is so sensual, beautiful, flirtatious, mischievous, arrogant, orderly, civilised. They call Paris a whore because she seduces you on every corner, and every street I turned, I could see another picture.”
This work has a wonderful provenance having been in the collection of Whiteley’s daughter Arkie.