Fake Art Harms Culture Abe Muriata promotes fair dealings for Indigenous Artists

Girramay Traditional Owner and artist Abe Muriata has been at the forefront of a campaign to remove “Aboriginal Art” made by non-Indigenous people from retail outlets across Australia. The proliferation of imported non-Indigenous product in the marketplace is not only confusing the marketplace but is also raising issues of deceptive practices which while not necessarily illegal are morally questionable.

The Fake Art Harms Culture campaign is being driven by the Indigenous Art Code with support from Arts Law Australia and the Copyright Agency/Viscopy.  The Girringun Aboriginal Art Centre has also played an assisting role throughout the process where-ever possible.

As an artist and representative of Girringun, Abe Muriata has travelled to Canberra and Sydney and participated in a number of media interviews to support the campaign and raise awareness with politicians, retailers and other artists over the past six months..  The issue has implications for Indigenous people across Australia and Frank Robson of the Sydney Morning Herald described last weekend that:

Unless the imported souvenirs are falsely claimed to be authentic at the point of sale, the fake art trade isn’t illegal under Australian law. But it is increasingly seen as exploitative and immoral because it plagiarises, distorts and disrespects Aboriginal and Torres Strait Islander culture, as well as robbing Indigenous artists of income and deceiving consumers, most of whom are overseas tourists.

Now, just four months out from the 2018 Commonwealth Games on the Gold Coast, industry sources say there’s so much fake stuff flooding Australia that genuine Indigenous products are being priced out of the market. Politicians have joined with exasperated Indigenous lobbyists to fight the problem: a federal government inquiry into the complexities of the trade concluded in November, with recommendations expected shortly, and federal independent MP Bob Katter has called for the sale of phoney Aboriginal products to be made illegal, however they’re labelled. (http://www.smh.com.au/good-weekend/the-booming-trade-in-fake-indigenous-art-20171122-gzqyam.html)

If new legislation is developed as a result of the Fake Art Harms Culture campaign there will be many benefits that will result.  Artists will receive more appropriate recognition and return for their work and it is anticipated that the incredible diversity of Indigenous cultural practices and living become more visible throughout Australia.

Abe Muriata with MZAANZ conference delegates at the National Maritime Museum earlier this year.  The annual Museum Shops Association of Australia & New Zealand  held a panel session on the theme of Rights, Respect & Recognition.  Photo Gabrielle Sullivan Indigenous Art Code 2017

Abe Muriata with MZAANZ conference delegates at the National Maritime Museum earlier this year. The annual Museum Shops Association of Australia & New Zealand held a panel session on the theme of Rights, Respect & Recognition. Photo Gabrielle Sullivan Indigenous Art Code 2017

Girringun hosts visitors from Qld Museum and James Cook University Qld Museum and James Cook University visit Girringun

The Girringun artists, art centre, nursery, IPA and Rangers hosted a visit from Professor Rosita Henry, Head of Social Sciences, James Cook University, Dr Michael Wood JCU Dr Kirsty Gillespie, Senior Curator, Anthropology, Museum of Tropical Queensland and Brit Asmussen, Senior Curator, Archaeology, Queensland Museum.  They are developing a research project which looks at Aboriginal engagement with Natural Science Collections in the Qld Museum.  The project aspires to increase discussion and exchange to inform museum practices and explore relationships between natural history collections and Indigenous histories.  If the ARC application is successful, a series of workshops and consultations across the Girringun region is expected to begin in 2018.

Girringun artists and staff host a visit from JCU and Qld Museum staff at Edmund Kennedy Facility

Girringun artists and staff host a visit from JCU and Qld Museum staff at Edmund Kennedy Facility.  Photo Girringun Aboriginal Art Centre

Nephi Denham at Jam Factory Nephi Denham undertakes Artist Residency at Jam Factory in Adelaide

Girramay Traditional Owner and artist Nephi Denham recently completed an artist residency (ceramics) at the Jam Factory in Adelaide.  One of four artists across Australia (Ernabella, Hermannsberg and Erub) Nephi took up the challenge to create new works and learn more about his chosen field of ceramics.  Nephi is also represented in the current touring exhibition “Clay Stories – Contemporary Indigenous Ceramics from Remote Australia” which opened at Seppeltsfield as part of the Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Island Arts held recently in Adelaide.  The exhibition was developed through a collaboration between the Remote Communities Ceramic Network and Sabbia Gallery of Sydney.  For further information about this exhibition have a look at http://theconversation.com/all-fired-up-clay-stories-is-a-triumphant-display-of-contemporary-indigenous-ceramics-86454

Nephi Denham during artist residency at the Jam Factory in Adelaide - photo by Tony Kearney

Nephi Denham during artist residency at the Jam Factory in Adelaide – photo by Tony Kearney

Manggan – Gather, Gathers, Gathering Manggan, the exhibition at Museum of Tropical North Queensland until Feburary 11

 

Abe Muriata (artist) and Brian Oldman (SA Museum) at MTQ Opening

Abe Muriata (artist) and Brian Oldman (SA Museum) at MTQ Opening

 

The Museum of Tropical North Queensland in Townsville is the first venue of a national tour of artworks and cultural objects from the rainforest people of the Girringun region.

Opened recentlyby Girringun Chairperson and Gugu Badhun Traditional Owner Ms Pat Hoolihan, this touring exhibition was made possible with funding from Visions Australia.  Ms Hoolihan commented that:  This project originated out of community interest in the cultural material from the Girringun region collected by South Australia Museum, including rare objects never displayed publicly and never with Traditional Owner involvement. We are very much involved in what is happening here now.. The inclusion of some very rare and beautiful objects – baskets, firemaking tools and others, bringing them back to visit from South Australia to North Queensland for the first time in over 100 years is – for us – a profound experience, as we believe that the spirits of the old people, our ancestors, remain with the objects. They are extraordinarily precious.

Girramay Elder Claude Beeron was the cultural advisor for the project and was moved to see these objects from his ancestors so close to home.  Mr Beeron had previously travelled to Adelaide and Melbourne with curator Dr Valerie Boll and artists Abe Muriata, Nephi Denham, Mrs Ninney Murray and Debra Murray for research and liaison with the South Australian Museum and the Melbourne Museum.

Mr Brian Oldman, Director of the South Australia Museum came up for the exhibition and joined a  large contingent of artists and interested people who travelled to Townsville last Friday to experience the amazing display of rainforest culture and imagery.

Traditional and contemporary works showcased in the same space demonstrate the progression of tool and object making and transitions that are occurring in more recent work and reflect on a culture which is very much alive.  The exhibition includes two documentaries and aerial images by Debra Murray, sculptural works and weaving.

Manggan – gather, gathers, gathering, the exhibition, features 19 artists and it will tour to fourteen venues across five states for the next three years. Museums and Galleries in Brisbane will manage the touring component of the show with support from Girringun Art Centre Manager Valerie Keenan.

The Museum of Tropical North Queensland, Townsville is open every day between 0930 and 1700 hours, and the exhibition will remain open to the public in Townsville until February 11.  For further information: http://www.mtq.qm.qld.gov.au/Events+and+Exhibitions/Exhibitions/2017/09/Manggan#.WbNhfsax9hE or contact Girringun Aboriginal Art Centre 07 40668300.

Clay Stories Girringun artists participate in Clay Stories Exhibtion at Sabbia Gallery, Sydney

Clay Stories in Sydney

Artist Emily Murray and art centre Manager Valerie Keenan attended the opening of Clay Stories at Sabbia Gallery in Sydney in March 2017.

Artists from 5 communities Ernabella, Erub, Girringun Aboriginal Art Centre, Hermannsburg and the Tiwi islands had work displayed in a combined exhibition which will tour later in 2017.

Emily Murray attends the opening of Clay Stories at Sabbia Gallery, Sydney.  Michael West and Tony Albert share the moment.  Photo V Keenan Girringun Aboriginal Art Centre 2017

Emily Murray attends the opening of Clay Stories at Sabbia Gallery, Sydney. Michael West and Tony Albert share the moment. Photo V Keenan Girringun Aboriginal Art Centre 2017

Alison Murray wins Inaugural CIAF Emerging Artist Award 2017 Alison Murray wins Inaugural CIAF Emerging Artist Award 2017

Alison Murray is congratulated by Sponsor Christ Marsh for winning the Inaugural CIAF Emerging Artist Award 2017

Alison Murray is congratulated by Sponsor Christ Marsh for winning the Inaugural CIAF Emerging Artist Award 2017

 

The Girringun Aboriginal Art Centre and artists have excelled this year at the Cairns Indigenous Art Fair (CIAF).

“We began our association with the event at the very first CIAF in 2009,” Girringun Aboriginal Art Centre Manager Valerie Keenan said.

“It was held at the Tanks Art Centre and we have been involved every year since then.

“It is now held at the Cairns Cruise Terminal and this year for the first time major awards were provided.

“Artist Alison Murray received the Inaugural Emerging Artist Award this year for a series of 10 ceramic works about her family.

“The work was universally acclaimed at CIAF and is in the process of being acquired by a major institution.

“Alison adds this award to earlier successes which includes being a finalist of the 2016 Indigenous Ceramic Art Awards in Shepparton and represented in the prestigious annual exhibition, Salon des Refuses in Darwin in 2016.

“We were also very proud to have the art centre recognised for its contribution and received the Highly Commended Art Centre Award.

“The artists and the art centre have gained a reputation for producing quality work and it is our aim to support artists to develop their arts practice and achieve great outcomes.

“It is very much a team effort.”

 

Abe Muriata at CIAF Abe Muriata talks to the Media at CIAF

CIAF has provided Girringun and the artists excellent exposure and provided a platform not only for displaying artwork but also as a place for advocacy.

Abe Muriata fields media questions at CIAF. He is standing in front of a large eel trap he created.  Photo V Keenan GAAC.

Abe Muriata fields media questions at CIAF. He is standing in front of a large eel trap he created. Photo V Keenan GAAC.

Girramay Artist Abe Muriata participated in a raft of media interviews during CIAF on the subject of Fake Art Harms Culture.

This campaign spear-headed by the Indigenous Art Code is designed to make people aware that there is an overabundance of un-authentic Aboriginal product being sold under the guise of the genuine article.

“I’ve seen boomerangs that were made in Asia,” Abe Muriata said.

“Painted by someone who wasn’t an Aboriginal.

“Boomerangs like these follow a pattern, are generally mass produced and are essentially a picture to hang on the wall.

“They are fake and they are not cultural.

“But, if you look at a genuine traditional boomerang, the object, its patterns and drawings tell one or more stories.

“They are inherently cultural.

“But, somewhere along the line the story stopped and the picture took over.

“Something a bit like boomerangs that are made for the tourist market.

“The object has gone beyond the story.

“It has got bigger than all of us.

“In a way it was inevitable.

“While there may be some sort of controls we can put into place, all I suspect that we can do is ensure acknowledgement of ownership and origins and endeavour to seek some sort of compensation for Aboriginal people.”

 

The Girringun Aboriginal Art Centre is funded by the Arts Queensland Backing Indigenous Arts Fund and the Ministry of the Arts Indigenous Visual Arts Strategy.

Philip Denham wins IACA Lucille Osborne Emerging Artist Award 2017 Philip Denham wins IACA Lucille Osborne Emerging Artist Award 2017

Girramay Traditional Owner Philip Denham of Murray Upper was awarded the annual IACA Lucille Osborne Emerging Artist Memorial Fellowship at the Kick Arts Contemporay Art Space  in Cairns in July.

An artist supported by the Girringun Aboriginal Art Centre, Philip was overwhelmed to hear that his entry was successful.

“My culture is very important to me and this means that I will be able to continue the work of my parents,” Philip said.

“My son Nephi is already a successful artist and now he will be able to help me with my work.”

The fellowship will allow Philip and Nephi to travel to Melbourne to look at traditional objects from this area in the Melbourne Museum.

“Nephi saw a turkey trap when he went down earlier this year.

“I make a lot of string and I want to make a fish trap and turkey trap.

“The last time I saw one made was by my father Andy Denham.

“Mrs Ninney Murray will show me how to make a trap and then I want to teach others.”

Once Philip has finished his traps he will then look at using the bush string to make more contemporary items.

“Philip began making bush string on a regular basis about 12 months ago,” Girringun Aboriginal Art Centre Manager Valerie Keenan said.

“His technique has matured during that period and the string he makes is of an amazing quality.

“He is very committed to making sure that cultural practices of rainforest culture are maintained.”

Philip Denham accepts IACA Lucille Osborne Emerging Artist Award in Cairns.  Photo R Morten Girringun Aboriginal Art Centre

Philip Denham accepts IACA Lucille Osborne Emerging Artist Award in Cairns. Photo R Morten Girringun Aboriginal Art Centre

Keep on Truckin’ Keep on Fishin’ with John Murray John Murray at Suzanne O'Connell Gallery, Brisbane - Keep on Truckin' Keep on Fishin'

John Murray with a portion of his solo exhibition Keep on Truckin' Keep on Fishin

John Murray with a portion of his solo exhibition Keep on Truckin’ Keep on Fishin’

A Girramay Traditional Owner, John Murray, is intensely interested in the world around him and that is reflected in the way he expresses himself.  Some of his interests include his family, camping and fishing, checking out trucks and heavy machinery as well as his creative pursuits – drawing, painting, ceramics and print making

Girringun at SA Museum Manggan - gather, gathers, gathering at South Australia Museum

A new exhibition of contemporary and traditional objects, Manggangather, gathers, gathering was opened recently at the South Australia Museum in Adelaide.

“The Museum is learning how to be a custodian and working with the people from Girringun has made us re-think the way we want to work in the future,” Professor John Carty, Head of Anthropology, South Australia Museum said.

“It seems to me that the museum learnt more out of the process of working with Girringun than they did and we have gained insight into how we can do better exhibitions and displays from this experience.

“Not only do we have to take care of the collections at the museum but we need think about who decides what should be happening with them.

“We need to better engage with communities so that they have a say too and we are grateful to Girringun for being a generous partner in developing this exhibition.”

Dr Valerie Boll led negotiations with the South Australia Museum and travelled with Claude Beeron, Abe Muriata and Debra Murray in August to facilitate access to the material, the first time it has come out of collection storage in recent times.

“It was wonderful teamwork between the two organisations and it is a fantastic opportunity for the public to see rainforest work in a southern state,” Dr Boll said.

“This exhibition carried a positive message and demonstrates the diversity of the rainforest culture of Far North Queensland which is quite different to the rest of Australia.”

Girramay Elder Claude Beeron and Girringun artists Abe Muriata, Ninney Murray and Debra Murray attended the opening together with Curator Dr Valerie Boll of El Arish and Art Centre Manager Valerie Keenan.

“The South Australian Museum has one of the largest institutional collections of traditional objects from the Ingham, Tully and Rockingham Bay areas in Australia,” Valerie Keenan said.

“The objects were collected in the late 1800s and we were fortunate to be able to include very old objects borrowed from the collection in the exhibition.

“The beautiful old objects were augmented by contemporary works by artists working with the Girringun Aboriginal Art Centre.

“Beautiful bicornual baskets by Abe Muriata, eel traps and baskets by Mrs Ninney Murray, two documentaries directed by Debra Murray, ceramics and weavings were included in the exhibition which was a certainly a gathering of mediums, ideas and forms.

“An artist program which included a talk by Abe Muriata and a weaving session with Mrs Ninney Murray was well attended in the exhibition space and forecourt of the Museum.”

The exhibition funded by the Arts Qld Regional Arts Fund will continue until January 29.debra-murray-ninney-murray-with-museum-staff-at-sa-museum-sml