PHOTO ALBUM
To make better sense of the featured photographs the following piece of history that relates to these photographs seems necessary.
When I arrived in Alice Springs on the 2nd of February 1990 my intention was to remain there for approximately 4 months to learn about Aboriginal Art and Culture first hand before moving on further north to do likewise. I expected to travel to all Aboriginal areas around Australia with the intention of being away for approximately 12 months before coming back to Melbourne where I wanted to work as a teacher specializing in Aboriginal Art and Culture in Victorian secondary schools. But after recognizing the sorry circumstances of the `fringe dwellers`, or Aboriginals living in town camps in Alice Springs, who were not welcomed in town, but at the so-called `animal bar` at the back of the Old Alice Inn, I made the decision to open a studio gallery right in the heart of town where all Aboriginals would be welcomed and paint if they wished to, while I with the help from my travelling artist friend Frank Mosmeri did all that we could do to lift the self-esteem of painters and non-painters alike with the hope of nurturing some good in a terrible environment where apartheid seemed alive and well, but well hidden.
As a result, Tngengkarre Studio Gallery came into being, though I only signed a twelve month lease with the option of another 5 years, for I expected to hand the business on free of charge to an Aboriginal organization, or anyone, who could take over from where we left it. To assist in the upkeep and maintain a hold on my profession, I continued to work as a teacher on certain days and tutoring in the evening at Yirara Aboriginal College when possible. But passing the business on was not to be, for I could not find anyone to take it over; nor even come to see what was happening at Tngengkarre, which was proving to be a great positive for people, who would otherwise have been spending their time on the Todd River, or in town camps drinking with little else to do. Tngengkarre provided a positive work and meeting place for all, but `how dare a white woman from Victoria come into town and tell us how to solve our problems, so thanks but no thanks` was basically the feedback that I received.
The proof, however, was in the pudding and it did not take much of an imagination to recognize what Aboriginals in Alice Springs were missing and needed, but who cared? So after a physically exhausting and painfully emotional sixteen months in which I was also arrested then charged for disorderly conduct in a police station and assaulting a police officer, Tngengkarre was closed and I returned back home to Melbourne with Clifford Possum by my side, which threw me into another world and made teaching impossible, so I found bread and butter money through selling Aboriginal Art and on occasion made and sold my own work and regularly returned to Alice Springs with Clifford Possum during our years together. The end result came to be Artspeak Studio Gallery and the young woman in the photographs is now old.
An everyday image of the kind that helped to Making music at Tngengkarre with Johnny
inspire the creation of Tngengkarre Studio Gallery. playing Frank's guitar while the other men,
including Clifford Possum, used music sticks.
Billy Stockman and Milanka
Conversation with Old B at a town camp. Milanka and Brian Leura on the Todd River.
Frank Mosmeri engaging Sebastian in frame making. Of the children who came to visit, Sebastian, who would hardly speak a word, in fact I cannot recall ever hearing him speak, showed the greatest interest in working with Frank. He is obviously a man now and Frank and I often wonder what became of this little boy, whose parents dearly loved him, but were having difficulties coping.
Frank Mosmeri with Sebastian's baby sister. Molly, who was not a painter, but often
TOO CUTE! gave it a go. It was a heartbreak leaving
her with no Tngengkarre to go to.
Johnny Warangkula speaking to Frank about the Another day and another group of girls
subject of his small work, while the young sit involved in painting.
nearby working on their own paintings in the master's
presence.
Margaret and Daniel, not really artists, but A busy day at Tngengkarre.
regularly came to visit and painted on occasion.
A beautiful couple, who absolutely adored each other.
Don Tjungurrayi, Dini Nolan Tjampitjinpa and Showing Johnny Warangkula his name in
Paddy Carroll Tjungurrayi. a book with his work.
Books were a source of inspiration and self awareness for artists, who did not seem to know the extent of their success. Books also provided younger people and older lost souls with a greater sense of pride for their culture and a better understanding of the achievements of their relatives. Books were never used to encourage copying, contrary to vicious interpretation.
Billy Stockman speaking of a work in a book. Charlie Egalie Tjapaltjarri posing with pride with
the publication `Wild Bird Dreaming`, which
features Charlie's work on the cover.
Albert Namatjira`s descendents, who do not paint, Ruby Namatjira and other Namatjira kins
or did not in those days, looking through a book. people, including Albert's former daughter
in-law, who became Charlie Egalie`s second
wife. All are watching Charlie paint.
Johnny Smith and Charlie Egalie and Johnny's Johnny Smith and his companion.
companion, who never painted.
Pinta Pinta Tjapanangka and two other Michael Nelson Tjakamarra and co.
Pintupi painters.
A host of women and children from out bush. Children watching the process of
Aboriginal Art making for the first time.
Women often came in to paint small canvases and Turkey Tolsen in an in-depth conversation
would often come back with their friends to proudly
show them their work, which is what this image
illustrates. No-one was ever turned away from
painting, as ability was not a prerequisite.
At a town camp in Alice Springs. Clifford Possum, Milanka, Clifford's late wife's
sister and her husband at Artspeak in Warrandyte.
When Tngengkarre closed a pinball type parlour took over the building. Nevertheless, Artspeak is still here and though it is not a brand name, or produces catalogues, or has space for exhibitions, it does, however, have what really matters: Important Contemporary Aboriginal Art and the expertise to know what makes it so, which comes from formal art education and experience and, of course, a passion for art.
All material on this site is protected by Australian and international copyright and other intellectual property laws. Users may not do anything which interferes with or breaches those laws or the intellectual property rights in the material. Where there is a wish to use expression: permission is granted on the basis that the source is acknowledged, this permission extends to the non-reproduction use of the art of Milanka J Sullivan, but does not include photographic material owned by Artspeak and imagery belonging to Aboriginal Artists, which remains the sole property of the artist or artist`s estate. If unclear seek clarity.