photography after Lajamanu

We left Lajamanu via Top Springs so that we could link up to the Stuart Highway via  the Buntine and Buchanan Highways. The Landrover’s  compressor  housing had been  damaged,  and  so we had to avoid the long drive over  the severe corrugations on the Tamani Road.   Whilst having lunch at Top Springs I realised that the photography being done on this road trip was working within contemporary art, in that  it is part of the current of art that emerges from post colonialism in a globalised world.

Top Springs, Northern Territory

This contemporary art current is a new temporality: it is decentred and diverse, is post medium, is  more open to an interaction with artists from different cultures, has no brief against the art of the past, no sense that the past is something from which liberation must be won, has taken leave of the linear conception of history with its carrying art into the future whilst waging war  against the old old forms.   The conception of time is one of a set of possibilities rather than a linear progression. Continue reading

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at Emu waterhole

Between the end of  the 2016 Milpirri Festival and prior to leaving  Lajamanu we visited Emu water hole just outside Lajamanu. The waterhole was full  and it in a  Tanami desert-scape of sparse vegetation ( spinifex, desert oaks, acacias and mulga trees), blue skies and strong sunlight.   The history of the desert  is one of a  ice gre around 20,000 years ago,  which retreated around  11,000 years ago and the rangelands  emerged.  That shift  to an arid zone is a climate change event.

Desert in Australia  traditionally means unsuitable for pastoral undue to the sandy soils that are deficient in nutrients  and the spikesy spinifex grasses that are unpalatable to stock.

Kitty + Ursula, Emu Waterhole

The Warlpiri have  extensive knowledge of water sources  in  the flat terrain  in their dreaming stories, their vocabulary has names for  different types of transient or permanent waterholes (e.g, rock holes, soakages)  and they  pass their  knowledge about water holes and food tracks on through dance and paintings. I started to decode these paintings whilst at Lajamanu —I got as as far as circles for waterholes, lines for journeys, half-circles for people.  Continue reading