A collection of traditional Aboriginal paintings which spans decades and which displays the distinctive styles of two regions of Australia: the western desert and Arnhem Land. The paintings are simply presented to be easily appreciated, with brief notes on information provided by the artists themselves.

Describes the art of the Australian Aborigines including rock painting and engraving as well as sand and bark painting; also discusses the symbolism found in these works.

This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.

The art of Aboriginal Australia gives tangible expression to a particular way of being in the land. The Kluge-Ruhe Collection, now held by the University of Virginia in Charlottesville, is one of the largest and best-documented collections of Australian Aboriginal art outside Australia. Art from the Land focuses on the desert region and Arnhem Land, drawing on the many fine works in the collection and on the authors' detailed knowledge of the artists and their communities to illustrate the unique and complex nature of Australian Aboriginal artistic expression.

Australian Aboriginal Artist Troy Little has asked me to create 2 coloring books from 45 drawings featuring native Australian wildlife. Book 1 contains 20 drawings that have been used to create 70 designs on one-sided pages for all ages to color.The 70 designs have the original and 3 variations.-The original.-The original placed on dot art.-The animal enlarged for children to color and cut out.-The animal surrounded by dot art for children to color.The book is 8.5 x 11 inches with 148 pages.

Selected works from the Gallerys collection illustrating the state of recent and contemporary Aboriginal art; organised by region; Arnhem Land, Groote Eylandt, Port Keats, Bathurst and Melville Islands, Western Desert and Kimberley.

The art of the Australian Aborigines is widely recognised as being the oldest art form in the world, preceding that of the Americas and Europe by many centuries. For thousands of years, however, the only art forms practised by the Aborigines were rock painting and carving, bark painting, sand painting and body painting using natural ochres, wild desert cotton, charcoal and birds' down, often carried out as part of ceremonial activities. It was not until 1971 that the Aborigines of the Papunya Tula settlement in the deserts of the Northern Territory were introduced to methods of painting on canvas and board using modern materials. This book commemorates the twenty-fifth anniversary of the Papunya Tula painting movement - the birthplace of contemporary Aboriginal painting. The work of eighty Papunya Tula artists, including some of the best known Aboriginal painters - Clifford Possum Tjapaltjarri, Michael Nelson Tjakamarra and Tim Leura Tjapaltjarri - is illustrated in this book in two hundred full-colour reproductions which demonstrates the vibrancy and sophistication of the art. Patrick Corbally Stourton's introductory text examines the events which led to the birth of this extraordinary painting movement, and illuminates the mythology of Dreamings which lies behind every Aboriginal painting.

A very comprehensive look at Aboriginal art from traditional to contemporary art. Lively discussion and beautiful presentation.

Featuring over 240 colour plates, this volume canvasses an extraordinary diverse range of Aboriginal art. The 27 essays by leading authorities and 13 interviews with key artists are accompanied by an extensive chronology.

Spirit Country explores the vibrant contemporary Aboriginal art of northern and central Australia, with its diverse regional traditions – from the finely cross-hatched bark paintings of Arnhem Land to the mesmerising dotted canvases of the Central Desert, from the elaborate Pukumani poles of the Tiwi islands to the broad fields of ochre in contemporary works from the Kimberley. Jennifer Isaacs has been a close observer of the artistic renaissance across Aboriginal Australia since it began during the early 1970s. In Spirit Country she outlines the forces that propelled the movement’s initial upsurge and seeks the sources of its continuing vitality. Drawing on the rich resources of the Ganter Myer Collection of Contemporary Aboriginal Art, she traces the widening compass of the movement, and particularly the involvement of women artists, whose works have taken contemporary Aboriginal art in new directions. For the communities of the Central Desert, the Kimberley and Arnhem Land, art is both a much-needed source of income and a vital means of personal and collective expression. The art of these remote communities is intended to send a message to the wider world, to educate and enlighten outsiders about the artists’ religious thought and the continuing vitality of their cultures. Theirs is an artistic practice that comes from a conjunction of individual creativity, ancient art-making traditions and contemporary political struggles for land. While the extraordinary abstract qualities of these works have caught the eyes of the Western art world, for those who make them they are also religious documents, maps, personal histories and title deeds to land.