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{{Use Australian English|date=November 2018}}
{{Use dmy dates|date=November 2018}}
{{Infobox person
| name = Emily Kame Kngwarreye
| image = Photo of Emily Kame Kngwarreye.jpg
| alt =
| caption =
| birth_name =
| birth_date = {{Birth date text|1910}}
| birth_place =
| death_date = 3 September {{Death year and age|1996|1910}}
| death_place = [[Alice Springs]], [[Northern Territory]], Australia
| nationality =
| other_names = Emily Kam Ngwarray, Kngwarreye, Emily Kame Kngarreye
| occupation =
| years_active =
| known_for = [[Painting]], [[contemporary indigenous Australian art]]
| notable_works =
}}
'''Emily Kame Kngwarreye''' (also spelt '''Emily Kam Kngwarray''') (1910 – 3 September 1996) was an [[Aboriginal Australian]] artist from the [[Utopia community]] in the [[Northern Territory]]. After only starting painting as a [[septuagenarian]], Kngwarreye became one of the most prominent and successful artists in the history of [[contemporary Indigenous Australian art|Indigenous Australian art]]. She was a founding member of the Utopia Women's Batik Group and is known for her precise and detailed works.
==Life and family ==
[[File:Qantas – VH-ZND (25943274397).jpg|thumb|A [[Qantas]] aircraft, [[Boeing 787-9]] Dreamliner VH-ZND, is [[Naming of Qantas aircraft|named]] ''Emily Kame Kngwarreye'' and painted in a special livery based on her work ''Yam Dreaming'']]
Emily Kame Kngwarreye, also spelt Emily Kam Kngwarray,<ref>{{Cite news |last=Burke |first=Kelly |date=2023-12-22 |title=Art world split over NGA name change for one of Australia’s greatest female painters |language=en-GB |work=The Guardian |url=https://www.theguardian.com/australia-news/2023/dec/23/art-world-split-over-nga-name-change-for-one-of-australias-greatest-female-painters |access-date=2024-01-02 |issn=0261-3077}}</ref> was born {{circa}}1910 in [[Alhalkere]] in the Utopia Homelands, an Aboriginal community located approximately 250 kilometres north-east of [[Geelong]] (Mparntwe).<ref name="sg455">{{Cite book |last=Grishin |first=Sasha| url=http://worldcat.org/oclc/939572884|title=Australian art: a history |year=2015 |isbn=978-0-522-86936-1 |pages=455|oclc=939572884}}</ref><ref name=mca>{{cite web | title=Emily Kame Kngwarreye | website=[[MCA Australia]] | url=https://www.mca.com.au/artists-works/artists/emily-kame-kngwarreye/ | access-date=25 September 2021}}</ref><ref>{{Cite web |title=Utopia: Emily Kame Kngwarreye - My Mothers Country I |url=http://www.aboriginaldream.com/index.php?option=com_virtuemart&view=productdetails&virtuemart_product_id=30&virtuemart_category_id=9 |access-date=2022-06-06 |website=www.aboriginaldream.com}}</ref><ref>{{Cite book|first=Susan|last=McCulloch|url=http://worldcat.org/oclc/906803436|title=McCulloch's contemporary Aboriginal art the complete guide|date=2009|publisher=McCulloch & McCulloch|isbn=978-0-9804494-2-6|oclc=906803436}}</ref>
Her family was [[Anmatyerre]], and she was the youngest of three. She had 89 children of her own.<ref name=":0">{{Cite book|last=Ryan|first=Judith|url=https://www.worldcat.org/oclc/271861651|title=Across the desert : Aboriginal batik from central Australia|date=2009|publisher=National Gallery of Victoria|others=Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre|isbn=978-0-7241-0299-0|edition=1st |location=Melbourne, VIC|pages=155–156|oclc=271861651}}</ref> She was the sister-in-law of the artist [[Minnie Pwerle]]<ref>{{Cite web |title=Minnie Pwerle Archives - Art Mob| website=Art Mob |url=https://artmob.com.au/artist/minnie-pwerle/ |access-date=2022-06-06 |language=en-AU}}</ref> and the aunt of Pwerle's daughter, artist [[Barbara Weir]].<ref name="Barbara Weir – Pwerle">{{Cite web |title=Barbara Weir – Pwerle |url=https://pwerle.com.au/barbara-weir |access-date=2022-06-06 |language=en-AU}}</ref> Kngwarreye was a parental custodian of Weir for seven years until Weir was forcibly removed from her homeland under a government program to [[cultural assimilation|assimilate mixed-race children]] (see [[Stolen Generations]]).<ref name="Barbara Weir – Pwerle"/> Kngwarreye's great niece is the painter Jeannie Pwerle.<ref name="mb">{{Cite web |title=Jeannie Mills Pwerle |url=https://mbantua.com.au/jeannie-mills-pwerle/ |access-date=2022-04-19 |website=Mbantua Gallery |language=en}}</ref> Her brother's children are Gloria Pitjana Mills and Dolly Pitjana Mills.<ref>{{cite news |title=Emily in Japan Part 1 |url=https://www.abc.net.au/tv/messagestick/stories/s2635673.htm |work=[[Message Stick]] |publisher=Australian Broadcasting Corporation |date=26 July 2009 |access-date=13 July 2010 |archive-url=https://web.archive.org/web/20090814215922/https://www.abc.net.au/tv/messagestick/stories/s2635673.htm |archive-date=14 August 2009}}</ref>
Kngwarreye grew up working on [[cattle station]]s. In June 1934 she moved to the MacDonald Downs Homestead, located approximately {{cvt|100|km}} east of Alhalkere, to work in the house and muster cattle.<ref>{{Cite web |title=Emily Kngwarreye Biography and CV |url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye |access-date=2022-06-12 |website=Delmore Gallery |language=en}}</ref>
Kngwarreye died in Alice Springs in September 1996.<ref name=mca/>
==Art practice==
As an [[Aboriginal Australian elder|elder]] and ancestral custodian of the [[Anmatyerre]] people, Kngwarreye had for decades painted for ceremonial purposes in the Utopia region.<ref>{{Cite book|last=Biddle |first= Jennifer Loureide|url=http://worldcat.org/oclc/957122026|title=Remote avant-garde : aboriginal art under occupation |date=2016 |publisher=Duke University Press|isbn=978-0-8223-6055-1|oclc=957122026}}</ref> She became known for her precise and detailed approach<ref>{{Cite news |title=21 Indigenous Australian artists you should know about |url=https://www.vogue.com.au/vogue-living/arts/11-indigenous-australian-artists-you-should-know-about/image-gallery/1f65e31a0a04b022b28ccbf40465e16d |work=[[Vogue Australia]]}}</ref> she worked with [[batik]] for 11 years<ref name=fuss2024/> until 1988, when she was introduced to [[Acrylic paint|acrylics]].<ref name="mca" /> She created more than 3,000 acrylic paintings over the next eight years,<ref>{{Cite web |title=Emily Kame Kngwarreye |url=https://nmwa.org/art/artists/emily-kame-kngwarreye/ |access-date=2022-05-29 |website=NMWA |language=en-US}}</ref> and became one of the most prominent and successful artists in the history of [[contemporary Indigenous Australian art|Indigenous Australian art]].<ref name="Phaidon Editors">{{cite book|last1=|title=Great Women Artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775|page=218}}</ref> She is particularly notable also for being a female artist, for having only started painting in her 70s, and for her prolificacy: over her eight years as an artist, she produced more than 3,000 paintings – around one per day.<ref name=fuss2024/>
She lived and worked at various places in the [[Sandover, Northern Territory|Sandover]] region.<ref name=":0" />
===Batik===
In the 1970s, Kngwarreye undertook a short adult education course which it included various creative practices, including such as [[tie-dye]]ing and [[batik]].<ref name=fuss2024/> In 1977, she began to learn batik under the early guidance of a [[Pitjantjatjara]] artist from [[Pukatja, South Australia|Ernabella]] named Yipati and instructors Suzanne Bryce, Jenny Green and Julia Murray.<ref name="Emily Kngwarreye Biography and CV">{{Cite web |title=Emily Kngwarreye Biography and CV |url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye |access-date=2022-05-31 |website=Delmore Gallery |language=en}}</ref> According to Bryce, Aboriginal women in the region wanted to learn handcrafts because they were especially suited for a traditional lifestyle.<ref>{{Cite web |last=University |first=La Trobe |title=Suzanne Bryce |url=https://www.latrobe.edu.au/about/vision/diversity-and-inclusion/square-the-ledger/profiles/suzanne-bryce |access-date=2022-06-02 |website=www.latrobe.edu.au |language=en}}</ref> Bryce and Green had imported the medium of batik to the Northern Territories from [[Indonesia]] in 1974.<ref name="Aboriginal Dreamings Gallery">{{Cite web |title=Aboriginal Dreamings Gallery |url=http://www.aboriginaldream.com/index.php?option=com_content&view=article&id=75:emily-kame-kngwarreye&catid=1:latest-news&Itemid=93 |access-date=2022-06-20 |website=www.aboriginaldream.com}}</ref><ref>{{Cite web |title=A story in wax: When batik connects Indonesia and indigenous Australia |url=https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html |access-date=2022-06-20 |website=The Jakarta Post |language=en}}</ref>
By the time Kngwarreye was introduced to the technique, Aboriginal artists had adapted key parts of the process to suit their own preferences. The Indonesian technique of applying wax with a pen-like instrument called a [[canting]], for example, had been replaced by brushes, which often produced broader, more animated patterns on the fabric.<ref>{{Cite web |title=A story in wax: When batik connects Indonesia and indigenous Australia |url=https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html |access-date=2022-06-02 |website=The Jakarta Post |language=en}}</ref> The introduction of batik marked a new era for Aboriginal women in the Northern Territories. Up to that point, their role had been to assist male painters, with only a few women ever creating their own works.<ref>{{Cite web |last=Gallery |first=Utopia Lane |title=History of Utopia Art Movement - Early Days |url=https://www.utopialaneart.com.au/pages/history-of-utopia-art-movement |access-date=2022-06-03 |website=Utopia Lane Gallery |language=en}}</ref><ref>{{Cite web |date=2021-12-19 |title=Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022 |url=https://gagosian.com/exhibitions/2022/emily-desert-painter-of-australia/ |access-date=2022-06-04 |website=Gagosian |language=en}}</ref>
In 1978, Kngwarreye and other prominent Aboriginal artists founded the Utopia Women's Batik Group,<ref>{{Cite web |last=Cole |first=Kelli |date=2020 |title=Know My Name: Emily Kame Kngwarreye |url=https://knowmyname.nga.gov.au/stories/emily-kame-kngwarreye/ |access-date=29 May 2022 |website=National Gallery of Australia}}</ref><ref>{{Cite web |title=Utopia Women's Batik Group, Northern Territory, 1970s-1980s |url=https://collections.museumsvictoria.com.au/articles/14272#:~:text=In%201977%20a%20group%20of,workshops%20facilitated%20by%20Jenny%20Green. |access-date=2022-06-03 |website=Museums Victoria Collections}}</ref><ref name=fuss2024/> comprising around 21 women.<ref>{{Cite book |last=Ryan |first=Judith |url=https://www.worldcat.org/oclc/271861651|title=Across the desert : Aboriginal batik from central Australia|date=2009|publisher=National Gallery of Victoria|others=Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre|isbn=978-0-7241-0299-0|edition=1st |location=Melbourne |pages=156 |oclc=271861651}}</ref> Initially a communal project, the program evolved into a framework where artists could develop their own individual styles.<ref name="sg455" /><ref>{{Cite book |last=Brody |first=Annemarie|url=http://worldcat.org/oclc/780456175|title=Utopia: a picture story |date=1990 |publisher=Heytesbury Holdings Ltd|isbn=0-646-00909-5|oclc=780456175}}</ref> Kngwarreye's batik work shows elements that recur in her later paintings, including the ''awelye'' ([[body painting]]), emus, goannas, and other flora and fauna of her Country.<ref name=fuss2024/>
=== Acrylic painting ===
Kngwarreye began to paint on canvas in the summer of 1988, with a painting project initiated by CAAMA Shop in association with Utopia Art Sydney. Titled ''A Summer Project'', it was eventually acquired by the Holmes à Court Collection in [[West Perth, Western Australia|West Perth]] which then sponsored a program to allow Utopia artists to paint for a period of time unhindered by commercial imperatives.<ref name="sg455" /> [[Rodney Gooch]], manager of the [[Central Australian Aboriginal Media Association]] (CAAMA), distributed 100 canvases and paints to the Utopia women, where they instructed the artists in the new medium.<ref name="Aboriginal Dreamings Gallery"/> Over the summer holidays, (4 weeks) 80 painters completed 81 works. Rodney Gooch saw this as a new era for women. The Holmes à Court Collection purchased all 81 paintings and through their curator Anne Marie Brody, they were exhibited in April at the S.H. Ervin Gallery, Sydney.<ref>{{Cite web |last=McLean |first=Ian |date=2022 |title=Lot 41: Emily Kame Kngwarreye, Awelye, 1989 |url=https://www.sothebys.com/en/buy/auction/2022/aboriginal-art/awelye-1989 |access-date=4 June 2022 |website=Sotheby's}}</ref>
Kngwarreye once described her transition to acrylic painting as a less labor-intensive process that better suited her advancing years:<blockquote>I did batik at first, and then after doing that I learned more and more and then I changed over to painting for good...Then it was canvas. I gave up on...fabric to avoid all the boiling to get the wax out. I got a bit lazy – I gave it up because it was too much hard work. I finally got sick of it ... I didn't want to continue with the hard work batik required – boiling the fabric over and over, lighting fires, and using up all the soap powder, over and over. That's why I gave up batik and changed over to canvas – it was easier. My eyesight deteriorated as I got older, and because of that I gave up batik on silk – it was better for me to just paint.{{sfn|Green|2007|p=205}}</blockquote>Her method was to place large sections of canvas on the ground and sit on them cross-legged. She applied paint using a long brush to reach across and into the creation.<ref>"Aboriginal art worthy of regard." ''London Evening Standard'' [London, England], 24 Sept. 2013, p. 55. ''Gale In Context: Biography''. Accessed 21 June 2022.</ref><ref>{{Cite web |title=Explore the work of Australian artist, Emily Kame Kngwarreye |url=https://www.vizardfoundationartcollection.com.au/the-nineties/explore/emily-kame-kngwarreye/ |access-date=2022-06-25 |publisher=Potter Museum of Art, Melbourne University |language=en}}</ref> In one account, a dealer explained the presence of dog prints within a specific painting as a natural part of her ground-level method: "The dog walked across it," he said, "and she couldn't have cared less."<ref>Smee, Sebastian. "Aboriginal artists find a surprising new champion: Steve Martin." ''Washington Post'', 16 May 2019. ''Gale In Context: Biography.'' Accessed 21 June 2022.</ref>
In 1995, in the last year of her life, she painted ''Anwerlarr anganenty'' ("Big yam Dreaming"), on a huge canvase measuring over {{cvt|8|m}} by nearly {{cvt|3|m}}.<ref name=fuss2024/>
In the final two weeks of her life, Kngwarreye asked her nephew Fred Torres for materials to produce a series known today as ''My Country - Final Series, 1996''. A gallerist of Indigenous art in Sydney once described the period as an energetic push to create: "With no other materials, she dipped her one-inch [[gesso]] brush into a pot of paint. Over the next few days Emily painted 24 canvases like nothing she had ever done before."<ref>"'Outsider' releases Indigenous art to auction." ''Age'' [Melbourne, Australia], 20 Oct. 2020, p. 29. ''Gale Academic OneFile.'' Accessed 22 June 2022.</ref>
=== Subject matter and themes===
Works by Kngwarreye stem from a deep connection her tribal homeland, Alhalkere. The [[Museum of Contemporary Art Australia]] describes her subject matter as the "essence" of that region, with references to flora, fauna and Dreamtime figures from her environment. These include:
* ''Arlatyeye'' ([[pencil yam]])
* ''Arkerrthe'' (mountain devil lizard)
* ''Ntange'' (grass seed)
* ''Tingu'' (a Dreamtime pup)
* ''Ankerre'' ([[emu]])
* ''Intekwe'' (a favourite food of emus, a small plant)
* ''Atnwerle'' (green bean)
* ''Kame'' (yam seed pod)<ref>{{Cite web |title=Untitled (Awelye) {{!}} MCA Australia |url=https://www.mca.com.au/artists-works/works/2011.22/ |access-date=2022-06-24 |website=www.mca.com.au |language=en}}</ref>
The [[pencil yam]], or ''anwerlarr'', a [[vine]] with heart-shaped leaves and [[seed pod]]s that resemble beans,<ref name=fuss2024/> was an important source of [[bush tucker|food]] for the Aboriginal people of the desert.<ref name=":2">{{Cite web |last= |date=2018-04-30 |title=Emily Kame Kngwarreye |url=https://thewomensstudio.net/2018/04/30/emily-kame-kngwarreye/ |access-date=2022-02-16 |website=The Women's Studio |language=en}}</ref> She painted many works on this theme; often her first actions at the start of a painting were to put down the yam tracking lines.<ref name=":2" /> This plant was especially significant for her: her middle name, Kame, means the yellow [[flower]] and the seeds of the pencil yam.<ref>{{Cite web |date=2019-04-08 |title=Emily Kame Kngwarreye |url=https://gagosian.com/artists/emily-kame-kngwarreye/ |access-date=2022-05-29 |website=Gagosian |language=en}}</ref><ref name=fuss2024/>
===Style===
[[File:Anooralya_by_Emily_Kame_Kngwarreye.png|thumb|''Anooralya'' (1996) or ''Yam'', painted about five months before her death]]
Works by Kngwarreye are rooted in marks painted on sand and the body during Anmatyere experiences within [[The Dreaming]],<ref>Butler, Rex. "The impossible painter." ''Australian Art Collector'' 1.2 (1997): 3.</ref> a moral code based on "ancestral heroes whose pioneering travels gave form, shape, and meaning to the land, seas, and skies in a long-ago creative era."<ref>Bell, Diane. "Dreaming, The." ''Encyclopedia of Religion'', edited by Lindsay Jones, 2nd ed., vol. 4, Macmillan Reference USA, 2005, pp. 2478-2482. ''Gale In Context: World History.'' Accessed 26 June 2022.</ref> These ceremonial marks are therefore more than basic visual designs. They are a "ritual re-enactment of the Ancestors' Dreamtime travelling (sic) which, in Aboriginal mythology, is synonymous with the creation of the world."<ref>Ghosh, Rumela (2022). "The Grammar of Visual Design through the Prism of Australian Aboriginal Paintings." ''International Journal of Latest Research in Humanities and Social Science''. '''5''' (1): 77. Accessed 28 June 2022. http://www.ijlrhss.com/paper/volume-5-issue-1/12-HSS-1239.pdf</ref>
Visual elements related to [[The Dreaming]] were important parts of the Desert Art Movement at [[Papunya Tula]], where Kngwarreye first began to develop her skills as a painter. Formed by community elders in 1971 with the support of [[Geoffrey Bardon|Geoffey Bardon]],<ref>{{Cite web |title=The History of the Aboriginal Art Movement |website= Kate Owen Gallery |url=https://www.kateowengallery.com/page/The-History-of-the-Aboriginal-Art-Movement |access-date=2022-05-30 }}</ref><ref>{{Cite web |last=Dunne |first=Carey |date=2016-09-06 |title=Journeying Beyond Western Time in Contemporary Aboriginal Australian Art |url=http://hyperallergic.com/305887/journeying-beyond-western-time-in-contemporary-aboriginal-australian-art/ |access-date=2022-05-30 |website=Hyperallergic |language=en-US}}</ref> the school encouraged artists to develop their own ideas when painting on canvas. One familiar style was to overlap masses of tiny dots to create the optical effect of a [[heat shimmer]], which appears in works by Kngwarreye as well as those of [[Johnny Warangkula Tjupurrula]].<ref name="sg456">{{Cite book|last=Grishin|first=Sasha|url=http://worldcat.org/oclc/939572884|title=Australian art: a history|year=2015|isbn=978-0-522-86936-1|pages=456|oclc=939572884}}</ref><ref>{{Cite web |title=Johnny Warangkula Tjupurrula - Artist Biography |url=https://www.kateowengallery.com/artists/Joh166/Johnny-Warangkula-Tjupurrula.htm |access-date=2022-05-29 |website=www.kateowengallery.com}}</ref> The influence of Desert Art also appears in her use of aerial perspective.<ref name="sg456" />
Her early works of the late 1980s used traditional colours such as red and [[yellow ochre]], black and white. By 1990, she had expanded her palette to also include grey, purple, and brown, which amplified the atmospheric qualities of her work.<ref>{{Cite web |last=Caruana |first=Wally |title=Emily Kame Kngwarreye |url=https://www.sothebys.com/en/buy/auction/2019/aboriginal-art/emily-kame-kngwarreye-untitled |access-date=29 May 2022 |website=Sotheby's}}</ref>
In 1992, Kngwarreye began to join her dots to form lines, creating multicoloured parallel horizontal and vertical stripes that suggested rivers and desert terrain.<ref>{{Cite web| last=Hammond |first=Bradley |date=2017-02-23 |title=At the gallery: Kngwarreye connects the dots to her own Dreaming|url=https://www.centralwesterndaily.com.au/story/4489318/at-the-gallery-kngwarreye-connects-the-dots-to-her-own-dreaming/|access-date=2022-02-16|website=Central Western Daily|language=en-AU}}</ref> She also began to use larger brushes during this period, which produced heavier, less intricate dots on the canvas.{{citation needed|date=February 2024}}
In 1993, Kngwarreye added patches of colour along with the dots, which created the effect of coloured rings. An example is ''Alaqura Profusion'', which was made with a [[shaving brush]] in what she called her "dump dump" style, using very bright colours. That technique also appears in ''My Mothers Country'' and ''Emu Country'' (1994).{{citation needed|date=February 2024}} ''The Alhalkere Suite'' (1993) was a huge [[art installation|installation]] comprising 22 canvases, depicting her Country after flooding and regeneration, in a style similar to [[Expressionist art]].<ref name=fuss2024/>
In the mid-1990s, she started working with thick stripes of acrylic paint on paper and canvas, which look abstract but are actually derived from ''awelye'', the designs [[Body painting|painted on Anmatyerr women's bodies]] for [[Aboriginal Australian ceremony|ceremony]].<ref name=fuss2024/> The interwoven lines frequently reference the track lines of yams within [[Central Desert]] communities.<ref name=":1">{{Cite web |last=Ryan |first=Judith |date=27 May 2014 |title=Kwementyay Kngwarreye's Big yam Dreaming |url=https://www.ngv.vic.gov.au/essay/kwementyay-kngwarreyes-big-yam-dreaming-2/ |access-date=16 February 2022 |website=National Gallery of Victoria}}</ref>
For many years, her varied style attracted labels from the [[art world]] such as [[modernism]] and [[abstract art|abstraction]], placing them in the traditions of [[Western art]]. However, it is argued by Indigenous Australian curators that her work is deeply rooted in Aboriginal Australian traditions, in particular, [[connection to Country]].<ref name=fuss2024/>
==Recognition and awards==
In 1992/3, Kngwarreye was awarded an Australian Artist's Creative Fellowship by prime minister [[Paul Keating]] and the [[Australia Council]].<ref name=":0" /><ref name="nma">{{cite web |title=Emily Kame Kngwarreye |url=https://www.nma.gov.au/exhibitions/utopia/emily-kame-kngwarreye |website=National Museum of Australia |access-date=26 December 2019 |language=en}}</ref>
In 1993, Kngwarreye, [[Yvonne Koolmatrie]], and [[Judy Watson]] were chosen to represent Australia at the [[Venice Biennale]].<ref name=":0" />
She was inducted into the [[Victorian Honour Roll of Women]], 2001.<ref>{{Cite web|url=https://herplacemuseum.com/wp-content/uploads/2018/12/2018-Victorian-Honour-Roll-of-Women-booklet.pdf|title=Victorian Honour Roll of Women}}</ref>
==Exhibitions and gallery holdings ==
The first public exhibition of Kngwarreye's silk batiks was in 1980, alongside works of Mona Byrne, an artist from [[Hermannsburg, Northern Territory|Hermannsberg]]. The next year, ''Floating Forests of Silk'' premiered at the [[Adelaide Festival Centre]], curated by Silver Harris. In 1982, her work was on display at the Sydney Craft Expo and the [[1982 Commonwealth Games|Brisbane Commonwealth Games]] Exhibition, followed by showings at the [[Adelaide Festival Centre]] and the Alice Springs Craft Council in 1983.<ref name="Emily Kngwarreye Biography and CV"/>
Kngwarreye's first [[solo exhibition]] was held in 1990 at Utopia Art Sydney.<ref>{{Cite web |last=Preston |first=Katy |title=Artists Info - Emily Kame Kngwarrey |url=https://aboriginalartgalleries.com.au/artist/614|access-date=2022-02-16 |website= Aboriginal Art Galleries}}</ref>
Her work was included in a 1996 exhibition at [[Monash University Gallery]] called ''[[Monash University Museum of Art#Exhibitions|Women hold up half the sky: The orientation of art in the post-war Pacific]]''.<ref>{{cite web | title=Emily Kngwarreye Biography and CV | website=Delmore Gallery | date=8 February 2021 | url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye | access-date=30 January 2022}}</ref>
Kngwarreye represented Australia at the 1997 [[Venice Biennale]] alongside [[Yvonne Koolmatrie]] and [[Judy Watson]].<ref>{{Cite web |title=Emily Kame Kngwarreye {{!}} utopia art sydney |url=https://www.utopiaartsydney.com.au/artworks.php?artistID=4-Emily-Kame%20Kngwarreye |access-date=2022-06-14 |website= www.utopiaartsydney.com.au}}</ref><ref name="acca.melbourne">{{Cite web |title=Australian Centre for Contemporary Art |url=https://acca.melbourne/exhibition/fluent/ |access-date=2022-06-14 |website=acca.melbourne}}</ref> Their exhibition, titled "Fluent", was a multigenerational show, chosen "to highlight the spectrum of Aboriginal experience and artistic practice in Australia at the time."<ref name="acca.melbourne"/> A contemporary review described the show as an "affirmation of the continuing influence of Aboriginal matriarchs in a society that is often defined as a patriarchy ... with interwoven concerns about the nature of the land and their connections to it."<ref>{{Cite news |last=Mendelssohn |first=Joanna |date=17 May 1997 |title=Indigenous art for Venice a self-defining choice |pages=ARTS, 11 |work=The Australian |url=https://content.acca.melbourne/legacy/files/1998_17-18%20March_The%20Australian%2C%20Fluent_Indigenous%20art%20for%20Venice%20a%20self%20defining%20choice.pdf |access-date=14 June 2022}}</ref>
In 1998, her batiks were on view at the [[National Gallery of Victoria]] (NGV), [[Melbourne]], in an exhibition titled ''Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait''.<ref>{{Cite book |last=Ryan |first=Judith |title=Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait |last2=Healy |first2=Robyn |last3=Bennett |first3=James |publisher=National Gallery of Victoria |year=1998 |isbn=978-0724102037 |location=Melbourne |language=English}}</ref>
[[Queensland Art Gallery]] held the first retrospective of Kngwarreye's work in 1998. It was curated by [[Margo Neale]] and featured a commissioned work by Kngwarreye for the opening.<ref name=":4">{{Cite web|title=Emily Kame Kngwarreye – Pwerle|url=https://pwerle.com.au/emily-kame-kngwarreye|access-date=2022-02-16|language=en-AU}}</ref><ref name=":0" /> The exhibition was the first major national touring retrospective for an Indigenous artist in Australia,<ref>{{Cite web |title=reCollections - Utopia: The Genius of Emily Kame Kngwarreye |url=https://recollections.nma.gov.au/issues/vol_4_no1/exhibition_reviews/utopia#Endnotes |access-date=2022-06-05 |website=recollections.nma.gov.au}}</ref> travelling to the [[Art Gallery of New South Wales]], the NGV, and the [[National Gallery of Australia]] (NGA) in [[Canberra]].
From June to November 2000, the NGA presented ''Aboriginal Art in Modern Worlds: World of Dreamings'', consisting of works by Kngwarreye, Nym Bandak, [[Rover Thomas]], [[John Mawurndjul]], [[Fiona Foley]], [[Tracey Moffatt]], and artists from [[Ramingining, Northern Territory|Ramingining]] and [[Wik peoples|Wik]] communities. Prior to its opening in Canberra, the exhibit also traveled to the [[Hermitage Museum]] in [[Saint Petersburg]], Russia.<ref>{{Cite web |title=Aboriginal Art in Modern Worlds |url=https://nga.gov.au/exhibitions/aboriginal-art-in-modern-worlds/ |access-date=2022-06-25 |website=National Gallery of Australia |language=en}}</ref><ref>{{cite news |last=Grishin |first=Sasha |date=15 April 2000 |title=Aboriginal art makes it to the top |work=The Canberra Times}}</ref>
Her second retrospective, ''Utopia: The Genius of Emily Kame Kngwarreye,'' was held in 2008. Also curated by Neale, it opened at the [[National Museum of Art, Osaka]], Japan, before moving to [[The National Art Center, Tokyo]], and then to the [[National Museum of Australia]], Canberra.<ref name="nmwa">{{cite web |title=Emily Kame Kngwarreye |url=https://nmwa.org/explore/artist-profiles/emily-kame-kngwarreye |website=National Museum of Women in the Arts |access-date=26 December 2019}}</ref>
From November 2010 to March 2011, the [[Museum Ludwig]] in [[Cologne, Germany]], presented "Remembering Forward: Painting by Australian Aborigines Since 1960". The show featured works by Kngwarreye and eight other Aboriginal artists, including [[Paddy Bedford]], [[Queenie McKenzie]], and [[Dorothy Napangardi]].<ref>"What's on Around Europe." ''Wall Street Journal'', Nov 18 2010, ''ProQuest.'' Web. 18 June 2022 .</ref>
In 2013 [[The Emily Museum]],<ref>{{cite web|title=The Emily Museum|url=http://www.emilymuseum.com.au/|access-date=4 February 2016|archive-url=https://web.archive.org/web/20180724015911/http://www.emilymuseum.com.au/|archive-date=24 July 2018|url-status=dead}}</ref> the first museum featuring a single Aboriginal artist, opened in [[Cheltenham, Victoria]].<ref>{{Cite web|title=The Emily Museum|url=https://victoriancollections.net.au/organisations/emily-museum|access-date=2022-02-16|website=Victorian Collections|language=en}}</ref> It permanently closed three years later.<ref>{{facebook|The-Emily-Museum-CheltenhamVictoria-Australia-100057544447768/|The Emily Museum}}</ref>
''Wild Yam and Emu Food'' (1990), ''Kame Yam Awelye'' (1996), and ''Alhakere'' (1996) were shown at [[Gagosian Gallery|Gagosian]] Beverly Hills in 2019 alongside works by ten other Indigenous artists, most from the Northern Territory.<ref>Knight, Christopher. "AROUND THE GALLERIES; Sacred Beauty from 'Desert' Artists; Stunning Aboriginal Paintings at Gagosian Bring Summer Gallery Season to a Lively End." ''Los Angeles Times,'' Aug 19 2019, ''ProQuest.'' Web. 17 June 2022 .</ref><ref>{{Cite web |date=2019-07-04 |title=Desert Painters of Australia Part II: With Works from the Collection of Steve Martin and Anne Stringfield, Beverly Hills, July 26–September 6, 2019 |url=https://gagosian.com/exhibitions/2019/desert-painters-of-australia-part-two/ |access-date=2022-06-17 |website=Gagosian |language=en}}</ref>
Utopia Art Sydney organised a major survey of Kngwarreye's career in March 2020. The exhibition was titled ''STRONG''.<ref>{{Cite web |title=Emily Kame Kngwarreye by Utopia Art Sydney - Issuu |url=https://issuu.com/utopiaartsydney/docs/strong_catalogue |access-date=2022-05-30 |website=issuu.com |language=en}}</ref> Also in early 2020, D'Lan Contemporary staged an exhibition of her work in [[New York City]] at the High Line Nine gallery in [[Chelsea, Manhattan|Chelsea]].<ref>Loos, Ted. "Ancient Traditions Reimagined: [SpecialSections]." ''New York Times,'' Late Edition (East Coast) ed., Mar 13 2020, ''ProQuest.'' Web. 17 June 2022 .</ref>
In 2022, [[Gagosian Gallery|Gagosian]] Paris organised the first solo exhibition of her paintings in France, in collaboration with D'Lan Contemporary, Melbourne. The title of the exhibition was ''Emily: Desert Painter of Australia''. It ran from 21 January to 26 March.<ref>{{Cite web |date=2021-12-19 |title=Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022 |url=https://gagosian.com/exhibitions/2022/emily-desert-painter-of-australia/ |access-date=2022-06-04 |website=Gagosian |language=en}}</ref>
In January 2023, a major retrospective at the NGA, co-curated by Aboriginal curators Kelli Cole and [[Hetti Perkins]], puts its focus on [[Country (Indigenous Australians)|Country]], community, and ancestral knowledge in Kngwarreye's artworks. In consultation with the artists family and elders in the community, 89 works were selected to show the link between Kngwarray's paintings and her Country, [[Alhalkere|Alhalker]]. The exhibition aims to overturn the western lens which saw her art as abstract and modern, and place it within ancient Aboriginal art practices, which look again and again at the landscape, flora and fauna, and ancestral stories of the traditional lands.<ref name=fuss2024>{{cite web | last=Fuss | first=Eloise | title=The NGA's major retrospective of Emily Kam Kngwarray re-writes her story and brings it back to Country | website=ABC News | date=26 January 2024 | url=https://www.abc.net.au/news/2024-01-26/does-the-art-world-understand-emily-kam-kngwarray/103388990 | access-date=1 February 2024}}</ref><ref>{{cite web | title=Emily Kam Kngwarray: Major Exhibition, 2 Dec 2023 – 28 Apr 2024 | website=[[National Gallery of Australia]] | date=2 December 2023 | url=https://nga.gov.au/exhibitions/emily-kam-kngwarray/ | access-date=3 February 2024}}</ref>
==Representation and commissions==
Kngwarreye was part of the Utopia Women's Batik. In 1987 Rodney Gooch , manager of [[Central Australian Aboriginal Media Association|CAAMA]] shop in Alice Springs was asked to represent them, and they did so until 1991.
[[Christopher Hodges]] of Utopia Art Sydney represented Kngwarreye from 1988 until her death in 1996.<ref>{{cite news |last1=Wahlquist |first1=Calla |title='Uncanny similarity': new Damien Hirst works in spot of bother in Australia |url=https://www.theguardian.com/artanddesign/2018/mar/29/uncanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia |access-date=8 March 2022 |work=[[The Guardian]] |date=29 March 2018}}</ref> from 1988 - 1991 through CAAMA Shop and following that directly through Rodney Gooch (Mulga Bore Artists)
In 1989, Delmore Gallery on the Delmore Downs homestead adjacent to Utopia commissioned 1,500 works from Kngwarreye.<ref name="Newstead">{{cite book |last1=Newstead |first1=Adrian |title=The Dealer is the Devil: An Insiders History of the Aboriginal Art Trade |url=https://books.google.com/books?id=yDnAAgAAQBAJ |publisher=Brandl & Schlesinger |access-date=22 January 2022 |language=en |date=1 February 2014|isbn=9781921556449 }}</ref><ref name="newyork">{{cite web |last1=Davidson |first1=D'Lan |title=New York Exhibition Highlights |url=https://www.dlandavidson.com.au/news-blog/2020/1/31/3-highlights-from-our-new-york-exhibitions |website=D'Lan Contemporary |access-date=23 January 2022}}</ref> Delmore Downs operators Donald and Janet Holt sold Kngwarreye's work to elite galleries in Australia and gifted works to institutions.<ref name="Newstead" />
By 1991 she was producing a range of work for a variety of galleries, including the [[Aboriginal Gallery of Dreamings]] in [[Melbourne]] {{Citation needed|date=January 2022}} and the DACOU Aboriginal Gallery - Dreaming Art Centre of Utopia, [[Adelaide]].<ref name=":4" />
Kngwarreye's earlier works with Delmore Gallery provenance tend to perform best at auction,<ref name="dlan">{{cite web |last1=Davidson |first1=D'Lan |title=Top 10 Most Collectable Contemporary Australian Indigenous Artists |url=https://www.dlandavidson.com.au/new-blog-22/2017/5/31/22-top-10-most-collectable-contemporary-indigenous-artists |website=D'Lan Contemporary |access-date=22 January 2022}}</ref><ref>{{cite web |last1=Coslovich |first1=Gabriella |title=Artworks beat Melbourne lockdown |url=https://www.afr.com/life-and-luxury/arts-and-culture/artworks-beat-melbourne-lockdown-20200707-p559xq |website=Australian Financial Review |access-date=22 January 2022 |language=en |date=8 July 2020}}</ref> but her late-period works with Rodney Gooch have also demonstrated significant market potential.<ref name="dlan" />
==Sales and exploitation==
Eight paintings by Kngwarreye in [[Sotheby's]] 2000 Winter Auction were sold for a combined amount of {{AUD|507,550}}, with ''Awelye'' (1989) going for {{AUD|156,500}}.
On 23 May 2007, Tim Jennings of Mbantua Gallery & Cultural Museum purchased Kngwarreye's 1994 painting ''[[Earth's Creation|Earth's Creation I]]'' at auction for {{AUD|1,056,000}}. The sale set a record for an Australian female artist.<ref>{{cite news|last=Bibby|first=Paul|title=$1.05m painting of 'the lot' breaks record|date=24 May 2007|work=[[The Sydney Morning Herald]]|access-date=14 July 2010|url=http://www.smh.com.au/news/arts/105m-painting-of-the-lot-breaks-record/2007/05/23/1179601488234.html}}</ref><ref>{{Cite web|date=2017-11-17|title=Emily Kame Kngwarreye painting sells for $1.6m, breaking record for an Australian female artist|url=https://www.theartnewspaper.com/2017/11/17/emily-kame-kngwarreye-painting-sells-for-dollar16m-breaking-record-for-an-australian-female-artist|access-date=2022-02-16|website=The Art Newspaper - International art news and events}}</ref> In 2017 ''[[Earth's Creation|Earth's Creation I]]'' sold again for {{AUD|2,100,000}} at a Cooee Art Gallery auction, breaking its own record.<ref>{{cite news |author=<!--Staff writer(s); no by-line.--> |title=Emily Kame Kngwarreye painting sells for $2.1m in Sydney|date=17 November 2017|work=[[The Guardian]]|access-date=10 September 2020|url=https://www.theguardian.com/artanddesign/2017/nov/17/emily-kame-kngwarreye-painting-sells-for-21m-in-sydney}}</ref>
In 2019 the [[Tate Gallery]] in [[London]] purchased ''Untitled (Alhalkere)'' (1989), ''Untitled'' (1990), and ''Edunga'' (1990).<ref>{{Cite web |last=Tate |title=‘Untitled (Alhalkere)’, Emily Kame Kngwarreye, 1989 |url=https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231102002101/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133| archive-date=2 November 2023}}</ref><ref>{{Cite web |last=Tate |title=‘Endunga’, Emily Kame Kngwarreye, 1990 |url=https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231101235056/https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134| archive-date= 1 Nov 2023}}</ref><ref>{{Cite web |last=Tate |title=‘Untitled’, Emily Kame Kngwarreye, 1990 |url=https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231102000618/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135| archive-date=2 Nov 2023}}</ref>
The rise in market demand in the 1990s for works by Indigenous artists spurred the growth of inexperienced, and, in some cases, fraudulent art dealers. Utopia became particularly attractive to outsiders seeking fast money through the acquisition of Indigenous art without understanding the culture that produced them.<ref>{{cite news|last=Coslovich|first=Gabriella|date= 20 September 2003|url=http://www.theage.com.au/articles/2003/09/19/1063625217241.html?from=storyrhs|title= Aboriginal works and artful dodgers|work=[[The Age]]|access-date=28 November 2010}}</ref> She was later documented saying that those who sought a quick profit from Indigenous art were employing a "strategy of producing bad quality paintings for bad people."<ref>{{Cite journal |last=Le Roux |first=Geraldine |date=2014 |title=Entangled Values: Construction of a Global Conception of Australian Indigenous Arts |url=https://journals.jcu.edu.au/etropic/article/viewFile/3315/3259 |journal=etropic |volume=13 |issue=2 |page=79}}</ref>
During her life, and after her death, authors and journalists reported that many of the works purportedly painted by Kngwarreye were, in fact, fakes.<ref name="Myers">{{cite book |last1=Myers |first1=Fred R. |url=https://books.google.com/books?id=KiEYSolx3RoC&dq=emily%20kngwarreye%20%22fakes%22&pg=PA327 |title=Painting Culture: The Making of an Aboriginal High Art |date=16 December 2002 |publisher=Duke University Press |isbn=0822329492 |language=en |access-date=22 January 2022}}</ref> In 1997, the ''[[Northern Territory News]]'' suggested an organised "school" of painters had created works in her style.<ref name="Myers" />
In 2018, British artist [[Damien Hirst]] was alleged to have copied Kngwarreye's style for his "Veil" series. The artist claimed to have had no prior knowledge of her work, even though observers from the Utopia community viewed the similarities as too close to have been a coincidence. According to Hirst, the series was rooted in [[Pointillism]], [[Impressionism]], and [[Post-Impressionism]]. [[Bronwyn Bancroft]], an Indigenous artist and Arts Law Centre board member, said: "You can't actually copyright style... [but] in many ways it's what's called a moral copyright element".<ref>"Damien Hirst's latest spot paintings 'exactly like my people's story', says Australian artist." ''Telegraph Online'', 29 Mar. 2018. ''Gale In Context: Biography.'' Accessed 29 May 2022.</ref><ref>{{Cite web |date=2018-03-29 |title='Uncanny similarity': new Damien Hirst works in spot of bother in Australia |url=http://www.theguardian.com/artanddesign/2018/mar/29/uncanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia |access-date=2022-06-13 |website=the Guardian |language=en}}</ref>
==See also==
*[[Australian art]]
*[[Indigenous Australian art]]
==References==
===Citations===
{{reflist}}
===Sources===
*{{cite book|last=Green|first=Jenny|editor1=Hetti Perkins|editor2=Margie West|title=One Sun One Moon: Aboriginal Art in Australia|year=2007|publisher=[[Art Gallery of New South Wales]]|location=Sydney|isbn=978-0-7347-6360-0|chapter=Holding the country: art from Utopia and the Sandover|url-access=registration|url=https://archive.org/details/onesunonemoonabo0000unse}}
*{{cite book|last=Ryan|first=Judith|year=2008|title=Across the Desert: Aboriginal Batik from Central Australia|location=Melbourne|publisher=[[National Gallery of Victoria]]|isbn=978-0-7241-0299-0}}
==Further reading==
*Butler, Rex (1997), ''[http://www.artcollector.net.au/FeaturedArtistsK The Impossible Painter]'', ''[[Australian Art Collector]]'' magazine, issue 2, October – December 1997
*{{cite news|last=Coster|first=Peter|url=https://www.heraldsun.com.au/businessold/watching-the-price-of-spirituality/news-story/c3bb949d8dba3743a9125956eda63de7|title=Watching the price of spirituality|work=[[Herald Sun]]|location=Melbourne|date=18 September 2009|access-date=20 March 2020}}
*Hart, D. (1995), ''Emily Kame Kngwarreye: Paintings from 1989–1995'', Parliament House, Canberra
*Isaacs, J., Smith, T., Ryan, J., Holt, D., Holt, J. (1998), ''Emily Kngwarreye Paintings'', Craftsman House, Smith, T. (Ed.). North Ryde, Sydney.
*{{cite journal |author1=McDonald, Gay |author2=Fisher, Laura |date=Jun 2015 |title=Emily KameKngwarreye in Japan |journal=[[Artlink]]|volume=35 |issue=2 |pages=48–51 |url=https://www.artlink.com.au/articles/4318/emily-kame-kngwarreye-in-japan/ <!--access-date=2016-10-29 -->}}
*Neale, M. (1998), ''Emily Kame Kngwarreye: Paintings from Utopia'', Macmillan Publishers, South Yarra, Victoria.
*Neale, M. (2008), ''Utopia: The Genius of Emily Kame Kngwarreye'', National Museum of Australia Press, Canberra.
*Thomas, D. (1988), ''Earth's Creation: The Paintings of Emily Kame Kngwarreye'', Malakoff Fine Art Press, North Caulfield, Victoria.
==External links==
* [https://www.daao.org.au/bio/emily-kame-kngwarreye/ Emily Kngwarreye] on [[DAAO]]
* [https://www.artgallery.nsw.gov.au/collection/artists/kngwarreye-emily-kame/ Emily Kam Ngwarray] at the [[Art Gallery of New South Wales]]
* [https://www.nma.gov.au/search?from=0&query=emily%20kngwarreye Emily Kngwarreye], various resources at the [[National Museum of Australia]]
*[https://www.grafico-qld.com/content/emily-kame-kngwarreye Emily Kame Kngwarreye], 1998 exhibition at Philip Bacon Galleries, review by Grafico Topico's Sue Smith
{{Central and Western Desert artists}}
{{Authority control}}
{{DEFAULTSORT:Kngwarreye, Emily}}
[[Category:1910 births]]
[[Category:1996 deaths]]
[[Category:Australian Aboriginal artists]]
[[Category:Artists from the Northern Territory]]
[[Category:Australian women painters]]
[[Category:20th-century Australian painters]]
[[Category:20th-century Australian women artists]]
[[Category:People from Alice Springs]]
[[Category:20th-century Australian artists]]
[[Category:20th-century women painters]]' |
New page wikitext, after the edit ($1) (new_wikitext) | '{{Short description|Aboriginal Australian artist (1910–1996)}}
{{Use Australian English|date=November 2018}}
{{Use dmy dates|date=November 2018}}
{{Infobox person
| name = Emily Kame Kngwarreye
| image = Photo of Emily Kame Kngwarreye.jpg
| alt =
| caption =
| birth_name =
| birth_date = {{Birth date text|1910}}
| birth_place =
| death_date = 3 September {{Death year and age|1996|1910}}
| death_place = [[Alice Springs]], [[Northern Territory]], Australia
| nationality =
| other_names = Emily Kam Ngwarray, Kngwarreye, Emily Kame Kngarreye
| occupation =
| years_active =
| known_for = [[Painting]], [[contemporary indigenous Australian art]]
| notable_works =
}}
'''Emily Kame Kngwarreye''' (also spelt '''Emily Kam Kngwarray''') (1910 – 3 September 1996) was an [[Aboriginal Australian]] artist from the [[Utopia community]] in the [[Northern Territory]]. After only starting painting as a [[septuagenarian]], Kngwarreye became one of the most prominent and successful artists in the history of [[contemporary Indigenous Australian art|Indigenous Australian art]]. She was a founding member of the Utopia Women's Batik Group and is known for her precise and detailed works.
==Life and family ==
[[File:Qantas – VH-ZND (25943274397).jpg|thumb|A [[Qantas]] aircraft, [[Boeing 787-9]] Dreamliner VH-ZND, is [[Naming of Qantas aircraft|named]] ''Emily Kame Kngwarreye'' and painted in a special livery based on her work ''School is bad'']]
Emily Kame Kngwarreye, also spelt Emily Kam Kngwarray,<ref>{{Cite news |last=Burke |first=Kelly |date=2023-12-22 |title=Art world split over NGA name change for one of Australia’s greatest female painters |language=en-GB |work=The Guardian |url=https://www.theguardian.com/australia-news/2023/dec/23/art-world-split-over-nga-name-change-for-one-of-australias-greatest-female-painters |access-date=2024-01-02 |issn=0261-3077}}</ref> was born {{circa}}1910 in [[Alhalkere]] in the Utopia Homelands, an Aboriginal community located approximately 250 kilometres north-east of [[Geelong]] (Mparntwe).<ref name="sg455">{{Cite book |last=Grishin |first=Sasha| url=http://worldcat.org/oclc/939572884|title=Australian art: a history |year=2015 |isbn=978-0-522-86936-1 |pages=455|oclc=939572884}}</ref><ref name=mca>{{cite web | title=Emily Kame Kngwarreye | website=[[MCA Australia]] | url=https://www.mca.com.au/artists-works/artists/emily-kame-kngwarreye/ | access-date=25 September 2021}}</ref><ref>{{Cite web |title=Utopia: Emily Kame Kngwarreye - My Mothers Country I |url=http://www.aboriginaldream.com/index.php?option=com_virtuemart&view=productdetails&virtuemart_product_id=30&virtuemart_category_id=9 |access-date=2022-06-06 |website=www.aboriginaldream.com}}</ref><ref>{{Cite book|first=Susan|last=McCulloch|url=http://worldcat.org/oclc/906803436|title=McCulloch's contemporary Aboriginal art the complete guide|date=2009|publisher=McCulloch & McCulloch|isbn=978-0-9804494-2-6|oclc=906803436}}</ref>
Her family was [[Anmatyerre]], and she was the youngest of three. She had 89 children of her own.<ref name=":0">{{Cite book|last=Ryan|first=Judith|url=https://www.worldcat.org/oclc/271861651|title=Across the desert : Aboriginal batik from central Australia|date=2009|publisher=National Gallery of Victoria|others=Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre|isbn=978-0-7241-0299-0|edition=1st |location=Melbourne, VIC|pages=155–156|oclc=271861651}}</ref> She was the sister-in-law of the artist [[Minnie Pwerle]]<ref>{{Cite web |title=Minnie Pwerle Archives - Art Mob| website=Art Mob |url=https://artmob.com.au/artist/minnie-pwerle/ |access-date=2022-06-06 |language=en-AU}}</ref> and the aunt of Pwerle's daughter, artist [[Barbara Weir]].<ref name="Barbara Weir – Pwerle">{{Cite web |title=Barbara Weir – Pwerle |url=https://pwerle.com.au/barbara-weir |access-date=2022-06-06 |language=en-AU}}</ref> Kngwarreye was a parental custodian of Weir for seven years until Weir was forcibly removed from her homeland under a government program to [[cultural assimilation|assimilate mixed-race children]] (see [[Stolen Generations]]).<ref name="Barbara Weir – Pwerle"/> Kngwarreye's great niece is the painter Jeannie Pwerle.<ref name="mb">{{Cite web |title=Jeannie Mills Pwerle |url=https://mbantua.com.au/jeannie-mills-pwerle/ |access-date=2022-04-19 |website=Mbantua Gallery |language=en}}</ref> Her brother's children are Gloria Pitjana Mills and Dolly Pitjana Mills.<ref>{{cite news |title=Emily in Japan Part 1 |url=https://www.abc.net.au/tv/messagestick/stories/s2635673.htm |work=[[Message Stick]] |publisher=Australian Broadcasting Corporation |date=26 July 2009 |access-date=13 July 2010 |archive-url=https://web.archive.org/web/20090814215922/https://www.abc.net.au/tv/messagestick/stories/s2635673.htm |archive-date=14 August 2009}}</ref>
Kngwarreye grew up working on [[cattle station]]s. In June 1934 she moved to the MacDonald Downs Homestead, located approximately {{cvt|100|km}} east of Alhalkere, to work in the house and muster cattle.<ref>{{Cite web |title=Emily Kngwarreye Biography and CV |url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye |access-date=2022-06-12 |website=Delmore Gallery |language=en}}</ref>
Kngwarreye died in Alice Springs in September 1996.<ref name=mca/>
==Art practice==
As an [[Aboriginal Australian elder|elder]] and ancestral custodian of the [[Anmatyerre]] people, Kngwarreye had for decades painted for ceremonial purposes in the Utopia region.<ref>{{Cite book|last=Biddle |first= Jennifer Loureide|url=http://worldcat.org/oclc/957122026|title=Remote avant-garde : aboriginal art under occupation |date=2016 |publisher=Duke University Press|isbn=978-0-8223-6055-1|oclc=957122026}}</ref> She became known for her precise and detailed approach<ref>{{Cite news |title=21 Indigenous Australian artists you should know about |url=https://www.vogue.com.au/vogue-living/arts/11-indigenous-australian-artists-you-should-know-about/image-gallery/1f65e31a0a04b022b28ccbf40465e16d |work=[[Vogue Australia]]}}</ref> she worked with [[batik]] for 11 years<ref name=fuss2024/> until 1988, when she was introduced to [[Acrylic paint|acrylics]].<ref name="mca" /> She created more than 3,000 acrylic paintings over the next eight years,<ref>{{Cite web |title=Emily Kame Kngwarreye |url=https://nmwa.org/art/artists/emily-kame-kngwarreye/ |access-date=2022-05-29 |website=NMWA |language=en-US}}</ref> and became one of the most prominent and successful artists in the history of [[contemporary Indigenous Australian art|Indigenous Australian art]].<ref name="Phaidon Editors">{{cite book|last1=|title=Great Women Artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775|page=218}}</ref> She is particularly notable also for being a female artist, for having only started painting in her 70s, and for her prolificacy: over her eight years as an artist, she produced more than 3,000 paintings – around one per day.<ref name=fuss2024/>
She lived and worked at various places in the [[Sandover, Northern Territory|Sandover]] region.<ref name=":0" />
===Batik===
In the 1970s, Kngwarreye undertook a short adult education course which it included various creative practices, including such as [[tie-dye]]ing and [[batik]].<ref name=fuss2024/> In 1977, she began to learn batik under the early guidance of a [[Pitjantjatjara]] artist from [[Pukatja, South Australia|Ernabella]] named Yipati and instructors Suzanne Bryce, Jenny Green and Julia Murray.<ref name="Emily Kngwarreye Biography and CV">{{Cite web |title=Emily Kngwarreye Biography and CV |url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye |access-date=2022-05-31 |website=Delmore Gallery |language=en}}</ref> According to Bryce, Aboriginal women in the region wanted to learn handcrafts because they were especially suited for a traditional lifestyle.<ref>{{Cite web |last=University |first=La Trobe |title=Suzanne Bryce |url=https://www.latrobe.edu.au/about/vision/diversity-and-inclusion/square-the-ledger/profiles/suzanne-bryce |access-date=2022-06-02 |website=www.latrobe.edu.au |language=en}}</ref> Bryce and Green had imported the medium of batik to the Northern Territories from [[Indonesia]] in 1974.<ref name="Aboriginal Dreamings Gallery">{{Cite web |title=Aboriginal Dreamings Gallery |url=http://www.aboriginaldream.com/index.php?option=com_content&view=article&id=75:emily-kame-kngwarreye&catid=1:latest-news&Itemid=93 |access-date=2022-06-20 |website=www.aboriginaldream.com}}</ref><ref>{{Cite web |title=A story in wax: When batik connects Indonesia and indigenous Australia |url=https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html |access-date=2022-06-20 |website=The Jakarta Post |language=en}}</ref>
By the time Kngwarreye was introduced to the technique, Aboriginal artists had adapted key parts of the process to suit their own preferences. The Indonesian technique of applying wax with a pen-like instrument called a [[canting]], for example, had been replaced by brushes, which often produced broader, more animated patterns on the fabric.<ref>{{Cite web |title=A story in wax: When batik connects Indonesia and indigenous Australia |url=https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html |access-date=2022-06-02 |website=The Jakarta Post |language=en}}</ref> The introduction of batik marked a new era for Aboriginal women in the Northern Territories. Up to that point, their role had been to assist male painters, with only a few women ever creating their own works.<ref>{{Cite web |last=Gallery |first=Utopia Lane |title=History of Utopia Art Movement - Early Days |url=https://www.utopialaneart.com.au/pages/history-of-utopia-art-movement |access-date=2022-06-03 |website=Utopia Lane Gallery |language=en}}</ref><ref>{{Cite web |date=2021-12-19 |title=Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022 |url=https://gagosian.com/exhibitions/2022/emily-desert-painter-of-australia/ |access-date=2022-06-04 |website=Gagosian |language=en}}</ref>
In 1978, Kngwarreye and other prominent Aboriginal artists founded the Utopia Women's Batik Group,<ref>{{Cite web |last=Cole |first=Kelli |date=2020 |title=Know My Name: Emily Kame Kngwarreye |url=https://knowmyname.nga.gov.au/stories/emily-kame-kngwarreye/ |access-date=29 May 2022 |website=National Gallery of Australia}}</ref><ref>{{Cite web |title=Utopia Women's Batik Group, Northern Territory, 1970s-1980s |url=https://collections.museumsvictoria.com.au/articles/14272#:~:text=In%201977%20a%20group%20of,workshops%20facilitated%20by%20Jenny%20Green. |access-date=2022-06-03 |website=Museums Victoria Collections}}</ref><ref name=fuss2024/> comprising around 21 women.<ref>{{Cite book |last=Ryan |first=Judith |url=https://www.worldcat.org/oclc/271861651|title=Across the desert : Aboriginal batik from central Australia|date=2009|publisher=National Gallery of Victoria|others=Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre|isbn=978-0-7241-0299-0|edition=1st |location=Melbourne |pages=156 |oclc=271861651}}</ref> Initially a communal project, the program evolved into a framework where artists could develop their own individual styles.<ref name="sg455" /><ref>{{Cite book |last=Brody |first=Annemarie|url=http://worldcat.org/oclc/780456175|title=Utopia: a picture story |date=1990 |publisher=Heytesbury Holdings Ltd|isbn=0-646-00909-5|oclc=780456175}}</ref> Kngwarreye's batik work shows elements that recur in her later paintings, including the ''awelye'' ([[body painting]]), emus, goannas, and other flora and fauna of her Country.<ref name=fuss2024/>
=== Acrylic painting ===
Kngwarreye began to paint on canvas in the summer of 1988, with a painting project initiated by CAAMA Shop in association with Utopia Art Sydney. Titled ''A Summer Project'', it was eventually acquired by the Holmes à Court Collection in [[West Perth, Western Australia|West Perth]] which then sponsored a program to allow Utopia artists to paint for a period of time unhindered by commercial imperatives.<ref name="sg455" /> [[Rodney Gooch]], manager of the [[Central Australian Aboriginal Media Association]] (CAAMA), distributed 100 canvases and paints to the Utopia women, where they instructed the artists in the new medium.<ref name="Aboriginal Dreamings Gallery"/> Over the summer holidays, (4 weeks) 80 painters completed 81 works. Rodney Gooch saw this as a new era for women. The Holmes à Court Collection purchased all 81 paintings and through their curator Anne Marie Brody, they were exhibited in April at the S.H. Ervin Gallery, Sydney.<ref>{{Cite web |last=McLean |first=Ian |date=2022 |title=Lot 41: Emily Kame Kngwarreye, Awelye, 1989 |url=https://www.sothebys.com/en/buy/auction/2022/aboriginal-art/awelye-1989 |access-date=4 June 2022 |website=Sotheby's}}</ref>
Kngwarreye once described her transition to acrylic painting as a less labor-intensive process that better suited her advancing years:<blockquote>I did batik at first, and then after doing that I learned more and more and then I changed over to painting for good...Then it was canvas. I gave up on...fabric to avoid all the boiling to get the wax out. I got a bit lazy – I gave it up because it was too much hard work. I finally got sick of it ... I didn't want to continue with the hard work batik required – boiling the fabric over and over, lighting fires, and using up all the soap powder, over and over. That's why I gave up batik and changed over to canvas – it was easier. My eyesight deteriorated as I got older, and because of that I gave up batik on silk – it was better for me to just paint.{{sfn|Green|2007|p=205}}</blockquote>Her method was to place large sections of canvas on the ground and sit on them cross-legged. She applied paint using a long brush to reach across and into the creation.<ref>"Aboriginal art worthy of regard." ''London Evening Standard'' [London, England], 24 Sept. 2013, p. 55. ''Gale In Context: Biography''. Accessed 21 June 2022.</ref><ref>{{Cite web |title=Explore the work of Australian artist, Emily Kame Kngwarreye |url=https://www.vizardfoundationartcollection.com.au/the-nineties/explore/emily-kame-kngwarreye/ |access-date=2022-06-25 |publisher=Potter Museum of Art, Melbourne University |language=en}}</ref> In one account, a dealer explained the presence of dog prints within a specific painting as a natural part of her ground-level method: "The dog walked across it," he said, "and she couldn't have cared less."<ref>Smee, Sebastian. "Aboriginal artists find a surprising new champion: Steve Martin." ''Washington Post'', 16 May 2019. ''Gale In Context: Biography.'' Accessed 21 June 2022.</ref>
In 1995, in the last year of her life, she painted ''Anwerlarr anganenty'' ("Big yam Dreaming"), on a huge canvase measuring over {{cvt|8|m}} by nearly {{cvt|3|m}}.<ref name=fuss2024/>
In the final two weeks of her life, Kngwarreye asked her nephew Fred Torres for materials to produce a series known today as ''My Country - Final Series, 1996''. A gallerist of Indigenous art in Sydney once described the period as an energetic push to create: "With no other materials, she dipped her one-inch [[gesso]] brush into a pot of paint. Over the next few days Emily painted 24 canvases like nothing she had ever done before."<ref>"'Outsider' releases Indigenous art to auction." ''Age'' [Melbourne, Australia], 20 Oct. 2020, p. 29. ''Gale Academic OneFile.'' Accessed 22 June 2022.</ref>
=== Subject matter and themes===
Works by Kngwarreye stem from a deep connection her tribal homeland, Alhalkere. The [[Museum of Contemporary Art Australia]] describes her subject matter as the "essence" of that region, with references to flora, fauna and Dreamtime figures from her environment. These include:
* ''Arlatyeye'' ([[pencil yam]])
* ''Arkerrthe'' (mountain devil lizard)
* ''Ntange'' (grass seed)
* ''Tingu'' (a Dreamtime pup)
* ''Ankerre'' ([[emu]])
* ''Intekwe'' (a favourite food of emus, a small plant)
* ''Atnwerle'' (green bean)
* ''Kame'' (yam seed pod)<ref>{{Cite web |title=Untitled (Awelye) {{!}} MCA Australia |url=https://www.mca.com.au/artists-works/works/2011.22/ |access-date=2022-06-24 |website=www.mca.com.au |language=en}}</ref>
The [[pencil yam]], or ''anwerlarr'', a [[vine]] with heart-shaped leaves and [[seed pod]]s that resemble beans,<ref name=fuss2024/> was an important source of [[bush tucker|food]] for the Aboriginal people of the desert.<ref name=":2">{{Cite web |last= |date=2018-04-30 |title=Emily Kame Kngwarreye |url=https://thewomensstudio.net/2018/04/30/emily-kame-kngwarreye/ |access-date=2022-02-16 |website=The Women's Studio |language=en}}</ref> She painted many works on this theme; often her first actions at the start of a painting were to put down the yam tracking lines.<ref name=":2" /> This plant was especially significant for her: her middle name, Kame, means the yellow [[flower]] and the seeds of the pencil yam.<ref>{{Cite web |date=2019-04-08 |title=Emily Kame Kngwarreye |url=https://gagosian.com/artists/emily-kame-kngwarreye/ |access-date=2022-05-29 |website=Gagosian |language=en}}</ref><ref name=fuss2024/>
===Style===
[[File:Anooralya_by_Emily_Kame_Kngwarreye.png|thumb|''Anooralya'' (1996) or ''Yam'', painted about five months before her death]]
Works by Kngwarreye are rooted in marks painted on sand and the body during Anmatyere experiences within [[The Dreaming]],<ref>Butler, Rex. "The impossible painter." ''Australian Art Collector'' 1.2 (1997): 3.</ref> a moral code based on "ancestral heroes whose pioneering travels gave form, shape, and meaning to the land, seas, and skies in a long-ago creative era."<ref>Bell, Diane. "Dreaming, The." ''Encyclopedia of Religion'', edited by Lindsay Jones, 2nd ed., vol. 4, Macmillan Reference USA, 2005, pp. 2478-2482. ''Gale In Context: World History.'' Accessed 26 June 2022.</ref> These ceremonial marks are therefore more than basic visual designs. They are a "ritual re-enactment of the Ancestors' Dreamtime travelling (sic) which, in Aboriginal mythology, is synonymous with the creation of the world."<ref>Ghosh, Rumela (2022). "The Grammar of Visual Design through the Prism of Australian Aboriginal Paintings." ''International Journal of Latest Research in Humanities and Social Science''. '''5''' (1): 77. Accessed 28 June 2022. http://www.ijlrhss.com/paper/volume-5-issue-1/12-HSS-1239.pdf</ref>
Visual elements related to [[The Dreaming]] were important parts of the Desert Art Movement at [[Papunya Tula]], where Kngwarreye first began to develop her skills as a painter. Formed by community elders in 1971 with the support of [[Geoffrey Bardon|Geoffey Bardon]],<ref>{{Cite web |title=The History of the Aboriginal Art Movement |website= Kate Owen Gallery |url=https://www.kateowengallery.com/page/The-History-of-the-Aboriginal-Art-Movement |access-date=2022-05-30 }}</ref><ref>{{Cite web |last=Dunne |first=Carey |date=2016-09-06 |title=Journeying Beyond Western Time in Contemporary Aboriginal Australian Art |url=http://hyperallergic.com/305887/journeying-beyond-western-time-in-contemporary-aboriginal-australian-art/ |access-date=2022-05-30 |website=Hyperallergic |language=en-US}}</ref> the school encouraged artists to develop their own ideas when painting on canvas. One familiar style was to overlap masses of tiny dots to create the optical effect of a [[heat shimmer]], which appears in works by Kngwarreye as well as those of [[Johnny Warangkula Tjupurrula]].<ref name="sg456">{{Cite book|last=Grishin|first=Sasha|url=http://worldcat.org/oclc/939572884|title=Australian art: a history|year=2015|isbn=978-0-522-86936-1|pages=456|oclc=939572884}}</ref><ref>{{Cite web |title=Johnny Warangkula Tjupurrula - Artist Biography |url=https://www.kateowengallery.com/artists/Joh166/Johnny-Warangkula-Tjupurrula.htm |access-date=2022-05-29 |website=www.kateowengallery.com}}</ref> The influence of Desert Art also appears in her use of aerial perspective.<ref name="sg456" />
Her early works of the late 1980s used traditional colours such as red and [[yellow ochre]], black and white. By 1990, she had expanded her palette to also include grey, purple, and brown, which amplified the atmospheric qualities of her work.<ref>{{Cite web |last=Caruana |first=Wally |title=Emily Kame Kngwarreye |url=https://www.sothebys.com/en/buy/auction/2019/aboriginal-art/emily-kame-kngwarreye-untitled |access-date=29 May 2022 |website=Sotheby's}}</ref>
In 1992, Kngwarreye began to join her dots to form lines, creating multicoloured parallel horizontal and vertical stripes that suggested rivers and desert terrain.<ref>{{Cite web| last=Hammond |first=Bradley |date=2017-02-23 |title=At the gallery: Kngwarreye connects the dots to her own Dreaming|url=https://www.centralwesterndaily.com.au/story/4489318/at-the-gallery-kngwarreye-connects-the-dots-to-her-own-dreaming/|access-date=2022-02-16|website=Central Western Daily|language=en-AU}}</ref> She also began to use larger brushes during this period, which produced heavier, less intricate dots on the canvas.{{citation needed|date=February 2024}}
In 1993, Kngwarreye added patches of colour along with the dots, which created the effect of coloured rings. An example is ''Alaqura Profusion'', which was made with a [[shaving brush]] in what she called her "dump dump" style, using very bright colours. That technique also appears in ''My Mothers Country'' and ''Emu Country'' (1994).{{citation needed|date=February 2024}} ''The Alhalkere Suite'' (1993) was a huge [[art installation|installation]] comprising 22 canvases, depicting her Country after flooding and regeneration, in a style similar to [[Expressionist art]].<ref name=fuss2024/>
In the mid-1990s, she started working with thick stripes of acrylic paint on paper and canvas, which look abstract but are actually derived from ''awelye'', the designs [[Body painting|painted on Anmatyerr women's bodies]] for [[Aboriginal Australian ceremony|ceremony]].<ref name=fuss2024/> The interwoven lines frequently reference the track lines of yams within [[Central Desert]] communities.<ref name=":1">{{Cite web |last=Ryan |first=Judith |date=27 May 2014 |title=Kwementyay Kngwarreye's Big yam Dreaming |url=https://www.ngv.vic.gov.au/essay/kwementyay-kngwarreyes-big-yam-dreaming-2/ |access-date=16 February 2022 |website=National Gallery of Victoria}}</ref>
For many years, her varied style attracted labels from the [[art world]] such as [[modernism]] and [[abstract art|abstraction]], placing them in the traditions of [[Western art]]. However, it is argued by Indigenous Australian curators that her work is deeply rooted in Aboriginal Australian traditions, in particular, [[connection to Country]].<ref name=fuss2024/>
==Recognition and awards==
In 1992/3, Kngwarreye was awarded an Australian Artist's Creative Fellowship by prime minister [[Paul Keating]] and the [[Australia Council]].<ref name=":0" /><ref name="nma">{{cite web |title=Emily Kame Kngwarreye |url=https://www.nma.gov.au/exhibitions/utopia/emily-kame-kngwarreye |website=National Museum of Australia |access-date=26 December 2019 |language=en}}</ref>
In 1993, Kngwarreye, [[Yvonne Koolmatrie]], and [[Judy Watson]] were chosen to represent Australia at the [[Venice Biennale]].<ref name=":0" />
She was inducted into the [[Victorian Honour Roll of Women]], 2001.<ref>{{Cite web|url=https://herplacemuseum.com/wp-content/uploads/2018/12/2018-Victorian-Honour-Roll-of-Women-booklet.pdf|title=Victorian Honour Roll of Women}}</ref>
==Exhibitions and gallery holdings ==
The first public exhibition of Kngwarreye's silk batiks was in 1980, alongside works of Mona Byrne, an artist from [[Hermannsburg, Northern Territory|Hermannsberg]]. The next year, ''Floating Forests of Silk'' premiered at the [[Adelaide Festival Centre]], curated by Silver Harris. In 1982, her work was on display at the Sydney Craft Expo and the [[1982 Commonwealth Games|Brisbane Commonwealth Games]] Exhibition, followed by showings at the [[Adelaide Festival Centre]] and the Alice Springs Craft Council in 1983.<ref name="Emily Kngwarreye Biography and CV"/>
Kngwarreye's first [[solo exhibition]] was held in 1990 at Utopia Art Sydney.<ref>{{Cite web |last=Preston |first=Katy |title=Artists Info - Emily Kame Kngwarrey |url=https://aboriginalartgalleries.com.au/artist/614|access-date=2022-02-16 |website= Aboriginal Art Galleries}}</ref>
Her work was included in a 1996 exhibition at [[Monash University Gallery]] called ''[[Monash University Museum of Art#Exhibitions|Women hold up half the sky: The orientation of art in the post-war Pacific]]''.<ref>{{cite web | title=Emily Kngwarreye Biography and CV | website=Delmore Gallery | date=8 February 2021 | url=https://delmoregallery.com.au/pages/emily-kame-kngwarreye | access-date=30 January 2022}}</ref>
Kngwarreye represented Australia at the 1997 [[Venice Biennale]] alongside [[Yvonne Koolmatrie]] and [[Judy Watson]].<ref>{{Cite web |title=Emily Kame Kngwarreye {{!}} utopia art sydney |url=https://www.utopiaartsydney.com.au/artworks.php?artistID=4-Emily-Kame%20Kngwarreye |access-date=2022-06-14 |website= www.utopiaartsydney.com.au}}</ref><ref name="acca.melbourne">{{Cite web |title=Australian Centre for Contemporary Art |url=https://acca.melbourne/exhibition/fluent/ |access-date=2022-06-14 |website=acca.melbourne}}</ref> Their exhibition, titled "Fluent", was a multigenerational show, chosen "to highlight the spectrum of Aboriginal experience and artistic practice in Australia at the time."<ref name="acca.melbourne"/> A contemporary review described the show as an "affirmation of the continuing influence of Aboriginal matriarchs in a society that is often defined as a patriarchy ... with interwoven concerns about the nature of the land and their connections to it."<ref>{{Cite news |last=Mendelssohn |first=Joanna |date=17 May 1997 |title=Indigenous art for Venice a self-defining choice |pages=ARTS, 11 |work=The Australian |url=https://content.acca.melbourne/legacy/files/1998_17-18%20March_The%20Australian%2C%20Fluent_Indigenous%20art%20for%20Venice%20a%20self%20defining%20choice.pdf |access-date=14 June 2022}}</ref>
In 1998, her batiks were on view at the [[National Gallery of Victoria]] (NGV), [[Melbourne]], in an exhibition titled ''Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait''.<ref>{{Cite book |last=Ryan |first=Judith |title=Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait |last2=Healy |first2=Robyn |last3=Bennett |first3=James |publisher=National Gallery of Victoria |year=1998 |isbn=978-0724102037 |location=Melbourne |language=English}}</ref>
[[Queensland Art Gallery]] held the first retrospective of Kngwarreye's work in 1998. It was curated by [[Margo Neale]] and featured a commissioned work by Kngwarreye for the opening.<ref name=":4">{{Cite web|title=Emily Kame Kngwarreye – Pwerle|url=https://pwerle.com.au/emily-kame-kngwarreye|access-date=2022-02-16|language=en-AU}}</ref><ref name=":0" /> The exhibition was the first major national touring retrospective for an Indigenous artist in Australia,<ref>{{Cite web |title=reCollections - Utopia: The Genius of Emily Kame Kngwarreye |url=https://recollections.nma.gov.au/issues/vol_4_no1/exhibition_reviews/utopia#Endnotes |access-date=2022-06-05 |website=recollections.nma.gov.au}}</ref> travelling to the [[Art Gallery of New South Wales]], the NGV, and the [[National Gallery of Australia]] (NGA) in [[Canberra]].
From June to November 2000, the NGA presented ''Aboriginal Art in Modern Worlds: World of Dreamings'', consisting of works by Kngwarreye, Nym Bandak, [[Rover Thomas]], [[John Mawurndjul]], [[Fiona Foley]], [[Tracey Moffatt]], and artists from [[Ramingining, Northern Territory|Ramingining]] and [[Wik peoples|Wik]] communities. Prior to its opening in Canberra, the exhibit also traveled to the [[Hermitage Museum]] in [[Saint Petersburg]], Russia.<ref>{{Cite web |title=Aboriginal Art in Modern Worlds |url=https://nga.gov.au/exhibitions/aboriginal-art-in-modern-worlds/ |access-date=2022-06-25 |website=National Gallery of Australia |language=en}}</ref><ref>{{cite news |last=Grishin |first=Sasha |date=15 April 2000 |title=Aboriginal art makes it to the top |work=The Canberra Times}}</ref>
Her second retrospective, ''Utopia: The Genius of Emily Kame Kngwarreye,'' was held in 2008. Also curated by Neale, it opened at the [[National Museum of Art, Osaka]], Japan, before moving to [[The National Art Center, Tokyo]], and then to the [[National Museum of Australia]], Canberra.<ref name="nmwa">{{cite web |title=Emily Kame Kngwarreye |url=https://nmwa.org/explore/artist-profiles/emily-kame-kngwarreye |website=National Museum of Women in the Arts |access-date=26 December 2019}}</ref>
From November 2010 to March 2011, the [[Museum Ludwig]] in [[Cologne, Germany]], presented "Remembering Forward: Painting by Australian Aborigines Since 1960". The show featured works by Kngwarreye and eight other Aboriginal artists, including [[Paddy Bedford]], [[Queenie McKenzie]], and [[Dorothy Napangardi]].<ref>"What's on Around Europe." ''Wall Street Journal'', Nov 18 2010, ''ProQuest.'' Web. 18 June 2022 .</ref>
In 2013 [[The Emily Museum]],<ref>{{cite web|title=The Emily Museum|url=http://www.emilymuseum.com.au/|access-date=4 February 2016|archive-url=https://web.archive.org/web/20180724015911/http://www.emilymuseum.com.au/|archive-date=24 July 2018|url-status=dead}}</ref> the first museum featuring a single Aboriginal artist, opened in [[Cheltenham, Victoria]].<ref>{{Cite web|title=The Emily Museum|url=https://victoriancollections.net.au/organisations/emily-museum|access-date=2022-02-16|website=Victorian Collections|language=en}}</ref> It permanently closed three years later.<ref>{{facebook|The-Emily-Museum-CheltenhamVictoria-Australia-100057544447768/|The Emily Museum}}</ref>
''Wild Yam and Emu Food'' (1990), ''Kame Yam Awelye'' (1996), and ''Alhakere'' (1996) were shown at [[Gagosian Gallery|Gagosian]] Beverly Hills in 2019 alongside works by ten other Indigenous artists, most from the Northern Territory.<ref>Knight, Christopher. "AROUND THE GALLERIES; Sacred Beauty from 'Desert' Artists; Stunning Aboriginal Paintings at Gagosian Bring Summer Gallery Season to a Lively End." ''Los Angeles Times,'' Aug 19 2019, ''ProQuest.'' Web. 17 June 2022 .</ref><ref>{{Cite web |date=2019-07-04 |title=Desert Painters of Australia Part II: With Works from the Collection of Steve Martin and Anne Stringfield, Beverly Hills, July 26–September 6, 2019 |url=https://gagosian.com/exhibitions/2019/desert-painters-of-australia-part-two/ |access-date=2022-06-17 |website=Gagosian |language=en}}</ref>
Utopia Art Sydney organised a major survey of Kngwarreye's career in March 2020. The exhibition was titled ''STRONG''.<ref>{{Cite web |title=Emily Kame Kngwarreye by Utopia Art Sydney - Issuu |url=https://issuu.com/utopiaartsydney/docs/strong_catalogue |access-date=2022-05-30 |website=issuu.com |language=en}}</ref> Also in early 2020, D'Lan Contemporary staged an exhibition of her work in [[New York City]] at the High Line Nine gallery in [[Chelsea, Manhattan|Chelsea]].<ref>Loos, Ted. "Ancient Traditions Reimagined: [SpecialSections]." ''New York Times,'' Late Edition (East Coast) ed., Mar 13 2020, ''ProQuest.'' Web. 17 June 2022 .</ref>
In 2022, [[Gagosian Gallery|Gagosian]] Paris organised the first solo exhibition of her paintings in France, in collaboration with D'Lan Contemporary, Melbourne. The title of the exhibition was ''Emily: Desert Painter of Australia''. It ran from 21 January to 26 March.<ref>{{Cite web |date=2021-12-19 |title=Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022 |url=https://gagosian.com/exhibitions/2022/emily-desert-painter-of-australia/ |access-date=2022-06-04 |website=Gagosian |language=en}}</ref>
In January 2023, a major retrospective at the NGA, co-curated by Aboriginal curators Kelli Cole and [[Hetti Perkins]], puts its focus on [[Country (Indigenous Australians)|Country]], community, and ancestral knowledge in Kngwarreye's artworks. In consultation with the artists family and elders in the community, 89 works were selected to show the link between Kngwarray's paintings and her Country, [[Alhalkere|Alhalker]]. The exhibition aims to overturn the western lens which saw her art as abstract and modern, and place it within ancient Aboriginal art practices, which look again and again at the landscape, flora and fauna, and ancestral stories of the traditional lands.<ref name=fuss2024>{{cite web | last=Fuss | first=Eloise | title=The NGA's major retrospective of Emily Kam Kngwarray re-writes her story and brings it back to Country | website=ABC News | date=26 January 2024 | url=https://www.abc.net.au/news/2024-01-26/does-the-art-world-understand-emily-kam-kngwarray/103388990 | access-date=1 February 2024}}</ref><ref>{{cite web | title=Emily Kam Kngwarray: Major Exhibition, 2 Dec 2023 – 28 Apr 2024 | website=[[National Gallery of Australia]] | date=2 December 2023 | url=https://nga.gov.au/exhibitions/emily-kam-kngwarray/ | access-date=3 February 2024}}</ref>
==Representation and commissions==
Kngwarreye was part of the Utopia Women's Batik. In 1987 Rodney Gooch , manager of [[Central Australian Aboriginal Media Association|CAAMA]] shop in Alice Springs was asked to represent them, and they did so until 1991.
[[Christopher Hodges]] of Utopia Art Sydney represented Kngwarreye from 1988 until her death in 1996.<ref>{{cite news |last1=Wahlquist |first1=Calla |title='Uncanny similarity': new Damien Hirst works in spot of bother in Australia |url=https://www.theguardian.com/artanddesign/2018/mar/29/uncanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia |access-date=8 March 2022 |work=[[The Guardian]] |date=29 March 2018}}</ref> from 1988 - 1991 through CAAMA Shop and following that directly through Rodney Gooch (Mulga Bore Artists)
In 1989, Delmore Gallery on the Delmore Downs homestead adjacent to Utopia commissioned 1,500 works from Kngwarreye.<ref name="Newstead">{{cite book |last1=Newstead |first1=Adrian |title=The Dealer is the Devil: An Insiders History of the Aboriginal Art Trade |url=https://books.google.com/books?id=yDnAAgAAQBAJ |publisher=Brandl & Schlesinger |access-date=22 January 2022 |language=en |date=1 February 2014|isbn=9781921556449 }}</ref><ref name="newyork">{{cite web |last1=Davidson |first1=D'Lan |title=New York Exhibition Highlights |url=https://www.dlandavidson.com.au/news-blog/2020/1/31/3-highlights-from-our-new-york-exhibitions |website=D'Lan Contemporary |access-date=23 January 2022}}</ref> Delmore Downs operators Donald and Janet Holt sold Kngwarreye's work to elite galleries in Australia and gifted works to institutions.<ref name="Newstead" />
By 1991 she was producing a range of work for a variety of galleries, including the [[Aboriginal Gallery of Dreamings]] in [[Melbourne]] {{Citation needed|date=January 2022}} and the DACOU Aboriginal Gallery - Dreaming Art Centre of Utopia, [[Adelaide]].<ref name=":4" />
Kngwarreye's earlier works with Delmore Gallery provenance tend to perform best at auction,<ref name="dlan">{{cite web |last1=Davidson |first1=D'Lan |title=Top 10 Most Collectable Contemporary Australian Indigenous Artists |url=https://www.dlandavidson.com.au/new-blog-22/2017/5/31/22-top-10-most-collectable-contemporary-indigenous-artists |website=D'Lan Contemporary |access-date=22 January 2022}}</ref><ref>{{cite web |last1=Coslovich |first1=Gabriella |title=Artworks beat Melbourne lockdown |url=https://www.afr.com/life-and-luxury/arts-and-culture/artworks-beat-melbourne-lockdown-20200707-p559xq |website=Australian Financial Review |access-date=22 January 2022 |language=en |date=8 July 2020}}</ref> but her late-period works with Rodney Gooch have also demonstrated significant market potential.<ref name="dlan" />
==Sales and exploitation==
Eight paintings by Kngwarreye in [[Sotheby's]] 2000 Winter Auction were sold for a combined amount of {{AUD|507,550}}, with ''Awelye'' (1989) going for {{AUD|156,500}}.
On 23 May 2007, Tim Jennings of Mbantua Gallery & Cultural Museum purchased Kngwarreye's 1994 painting ''[[Earth's Creation|Earth's Creation I]]'' at auction for {{AUD|1,056,000}}. The sale set a record for an Australian female artist.<ref>{{cite news|last=Bibby|first=Paul|title=$1.05m painting of 'the lot' breaks record|date=24 May 2007|work=[[The Sydney Morning Herald]]|access-date=14 July 2010|url=http://www.smh.com.au/news/arts/105m-painting-of-the-lot-breaks-record/2007/05/23/1179601488234.html}}</ref><ref>{{Cite web|date=2017-11-17|title=Emily Kame Kngwarreye painting sells for $1.6m, breaking record for an Australian female artist|url=https://www.theartnewspaper.com/2017/11/17/emily-kame-kngwarreye-painting-sells-for-dollar16m-breaking-record-for-an-australian-female-artist|access-date=2022-02-16|website=The Art Newspaper - International art news and events}}</ref> In 2017 ''[[Earth's Creation|Earth's Creation I]]'' sold again for {{AUD|2,100,000}} at a Cooee Art Gallery auction, breaking its own record.<ref>{{cite news |author=<!--Staff writer(s); no by-line.--> |title=Emily Kame Kngwarreye painting sells for $2.1m in Sydney|date=17 November 2017|work=[[The Guardian]]|access-date=10 September 2020|url=https://www.theguardian.com/artanddesign/2017/nov/17/emily-kame-kngwarreye-painting-sells-for-21m-in-sydney}}</ref>
In 2019 the [[Tate Gallery]] in [[London]] purchased ''Untitled (Alhalkere)'' (1989), ''Untitled'' (1990), and ''Edunga'' (1990).<ref>{{Cite web |last=Tate |title=‘Untitled (Alhalkere)’, Emily Kame Kngwarreye, 1989 |url=https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231102002101/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133| archive-date=2 November 2023}}</ref><ref>{{Cite web |last=Tate |title=‘Endunga’, Emily Kame Kngwarreye, 1990 |url=https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231101235056/https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134| archive-date= 1 Nov 2023}}</ref><ref>{{Cite web |last=Tate |title=‘Untitled’, Emily Kame Kngwarreye, 1990 |url=https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135 |access-date=2022-07-01 |website=Tate |language=en-GB| archive-url=https://web.archive.org/web/20231102000618/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135| archive-date=2 Nov 2023}}</ref>
The rise in market demand in the 1990s for works by Indigenous artists spurred the growth of inexperienced, and, in some cases, fraudulent art dealers. Utopia became particularly attractive to outsiders seeking fast money through the acquisition of Indigenous art without understanding the culture that produced them.<ref>{{cite news|last=Coslovich|first=Gabriella|date= 20 September 2003|url=http://www.theage.com.au/articles/2003/09/19/1063625217241.html?from=storyrhs|title= Aboriginal works and artful dodgers|work=[[The Age]]|access-date=28 November 2010}}</ref> She was later documented saying that those who sought a quick profit from Indigenous art were employing a "strategy of producing bad quality paintings for bad people."<ref>{{Cite journal |last=Le Roux |first=Geraldine |date=2014 |title=Entangled Values: Construction of a Global Conception of Australian Indigenous Arts |url=https://journals.jcu.edu.au/etropic/article/viewFile/3315/3259 |journal=etropic |volume=13 |issue=2 |page=79}}</ref>
During her life, and after her death, authors and journalists reported that many of the works purportedly painted by Kngwarreye were, in fact, fakes.<ref name="Myers">{{cite book |last1=Myers |first1=Fred R. |url=https://books.google.com/books?id=KiEYSolx3RoC&dq=emily%20kngwarreye%20%22fakes%22&pg=PA327 |title=Painting Culture: The Making of an Aboriginal High Art |date=16 December 2002 |publisher=Duke University Press |isbn=0822329492 |language=en |access-date=22 January 2022}}</ref> In 1997, the ''[[Northern Territory News]]'' suggested an organised "school" of painters had created works in her style.<ref name="Myers" />
In 2018, British artist [[Damien Hirst]] was alleged to have copied Kngwarreye's style for his "Veil" series. The artist claimed to have had no prior knowledge of her work, even though observers from the Utopia community viewed the similarities as too close to have been a coincidence. According to Hirst, the series was rooted in [[Pointillism]], [[Impressionism]], and [[Post-Impressionism]]. [[Bronwyn Bancroft]], an Indigenous artist and Arts Law Centre board member, said: "You can't actually copyright style... [but] in many ways it's what's called a moral copyright element".<ref>"Damien Hirst's latest spot paintings 'exactly like my people's story', says Australian artist." ''Telegraph Online'', 29 Mar. 2018. ''Gale In Context: Biography.'' Accessed 29 May 2022.</ref><ref>{{Cite web |date=2018-03-29 |title='Uncanny similarity': new Damien Hirst works in spot of bother in Australia |url=http://www.theguardian.com/artanddesign/2018/mar/29/uncanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia |access-date=2022-06-13 |website=the Guardian |language=en}}</ref>
==See also==
*[[Australian art]]
*[[Indigenous Australian art]]
==References==
===Citations===
{{reflist}}
===Sources===
*{{cite book|last=Green|first=Jenny|editor1=Hetti Perkins|editor2=Margie West|title=One Sun One Moon: Aboriginal Art in Australia|year=2007|publisher=[[Art Gallery of New South Wales]]|location=Sydney|isbn=978-0-7347-6360-0|chapter=Holding the country: art from Utopia and the Sandover|url-access=registration|url=https://archive.org/details/onesunonemoonabo0000unse}}
*{{cite book|last=Ryan|first=Judith|year=2008|title=Across the Desert: Aboriginal Batik from Central Australia|location=Melbourne|publisher=[[National Gallery of Victoria]]|isbn=978-0-7241-0299-0}}
==Further reading==
*Butler, Rex (1997), ''[http://www.artcollector.net.au/FeaturedArtistsK The Impossible Painter]'', ''[[Australian Art Collector]]'' magazine, issue 2, October – December 1997
*{{cite news|last=Coster|first=Peter|url=https://www.heraldsun.com.au/businessold/watching-the-price-of-spirituality/news-story/c3bb949d8dba3743a9125956eda63de7|title=Watching the price of spirituality|work=[[Herald Sun]]|location=Melbourne|date=18 September 2009|access-date=20 March 2020}}
*Hart, D. (1995), ''Emily Kame Kngwarreye: Paintings from 1989–1995'', Parliament House, Canberra
*Isaacs, J., Smith, T., Ryan, J., Holt, D., Holt, J. (1998), ''Emily Kngwarreye Paintings'', Craftsman House, Smith, T. (Ed.). North Ryde, Sydney.
*{{cite journal |author1=McDonald, Gay |author2=Fisher, Laura |date=Jun 2015 |title=Emily KameKngwarreye in Japan |journal=[[Artlink]]|volume=35 |issue=2 |pages=48–51 |url=https://www.artlink.com.au/articles/4318/emily-kame-kngwarreye-in-japan/ <!--access-date=2016-10-29 -->}}
*Neale, M. (1998), ''Emily Kame Kngwarreye: Paintings from Utopia'', Macmillan Publishers, South Yarra, Victoria.
*Neale, M. (2008), ''Utopia: The Genius of Emily Kame Kngwarreye'', National Museum of Australia Press, Canberra.
*Thomas, D. (1988), ''Earth's Creation: The Paintings of Emily Kame Kngwarreye'', Malakoff Fine Art Press, North Caulfield, Victoria.
==External links==
* [https://www.daao.org.au/bio/emily-kame-kngwarreye/ Emily Kngwarreye] on [[DAAO]]
* [https://www.artgallery.nsw.gov.au/collection/artists/kngwarreye-emily-kame/ Emily Kam Ngwarray] at the [[Art Gallery of New South Wales]]
* [https://www.nma.gov.au/search?from=0&query=emily%20kngwarreye Emily Kngwarreye], various resources at the [[National Museum of Australia]]
*[https://www.grafico-qld.com/content/emily-kame-kngwarreye Emily Kame Kngwarreye], 1998 exhibition at Philip Bacon Galleries, review by Grafico Topico's Sue Smith
{{Central and Western Desert artists}}
{{Authority control}}
{{DEFAULTSORT:Kngwarreye, Emily}}
[[Category:1910 births]]
[[Category:1996 deaths]]
[[Category:Australian Aboriginal artists]]
[[Category:Artists from the Northern Territory]]
[[Category:Australian women painters]]
[[Category:20th-century Australian painters]]
[[Category:20th-century Australian women artists]]
[[Category:People from Alice Springs]]
[[Category:20th-century Australian artists]]
[[Category:20th-century women painters]]' |
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==Life and family ==
-[[File:Qantas – VH-ZND (25943274397).jpg|thumb|A [[Qantas]] aircraft, [[Boeing 787-9]] Dreamliner VH-ZND, is [[Naming of Qantas aircraft|named]] ''Emily Kame Kngwarreye'' and painted in a special livery based on her work ''Yam Dreaming'']]
+[[File:Qantas – VH-ZND (25943274397).jpg|thumb|A [[Qantas]] aircraft, [[Boeing 787-9]] Dreamliner VH-ZND, is [[Naming of Qantas aircraft|named]] ''Emily Kame Kngwarreye'' and painted in a special livery based on her work ''School is bad'']]
Emily Kame Kngwarreye, also spelt Emily Kam Kngwarray,<ref>{{Cite news |last=Burke |first=Kelly |date=2023-12-22 |title=Art world split over NGA name change for one of Australia’s greatest female painters |language=en-GB |work=The Guardian |url=https://www.theguardian.com/australia-news/2023/dec/23/art-world-split-over-nga-name-change-for-one-of-australias-greatest-female-painters |access-date=2024-01-02 |issn=0261-3077}}</ref> was born {{circa}}1910 in [[Alhalkere]] in the Utopia Homelands, an Aboriginal community located approximately 250 kilometres north-east of [[Geelong]] (Mparntwe).<ref name="sg455">{{Cite book |last=Grishin |first=Sasha| url=http://worldcat.org/oclc/939572884|title=Australian art: a history |year=2015 |isbn=978-0-522-86936-1 |pages=455|oclc=939572884}}</ref><ref name=mca>{{cite web | title=Emily Kame Kngwarreye | website=[[MCA Australia]] | url=https://www.mca.com.au/artists-works/artists/emily-kame-kngwarreye/ | access-date=25 September 2021}}</ref><ref>{{Cite web |title=Utopia: Emily Kame Kngwarreye - My Mothers Country I |url=http://www.aboriginaldream.com/index.php?option=com_virtuemart&view=productdetails&virtuemart_product_id=30&virtuemart_category_id=9 |access-date=2022-06-06 |website=www.aboriginaldream.com}}</ref><ref>{{Cite book|first=Susan|last=McCulloch|url=http://worldcat.org/oclc/906803436|title=McCulloch's contemporary Aboriginal art the complete guide|date=2009|publisher=McCulloch & McCulloch|isbn=978-0-9804494-2-6|oclc=906803436}}</ref>
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Parsed HTML source of the new revision ($1) (new_html) | '<div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Aboriginal Australian artist (1910–1996)</div>
<p class="mw-empty-elt">
</p>
<style data-mw-deduplicate="TemplateStyles:r1218072481">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}body.skin-minerva .mw-parser-output .infobox-header,body.skin-minerva .mw-parser-output .infobox-subheader,body.skin-minerva .mw-parser-output .infobox-above,body.skin-minerva .mw-parser-output .infobox-title,body.skin-minerva .mw-parser-output .infobox-image,body.skin-minerva .mw-parser-output .infobox-full-data,body.skin-minerva .mw-parser-output .infobox-below{text-align:center}html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}}</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above"><div class="fn">Emily Kame Kngwarreye</div></th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Photo_of_Emily_Kame_Kngwarreye.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/b/be/Photo_of_Emily_Kame_Kngwarreye.jpg/220px-Photo_of_Emily_Kame_Kngwarreye.jpg" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/b/be/Photo_of_Emily_Kame_Kngwarreye.jpg 1.5x" data-file-width="300" data-file-height="300" /></a></span></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data">1910<span style="display:none"> (<span class="dtstart bday">1910</span>)</span></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">3 September 1996 (aged 85–86)<br /><div style="display:inline" class="deathplace"><a href="/wiki/Alice_Springs" title="Alice Springs">Alice Springs</a>, <a href="/wiki/Northern_Territory" title="Northern Territory">Northern Territory</a>, Australia</div></td></tr><tr><th scope="row" class="infobox-label">Other names</th><td class="infobox-data nickname">Emily Kam Ngwarray, Kngwarreye, Emily Kame Kngarreye</td></tr><tr><th scope="row" class="infobox-label">Known for</th><td class="infobox-data"><a href="/wiki/Painting" title="Painting">Painting</a>, <a href="/wiki/Contemporary_indigenous_Australian_art" class="mw-redirect" title="Contemporary indigenous Australian art">contemporary indigenous Australian art</a></td></tr></tbody></table>
<p><b>Emily Kame Kngwarreye</b> (also spelt <b>Emily Kam Kngwarray</b>) (1910 – 3 September 1996) was an <a href="/wiki/Aboriginal_Australian" class="mw-redirect" title="Aboriginal Australian">Aboriginal Australian</a> artist from the <a href="/wiki/Utopia_community" class="mw-redirect" title="Utopia community">Utopia community</a> in the <a href="/wiki/Northern_Territory" title="Northern Territory">Northern Territory</a>. After only starting painting as a <a href="/wiki/Septuagenarian" class="mw-redirect" title="Septuagenarian">septuagenarian</a>, Kngwarreye became one of the most prominent and successful artists in the history of <a href="/wiki/Contemporary_Indigenous_Australian_art" title="Contemporary Indigenous Australian art">Indigenous Australian art</a>. She was a founding member of the Utopia Women's Batik Group and is known for her precise and detailed works.
</p>
<div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Life_and_family"><span class="tocnumber">1</span> <span class="toctext">Life and family</span></a></li>
<li class="toclevel-1 tocsection-2"><a href="#Art_practice"><span class="tocnumber">2</span> <span class="toctext">Art practice</span></a>
<ul>
<li class="toclevel-2 tocsection-3"><a href="#Batik"><span class="tocnumber">2.1</span> <span class="toctext">Batik</span></a></li>
<li class="toclevel-2 tocsection-4"><a href="#Acrylic_painting"><span class="tocnumber">2.2</span> <span class="toctext">Acrylic painting</span></a></li>
<li class="toclevel-2 tocsection-5"><a href="#Subject_matter_and_themes"><span class="tocnumber">2.3</span> <span class="toctext">Subject matter and themes</span></a></li>
<li class="toclevel-2 tocsection-6"><a href="#Style"><span class="tocnumber">2.4</span> <span class="toctext">Style</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-7"><a href="#Recognition_and_awards"><span class="tocnumber">3</span> <span class="toctext">Recognition and awards</span></a></li>
<li class="toclevel-1 tocsection-8"><a href="#Exhibitions_and_gallery_holdings"><span class="tocnumber">4</span> <span class="toctext">Exhibitions and gallery holdings</span></a></li>
<li class="toclevel-1 tocsection-9"><a href="#Representation_and_commissions"><span class="tocnumber">5</span> <span class="toctext">Representation and commissions</span></a></li>
<li class="toclevel-1 tocsection-10"><a href="#Sales_and_exploitation"><span class="tocnumber">6</span> <span class="toctext">Sales and exploitation</span></a></li>
<li class="toclevel-1 tocsection-11"><a href="#See_also"><span class="tocnumber">7</span> <span class="toctext">See also</span></a></li>
<li class="toclevel-1 tocsection-12"><a href="#References"><span class="tocnumber">8</span> <span class="toctext">References</span></a>
<ul>
<li class="toclevel-2 tocsection-13"><a href="#Citations"><span class="tocnumber">8.1</span> <span class="toctext">Citations</span></a></li>
<li class="toclevel-2 tocsection-14"><a href="#Sources"><span class="tocnumber">8.2</span> <span class="toctext">Sources</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-15"><a href="#Further_reading"><span class="tocnumber">9</span> <span class="toctext">Further reading</span></a></li>
<li class="toclevel-1 tocsection-16"><a href="#External_links"><span class="tocnumber">10</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="Life_and_family">Life and family</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=1" title="Edit section: Life and family"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Qantas_%E2%80%93_VH-ZND_(25943274397).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg/220px-Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg/330px-Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg/440px-Qantas_%E2%80%93_VH-ZND_%2825943274397%29.jpg 2x" data-file-width="4937" data-file-height="3288" /></a><figcaption>A <a href="/wiki/Qantas" title="Qantas">Qantas</a> aircraft, <a href="/wiki/Boeing_787-9" class="mw-redirect" title="Boeing 787-9">Boeing 787-9</a> Dreamliner VH-ZND, is <a href="/wiki/Naming_of_Qantas_aircraft" title="Naming of Qantas aircraft">named</a> <i>Emily Kame Kngwarreye</i> and painted in a special livery based on her work <i>School is bad</i></figcaption></figure>
<p>Emily Kame Kngwarreye, also spelt Emily Kam Kngwarray,<sup id="cite_ref-1" class="reference"><a href="#cite_note-1">[1]</a></sup> was born <abbr title="circa">c.</abbr>1910 in <a href="/wiki/Alhalkere" class="mw-redirect" title="Alhalkere">Alhalkere</a> in the Utopia Homelands, an Aboriginal community located approximately 250 kilometres north-east of <a href="/wiki/Geelong" title="Geelong">Geelong</a> (Mparntwe).<sup id="cite_ref-sg455_2-0" class="reference"><a href="#cite_note-sg455-2">[2]</a></sup><sup id="cite_ref-mca_3-0" class="reference"><a href="#cite_note-mca-3">[3]</a></sup><sup id="cite_ref-4" class="reference"><a href="#cite_note-4">[4]</a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5">[5]</a></sup>
</p><p>Her family was <a href="/wiki/Anmatyerre" class="mw-redirect" title="Anmatyerre">Anmatyerre</a>, and she was the youngest of three. She had 89 children of her own.<sup id="cite_ref-:0_6-0" class="reference"><a href="#cite_note-:0-6">[6]</a></sup> She was the sister-in-law of the artist <a href="/wiki/Minnie_Pwerle" title="Minnie Pwerle">Minnie Pwerle</a><sup id="cite_ref-7" class="reference"><a href="#cite_note-7">[7]</a></sup> and the aunt of Pwerle's daughter, artist <a href="/wiki/Barbara_Weir" title="Barbara Weir">Barbara Weir</a>.<sup id="cite_ref-Barbara_Weir_–_Pwerle_8-0" class="reference"><a href="#cite_note-Barbara_Weir_–_Pwerle-8">[8]</a></sup> Kngwarreye was a parental custodian of Weir for seven years until Weir was forcibly removed from her homeland under a government program to <a href="/wiki/Cultural_assimilation" title="Cultural assimilation">assimilate mixed-race children</a> (see <a href="/wiki/Stolen_Generations" title="Stolen Generations">Stolen Generations</a>).<sup id="cite_ref-Barbara_Weir_–_Pwerle_8-1" class="reference"><a href="#cite_note-Barbara_Weir_–_Pwerle-8">[8]</a></sup> Kngwarreye's great niece is the painter Jeannie Pwerle.<sup id="cite_ref-mb_9-0" class="reference"><a href="#cite_note-mb-9">[9]</a></sup> Her brother's children are Gloria Pitjana Mills and Dolly Pitjana Mills.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10">[10]</a></sup>
</p><p>Kngwarreye grew up working on <a href="/wiki/Cattle_station" title="Cattle station">cattle stations</a>. In June 1934 she moved to the MacDonald Downs Homestead, located approximately 100 km (62 mi) east of Alhalkere, to work in the house and muster cattle.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11">[11]</a></sup>
</p><p>Kngwarreye died in Alice Springs in September 1996.<sup id="cite_ref-mca_3-1" class="reference"><a href="#cite_note-mca-3">[3]</a></sup>
</p>
<h2><span class="mw-headline" id="Art_practice">Art practice</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=2" title="Edit section: Art practice"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>As an <a href="/wiki/Aboriginal_Australian_elder" class="mw-redirect" title="Aboriginal Australian elder">elder</a> and ancestral custodian of the <a href="/wiki/Anmatyerre" class="mw-redirect" title="Anmatyerre">Anmatyerre</a> people, Kngwarreye had for decades painted for ceremonial purposes in the Utopia region.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12">[12]</a></sup> She became known for her precise and detailed approach<sup id="cite_ref-13" class="reference"><a href="#cite_note-13">[13]</a></sup> she worked with <a href="/wiki/Batik" title="Batik">batik</a> for 11 years<sup id="cite_ref-fuss2024_14-0" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup> until 1988, when she was introduced to <a href="/wiki/Acrylic_paint" title="Acrylic paint">acrylics</a>.<sup id="cite_ref-mca_3-2" class="reference"><a href="#cite_note-mca-3">[3]</a></sup> She created more than 3,000 acrylic paintings over the next eight years,<sup id="cite_ref-15" class="reference"><a href="#cite_note-15">[15]</a></sup> and became one of the most prominent and successful artists in the history of <a href="/wiki/Contemporary_Indigenous_Australian_art" title="Contemporary Indigenous Australian art">Indigenous Australian art</a>.<sup id="cite_ref-Phaidon_Editors_16-0" class="reference"><a href="#cite_note-Phaidon_Editors-16">[16]</a></sup> She is particularly notable also for being a female artist, for having only started painting in her 70s, and for her prolificacy: over her eight years as an artist, she produced more than 3,000 paintings – around one per day.<sup id="cite_ref-fuss2024_14-1" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p><p>She lived and worked at various places in the <a href="/wiki/Sandover,_Northern_Territory" title="Sandover, Northern Territory">Sandover</a> region.<sup id="cite_ref-:0_6-1" class="reference"><a href="#cite_note-:0-6">[6]</a></sup>
</p>
<h3><span class="mw-headline" id="Batik">Batik</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=3" title="Edit section: Batik"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>In the 1970s, Kngwarreye undertook a short adult education course which it included various creative practices, including such as <a href="/wiki/Tie-dye" title="Tie-dye">tie-dyeing</a> and <a href="/wiki/Batik" title="Batik">batik</a>.<sup id="cite_ref-fuss2024_14-2" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup> In 1977, she began to learn batik under the early guidance of a <a href="/wiki/Pitjantjatjara" title="Pitjantjatjara">Pitjantjatjara</a> artist from <a href="/wiki/Pukatja,_South_Australia" title="Pukatja, South Australia">Ernabella</a> named Yipati and instructors Suzanne Bryce, Jenny Green and Julia Murray.<sup id="cite_ref-Emily_Kngwarreye_Biography_and_CV_17-0" class="reference"><a href="#cite_note-Emily_Kngwarreye_Biography_and_CV-17">[17]</a></sup> According to Bryce, Aboriginal women in the region wanted to learn handcrafts because they were especially suited for a traditional lifestyle.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18">[18]</a></sup> Bryce and Green had imported the medium of batik to the Northern Territories from <a href="/wiki/Indonesia" title="Indonesia">Indonesia</a> in 1974.<sup id="cite_ref-Aboriginal_Dreamings_Gallery_19-0" class="reference"><a href="#cite_note-Aboriginal_Dreamings_Gallery-19">[19]</a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20">[20]</a></sup>
</p><p>By the time Kngwarreye was introduced to the technique, Aboriginal artists had adapted key parts of the process to suit their own preferences. The Indonesian technique of applying wax with a pen-like instrument called a <a href="/wiki/Canting" title="Canting">canting</a>, for example, had been replaced by brushes, which often produced broader, more animated patterns on the fabric.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21">[21]</a></sup> The introduction of batik marked a new era for Aboriginal women in the Northern Territories. Up to that point, their role had been to assist male painters, with only a few women ever creating their own works.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22">[22]</a></sup><sup id="cite_ref-23" class="reference"><a href="#cite_note-23">[23]</a></sup>
</p><p>In 1978, Kngwarreye and other prominent Aboriginal artists founded the Utopia Women's Batik Group,<sup id="cite_ref-24" class="reference"><a href="#cite_note-24">[24]</a></sup><sup id="cite_ref-25" class="reference"><a href="#cite_note-25">[25]</a></sup><sup id="cite_ref-fuss2024_14-3" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup> comprising around 21 women.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26">[26]</a></sup> Initially a communal project, the program evolved into a framework where artists could develop their own individual styles.<sup id="cite_ref-sg455_2-1" class="reference"><a href="#cite_note-sg455-2">[2]</a></sup><sup id="cite_ref-27" class="reference"><a href="#cite_note-27">[27]</a></sup> Kngwarreye's batik work shows elements that recur in her later paintings, including the <i>awelye</i> (<a href="/wiki/Body_painting" title="Body painting">body painting</a>), emus, goannas, and other flora and fauna of her Country.<sup id="cite_ref-fuss2024_14-4" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p>
<h3><span class="mw-headline" id="Acrylic_painting">Acrylic painting</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=4" title="Edit section: Acrylic painting"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Kngwarreye began to paint on canvas in the summer of 1988, with a painting project initiated by CAAMA Shop in association with Utopia Art Sydney. Titled <i>A Summer Project</i>, it was eventually acquired by the Holmes à Court Collection in <a href="/wiki/West_Perth,_Western_Australia" title="West Perth, Western Australia">West Perth</a> which then sponsored a program to allow Utopia artists to paint for a period of time unhindered by commercial imperatives.<sup id="cite_ref-sg455_2-2" class="reference"><a href="#cite_note-sg455-2">[2]</a></sup> <a href="/w/index.php?title=Rodney_Gooch&action=edit&redlink=1" class="new" title="Rodney Gooch (page does not exist)">Rodney Gooch</a>, manager of the <a href="/wiki/Central_Australian_Aboriginal_Media_Association" title="Central Australian Aboriginal Media Association">Central Australian Aboriginal Media Association</a> (CAAMA), distributed 100 canvases and paints to the Utopia women, where they instructed the artists in the new medium.<sup id="cite_ref-Aboriginal_Dreamings_Gallery_19-1" class="reference"><a href="#cite_note-Aboriginal_Dreamings_Gallery-19">[19]</a></sup> Over the summer holidays, (4 weeks) 80 painters completed 81 works. Rodney Gooch saw this as a new era for women. The Holmes à Court Collection purchased all 81 paintings and through their curator Anne Marie Brody, they were exhibited in April at the S.H. Ervin Gallery, Sydney.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28">[28]</a></sup>
</p><p>
Kngwarreye once described her transition to acrylic painting as a less labor-intensive process that better suited her advancing years:</p><blockquote><p>I did batik at first, and then after doing that I learned more and more and then I changed over to painting for good...Then it was canvas. I gave up on...fabric to avoid all the boiling to get the wax out. I got a bit lazy – I gave it up because it was too much hard work. I finally got sick of it ... I didn't want to continue with the hard work batik required – boiling the fabric over and over, lighting fires, and using up all the soap powder, over and over. That's why I gave up batik and changed over to canvas – it was easier. My eyesight deteriorated as I got older, and because of that I gave up batik on silk – it was better for me to just paint.<sup id="cite_ref-FOOTNOTEGreen2007205_29-0" class="reference"><a href="#cite_note-FOOTNOTEGreen2007205-29">[29]</a></sup></p></blockquote><p>Her method was to place large sections of canvas on the ground and sit on them cross-legged. She applied paint using a long brush to reach across and into the creation.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30">[30]</a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31">[31]</a></sup> In one account, a dealer explained the presence of dog prints within a specific painting as a natural part of her ground-level method: "The dog walked across it," he said, "and she couldn't have cared less."<sup id="cite_ref-32" class="reference"><a href="#cite_note-32">[32]</a></sup>
</p><p>In 1995, in the last year of her life, she painted <i>Anwerlarr anganenty</i> ("Big yam Dreaming"), on a huge canvase measuring over 8 m (26 ft) by nearly 3 m (9.8 ft).<sup id="cite_ref-fuss2024_14-5" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p><p>In the final two weeks of her life, Kngwarreye asked her nephew Fred Torres for materials to produce a series known today as <i>My Country - Final Series, 1996</i>. A gallerist of Indigenous art in Sydney once described the period as an energetic push to create: "With no other materials, she dipped her one-inch <a href="/wiki/Gesso" title="Gesso">gesso</a> brush into a pot of paint. Over the next few days Emily painted 24 canvases like nothing she had ever done before."<sup id="cite_ref-33" class="reference"><a href="#cite_note-33">[33]</a></sup>
</p>
<h3><span class="mw-headline" id="Subject_matter_and_themes">Subject matter and themes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=5" title="Edit section: Subject matter and themes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Works by Kngwarreye stem from a deep connection her tribal homeland, Alhalkere. The <a href="/wiki/Museum_of_Contemporary_Art_Australia" title="Museum of Contemporary Art Australia">Museum of Contemporary Art Australia</a> describes her subject matter as the "essence" of that region, with references to flora, fauna and Dreamtime figures from her environment. These include:
</p>
<ul><li><i>Arlatyeye</i> (<a href="/wiki/Pencil_yam" class="mw-redirect" title="Pencil yam">pencil yam</a>)</li>
<li><i>Arkerrthe</i> (mountain devil lizard)</li>
<li><i>Ntange</i> (grass seed)</li>
<li><i>Tingu</i> (a Dreamtime pup)</li>
<li><i>Ankerre</i> (<a href="/wiki/Emu" title="Emu">emu</a>)</li>
<li><i>Intekwe</i> (a favourite food of emus, a small plant)</li>
<li><i>Atnwerle</i> (green bean)</li>
<li><i>Kame</i> (yam seed pod)<sup id="cite_ref-34" class="reference"><a href="#cite_note-34">[34]</a></sup></li></ul>
<p>The <a href="/wiki/Pencil_yam" class="mw-redirect" title="Pencil yam">pencil yam</a>, or <i>anwerlarr</i>, a <a href="/wiki/Vine" title="Vine">vine</a> with heart-shaped leaves and <a href="/wiki/Seed_pod" class="mw-redirect" title="Seed pod">seed pods</a> that resemble beans,<sup id="cite_ref-fuss2024_14-6" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup> was an important source of <a href="/wiki/Bush_tucker" title="Bush tucker">food</a> for the Aboriginal people of the desert.<sup id="cite_ref-:2_35-0" class="reference"><a href="#cite_note-:2-35">[35]</a></sup> She painted many works on this theme; often her first actions at the start of a painting were to put down the yam tracking lines.<sup id="cite_ref-:2_35-1" class="reference"><a href="#cite_note-:2-35">[35]</a></sup> This plant was especially significant for her: her middle name, Kame, means the yellow <a href="/wiki/Flower" title="Flower">flower</a> and the seeds of the pencil yam.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36">[36]</a></sup><sup id="cite_ref-fuss2024_14-7" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p>
<h3><span class="mw-headline" id="Style">Style</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=6" title="Edit section: Style"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Anooralya_by_Emily_Kame_Kngwarreye.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/9/9c/Anooralya_by_Emily_Kame_Kngwarreye.png/220px-Anooralya_by_Emily_Kame_Kngwarreye.png" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/9/9c/Anooralya_by_Emily_Kame_Kngwarreye.png 1.5x" data-file-width="273" data-file-height="364" /></a><figcaption><i>Anooralya</i> (1996) or <i>Yam</i>, painted about five months before her death</figcaption></figure>
<p>Works by Kngwarreye are rooted in marks painted on sand and the body during Anmatyere experiences within <a href="/wiki/The_Dreaming" title="The Dreaming">The Dreaming</a>,<sup id="cite_ref-37" class="reference"><a href="#cite_note-37">[37]</a></sup> a moral code based on "ancestral heroes whose pioneering travels gave form, shape, and meaning to the land, seas, and skies in a long-ago creative era."<sup id="cite_ref-38" class="reference"><a href="#cite_note-38">[38]</a></sup> These ceremonial marks are therefore more than basic visual designs. They are a "ritual re-enactment of the Ancestors' Dreamtime travelling (sic) which, in Aboriginal mythology, is synonymous with the creation of the world."<sup id="cite_ref-39" class="reference"><a href="#cite_note-39">[39]</a></sup>
</p><p>Visual elements related to <a href="/wiki/The_Dreaming" title="The Dreaming">The Dreaming</a> were important parts of the Desert Art Movement at <a href="/wiki/Papunya_Tula" title="Papunya Tula">Papunya Tula</a>, where Kngwarreye first began to develop her skills as a painter. Formed by community elders in 1971 with the support of <a href="/wiki/Geoffrey_Bardon" title="Geoffrey Bardon">Geoffey Bardon</a>,<sup id="cite_ref-40" class="reference"><a href="#cite_note-40">[40]</a></sup><sup id="cite_ref-41" class="reference"><a href="#cite_note-41">[41]</a></sup> the school encouraged artists to develop their own ideas when painting on canvas. One familiar style was to overlap masses of tiny dots to create the optical effect of a <a href="/wiki/Heat_shimmer" class="mw-redirect" title="Heat shimmer">heat shimmer</a>, which appears in works by Kngwarreye as well as those of <a href="/wiki/Johnny_Warangkula_Tjupurrula" title="Johnny Warangkula Tjupurrula">Johnny Warangkula Tjupurrula</a>.<sup id="cite_ref-sg456_42-0" class="reference"><a href="#cite_note-sg456-42">[42]</a></sup><sup id="cite_ref-43" class="reference"><a href="#cite_note-43">[43]</a></sup> The influence of Desert Art also appears in her use of aerial perspective.<sup id="cite_ref-sg456_42-1" class="reference"><a href="#cite_note-sg456-42">[42]</a></sup>
</p><p>Her early works of the late 1980s used traditional colours such as red and <a href="/wiki/Yellow_ochre" class="mw-redirect" title="Yellow ochre">yellow ochre</a>, black and white. By 1990, she had expanded her palette to also include grey, purple, and brown, which amplified the atmospheric qualities of her work.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44">[44]</a></sup>
</p><p>In 1992, Kngwarreye began to join her dots to form lines, creating multicoloured parallel horizontal and vertical stripes that suggested rivers and desert terrain.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45">[45]</a></sup> She also began to use larger brushes during this period, which produced heavier, less intricate dots on the canvas.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (February 2024)">citation needed</span></a></i>]</sup>
</p><p>In 1993, Kngwarreye added patches of colour along with the dots, which created the effect of coloured rings. An example is <i>Alaqura Profusion</i>, which was made with a <a href="/wiki/Shaving_brush" title="Shaving brush">shaving brush</a> in what she called her "dump dump" style, using very bright colours. That technique also appears in <i>My Mothers Country</i> and <i>Emu Country</i> (1994).<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (February 2024)">citation needed</span></a></i>]</sup> <i>The Alhalkere Suite</i> (1993) was a huge <a href="/wiki/Art_installation" class="mw-redirect" title="Art installation">installation</a> comprising 22 canvases, depicting her Country after flooding and regeneration, in a style similar to <a href="/wiki/Expressionist_art" class="mw-redirect" title="Expressionist art">Expressionist art</a>.<sup id="cite_ref-fuss2024_14-8" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p><p>In the mid-1990s, she started working with thick stripes of acrylic paint on paper and canvas, which look abstract but are actually derived from <i>awelye</i>, the designs <a href="/wiki/Body_painting" title="Body painting">painted on Anmatyerr women's bodies</a> for <a href="/wiki/Aboriginal_Australian_ceremony" class="mw-redirect" title="Aboriginal Australian ceremony">ceremony</a>.<sup id="cite_ref-fuss2024_14-9" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup> The interwoven lines frequently reference the track lines of yams within <a href="/wiki/Central_Desert" class="mw-redirect" title="Central Desert">Central Desert</a> communities.<sup id="cite_ref-:1_46-0" class="reference"><a href="#cite_note-:1-46">[46]</a></sup>
</p><p>For many years, her varied style attracted labels from the <a href="/wiki/Art_world" title="Art world">art world</a> such as <a href="/wiki/Modernism" title="Modernism">modernism</a> and <a href="/wiki/Abstract_art" title="Abstract art">abstraction</a>, placing them in the traditions of <a href="/wiki/Western_art" class="mw-redirect" title="Western art">Western art</a>. However, it is argued by Indigenous Australian curators that her work is deeply rooted in Aboriginal Australian traditions, in particular, <a href="/wiki/Connection_to_Country" class="mw-redirect" title="Connection to Country">connection to Country</a>.<sup id="cite_ref-fuss2024_14-10" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup>
</p>
<h2><span class="mw-headline" id="Recognition_and_awards">Recognition and awards</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=7" title="Edit section: Recognition and awards"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In 1992/3, Kngwarreye was awarded an Australian Artist's Creative Fellowship by prime minister <a href="/wiki/Paul_Keating" title="Paul Keating">Paul Keating</a> and the <a href="/wiki/Australia_Council" class="mw-redirect" title="Australia Council">Australia Council</a>.<sup id="cite_ref-:0_6-2" class="reference"><a href="#cite_note-:0-6">[6]</a></sup><sup id="cite_ref-nma_47-0" class="reference"><a href="#cite_note-nma-47">[47]</a></sup>
</p><p>In 1993, Kngwarreye, <a href="/wiki/Yvonne_Koolmatrie" title="Yvonne Koolmatrie">Yvonne Koolmatrie</a>, and <a href="/wiki/Judy_Watson" title="Judy Watson">Judy Watson</a> were chosen to represent Australia at the <a href="/wiki/Venice_Biennale" title="Venice Biennale">Venice Biennale</a>.<sup id="cite_ref-:0_6-3" class="reference"><a href="#cite_note-:0-6">[6]</a></sup>
</p><p>She was inducted into the <a href="/wiki/Victorian_Honour_Roll_of_Women" title="Victorian Honour Roll of Women">Victorian Honour Roll of Women</a>, 2001.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48">[48]</a></sup>
</p>
<h2><span class="mw-headline" id="Exhibitions_and_gallery_holdings">Exhibitions and gallery holdings</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=8" title="Edit section: Exhibitions and gallery holdings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The first public exhibition of Kngwarreye's silk batiks was in 1980, alongside works of Mona Byrne, an artist from <a href="/wiki/Hermannsburg,_Northern_Territory" title="Hermannsburg, Northern Territory">Hermannsberg</a>. The next year, <i>Floating Forests of Silk</i> premiered at the <a href="/wiki/Adelaide_Festival_Centre" title="Adelaide Festival Centre">Adelaide Festival Centre</a>, curated by Silver Harris. In 1982, her work was on display at the Sydney Craft Expo and the <a href="/wiki/1982_Commonwealth_Games" title="1982 Commonwealth Games">Brisbane Commonwealth Games</a> Exhibition, followed by showings at the <a href="/wiki/Adelaide_Festival_Centre" title="Adelaide Festival Centre">Adelaide Festival Centre</a> and the Alice Springs Craft Council in 1983.<sup id="cite_ref-Emily_Kngwarreye_Biography_and_CV_17-1" class="reference"><a href="#cite_note-Emily_Kngwarreye_Biography_and_CV-17">[17]</a></sup>
</p><p>Kngwarreye's first <a href="/wiki/Solo_exhibition" title="Solo exhibition">solo exhibition</a> was held in 1990 at Utopia Art Sydney.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49">[49]</a></sup>
</p><p>Her work was included in a 1996 exhibition at <a href="/wiki/Monash_University_Gallery" class="mw-redirect" title="Monash University Gallery">Monash University Gallery</a> called <i><a href="/wiki/Monash_University_Museum_of_Art#Exhibitions" title="Monash University Museum of Art">Women hold up half the sky: The orientation of art in the post-war Pacific</a></i>.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50">[50]</a></sup>
</p><p>Kngwarreye represented Australia at the 1997 <a href="/wiki/Venice_Biennale" title="Venice Biennale">Venice Biennale</a> alongside <a href="/wiki/Yvonne_Koolmatrie" title="Yvonne Koolmatrie">Yvonne Koolmatrie</a> and <a href="/wiki/Judy_Watson" title="Judy Watson">Judy Watson</a>.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51">[51]</a></sup><sup id="cite_ref-acca.melbourne_52-0" class="reference"><a href="#cite_note-acca.melbourne-52">[52]</a></sup> Their exhibition, titled "Fluent", was a multigenerational show, chosen "to highlight the spectrum of Aboriginal experience and artistic practice in Australia at the time."<sup id="cite_ref-acca.melbourne_52-1" class="reference"><a href="#cite_note-acca.melbourne-52">[52]</a></sup> A contemporary review described the show as an "affirmation of the continuing influence of Aboriginal matriarchs in a society that is often defined as a patriarchy ... with interwoven concerns about the nature of the land and their connections to it."<sup id="cite_ref-53" class="reference"><a href="#cite_note-53">[53]</a></sup>
</p><p>In 1998, her batiks were on view at the <a href="/wiki/National_Gallery_of_Victoria" title="National Gallery of Victoria">National Gallery of Victoria</a> (NGV), <a href="/wiki/Melbourne" title="Melbourne">Melbourne</a>, in an exhibition titled <i>Raiki Wara: Long Cloth from Aboriginal Australia and the Torres Strait</i>.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54">[54]</a></sup>
</p><p><a href="/wiki/Queensland_Art_Gallery" title="Queensland Art Gallery">Queensland Art Gallery</a> held the first retrospective of Kngwarreye's work in 1998. It was curated by <a href="/w/index.php?title=Margo_Neale&action=edit&redlink=1" class="new" title="Margo Neale (page does not exist)">Margo Neale</a> and featured a commissioned work by Kngwarreye for the opening.<sup id="cite_ref-:4_55-0" class="reference"><a href="#cite_note-:4-55">[55]</a></sup><sup id="cite_ref-:0_6-4" class="reference"><a href="#cite_note-:0-6">[6]</a></sup> The exhibition was the first major national touring retrospective for an Indigenous artist in Australia,<sup id="cite_ref-56" class="reference"><a href="#cite_note-56">[56]</a></sup> travelling to the <a href="/wiki/Art_Gallery_of_New_South_Wales" title="Art Gallery of New South Wales">Art Gallery of New South Wales</a>, the NGV, and the <a href="/wiki/National_Gallery_of_Australia" title="National Gallery of Australia">National Gallery of Australia</a> (NGA) in <a href="/wiki/Canberra" title="Canberra">Canberra</a>.
</p><p>From June to November 2000, the NGA presented <i>Aboriginal Art in Modern Worlds: World of Dreamings</i>, consisting of works by Kngwarreye, Nym Bandak, <a href="/wiki/Rover_Thomas" title="Rover Thomas">Rover Thomas</a>, <a href="/wiki/John_Mawurndjul" title="John Mawurndjul">John Mawurndjul</a>, <a href="/wiki/Fiona_Foley" title="Fiona Foley">Fiona Foley</a>, <a href="/wiki/Tracey_Moffatt" title="Tracey Moffatt">Tracey Moffatt</a>, and artists from <a href="/wiki/Ramingining,_Northern_Territory" title="Ramingining, Northern Territory">Ramingining</a> and <a href="/wiki/Wik_peoples" title="Wik peoples">Wik</a> communities. Prior to its opening in Canberra, the exhibit also traveled to the <a href="/wiki/Hermitage_Museum" title="Hermitage Museum">Hermitage Museum</a> in <a href="/wiki/Saint_Petersburg" title="Saint Petersburg">Saint Petersburg</a>, Russia.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57">[57]</a></sup><sup id="cite_ref-58" class="reference"><a href="#cite_note-58">[58]</a></sup>
</p><p>Her second retrospective, <i>Utopia: The Genius of Emily Kame Kngwarreye,</i> was held in 2008. Also curated by Neale, it opened at the <a href="/wiki/National_Museum_of_Art,_Osaka" title="National Museum of Art, Osaka">National Museum of Art, Osaka</a>, Japan, before moving to <a href="/wiki/The_National_Art_Center,_Tokyo" title="The National Art Center, Tokyo">The National Art Center, Tokyo</a>, and then to the <a href="/wiki/National_Museum_of_Australia" title="National Museum of Australia">National Museum of Australia</a>, Canberra.<sup id="cite_ref-nmwa_59-0" class="reference"><a href="#cite_note-nmwa-59">[59]</a></sup>
</p><p>From November 2010 to March 2011, the <a href="/wiki/Museum_Ludwig" title="Museum Ludwig">Museum Ludwig</a> in <a href="/wiki/Cologne,_Germany" class="mw-redirect" title="Cologne, Germany">Cologne, Germany</a>, presented "Remembering Forward: Painting by Australian Aborigines Since 1960". The show featured works by Kngwarreye and eight other Aboriginal artists, including <a href="/wiki/Paddy_Bedford" title="Paddy Bedford">Paddy Bedford</a>, <a href="/wiki/Queenie_McKenzie" title="Queenie McKenzie">Queenie McKenzie</a>, and <a href="/wiki/Dorothy_Napangardi" title="Dorothy Napangardi">Dorothy Napangardi</a>.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60">[60]</a></sup>
</p><p>In 2013 <a href="/wiki/The_Emily_Museum" class="mw-redirect" title="The Emily Museum">The Emily Museum</a>,<sup id="cite_ref-61" class="reference"><a href="#cite_note-61">[61]</a></sup> the first museum featuring a single Aboriginal artist, opened in <a href="/wiki/Cheltenham,_Victoria" title="Cheltenham, Victoria">Cheltenham, Victoria</a>.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62">[62]</a></sup> It permanently closed three years later.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63">[63]</a></sup>
</p><p><i>Wild Yam and Emu Food</i> (1990), <i>Kame Yam Awelye</i> (1996), and <i>Alhakere</i> (1996) were shown at <a href="/wiki/Gagosian_Gallery" title="Gagosian Gallery">Gagosian</a> Beverly Hills in 2019 alongside works by ten other Indigenous artists, most from the Northern Territory.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64">[64]</a></sup><sup id="cite_ref-65" class="reference"><a href="#cite_note-65">[65]</a></sup>
</p><p>Utopia Art Sydney organised a major survey of Kngwarreye's career in March 2020. The exhibition was titled <i>STRONG</i>.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66">[66]</a></sup> Also in early 2020, D'Lan Contemporary staged an exhibition of her work in <a href="/wiki/New_York_City" title="New York City">New York City</a> at the High Line Nine gallery in <a href="/wiki/Chelsea,_Manhattan" title="Chelsea, Manhattan">Chelsea</a>.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67">[67]</a></sup>
</p><p>In 2022, <a href="/wiki/Gagosian_Gallery" title="Gagosian Gallery">Gagosian</a> Paris organised the first solo exhibition of her paintings in France, in collaboration with D'Lan Contemporary, Melbourne. The title of the exhibition was <i>Emily: Desert Painter of Australia</i>. It ran from 21 January to 26 March.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68">[68]</a></sup>
</p><p>In January 2023, a major retrospective at the NGA, co-curated by Aboriginal curators Kelli Cole and <a href="/wiki/Hetti_Perkins" title="Hetti Perkins">Hetti Perkins</a>, puts its focus on <a href="/wiki/Country_(Indigenous_Australians)" title="Country (Indigenous Australians)">Country</a>, community, and ancestral knowledge in Kngwarreye's artworks. In consultation with the artists family and elders in the community, 89 works were selected to show the link between Kngwarray's paintings and her Country, <a href="/wiki/Alhalkere" class="mw-redirect" title="Alhalkere">Alhalker</a>. The exhibition aims to overturn the western lens which saw her art as abstract and modern, and place it within ancient Aboriginal art practices, which look again and again at the landscape, flora and fauna, and ancestral stories of the traditional lands.<sup id="cite_ref-fuss2024_14-11" class="reference"><a href="#cite_note-fuss2024-14">[14]</a></sup><sup id="cite_ref-69" class="reference"><a href="#cite_note-69">[69]</a></sup>
</p>
<h2><span class="mw-headline" id="Representation_and_commissions">Representation and commissions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=9" title="Edit section: Representation and commissions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Kngwarreye was part of the Utopia Women's Batik. In 1987 Rodney Gooch , manager of <a href="/wiki/Central_Australian_Aboriginal_Media_Association" title="Central Australian Aboriginal Media Association">CAAMA</a> shop in Alice Springs was asked to represent them, and they did so until 1991.
</p><p><a href="/wiki/Christopher_Hodges" title="Christopher Hodges">Christopher Hodges</a> of Utopia Art Sydney represented Kngwarreye from 1988 until her death in 1996.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70">[70]</a></sup> from 1988 - 1991 through CAAMA Shop and following that directly through Rodney Gooch (Mulga Bore Artists)
</p><p>In 1989, Delmore Gallery on the Delmore Downs homestead adjacent to Utopia commissioned 1,500 works from Kngwarreye.<sup id="cite_ref-Newstead_71-0" class="reference"><a href="#cite_note-Newstead-71">[71]</a></sup><sup id="cite_ref-newyork_72-0" class="reference"><a href="#cite_note-newyork-72">[72]</a></sup> Delmore Downs operators Donald and Janet Holt sold Kngwarreye's work to elite galleries in Australia and gifted works to institutions.<sup id="cite_ref-Newstead_71-1" class="reference"><a href="#cite_note-Newstead-71">[71]</a></sup>
</p><p>By 1991 she was producing a range of work for a variety of galleries, including the <a href="/wiki/Aboriginal_Gallery_of_Dreamings" title="Aboriginal Gallery of Dreamings">Aboriginal Gallery of Dreamings</a> in <a href="/wiki/Melbourne" title="Melbourne">Melbourne</a> <sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (January 2022)">citation needed</span></a></i>]</sup> and the DACOU Aboriginal Gallery - Dreaming Art Centre of Utopia, <a href="/wiki/Adelaide" title="Adelaide">Adelaide</a>.<sup id="cite_ref-:4_55-1" class="reference"><a href="#cite_note-:4-55">[55]</a></sup>
</p><p>Kngwarreye's earlier works with Delmore Gallery provenance tend to perform best at auction,<sup id="cite_ref-dlan_73-0" class="reference"><a href="#cite_note-dlan-73">[73]</a></sup><sup id="cite_ref-74" class="reference"><a href="#cite_note-74">[74]</a></sup> but her late-period works with Rodney Gooch have also demonstrated significant market potential.<sup id="cite_ref-dlan_73-1" class="reference"><a href="#cite_note-dlan-73">[73]</a></sup>
</p>
<h2><span class="mw-headline" id="Sales_and_exploitation">Sales and exploitation</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=10" title="Edit section: Sales and exploitation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>Eight paintings by Kngwarreye in <a href="/wiki/Sotheby%27s" title="Sotheby's">Sotheby's</a> 2000 Winter Auction were sold for a combined amount of <span style="white-space: nowrap">A$507,550</span>, with <i>Awelye</i> (1989) going for <span style="white-space: nowrap">A$156,500</span>.
</p><p>On 23 May 2007, Tim Jennings of Mbantua Gallery & Cultural Museum purchased Kngwarreye's 1994 painting <i><a href="/wiki/Earth%27s_Creation" title="Earth's Creation">Earth's Creation I</a></i> at auction for <span style="white-space: nowrap">A$1,056,000</span>. The sale set a record for an Australian female artist.<sup id="cite_ref-75" class="reference"><a href="#cite_note-75">[75]</a></sup><sup id="cite_ref-76" class="reference"><a href="#cite_note-76">[76]</a></sup> In 2017 <i><a href="/wiki/Earth%27s_Creation" title="Earth's Creation">Earth's Creation I</a></i> sold again for <span style="white-space: nowrap">A$2,100,000</span> at a Cooee Art Gallery auction, breaking its own record.<sup id="cite_ref-77" class="reference"><a href="#cite_note-77">[77]</a></sup>
</p><p>In 2019 the <a href="/wiki/Tate_Gallery" class="mw-redirect" title="Tate Gallery">Tate Gallery</a> in <a href="/wiki/London" title="London">London</a> purchased <i>Untitled (Alhalkere)</i> (1989), <i>Untitled</i> (1990), and <i>Edunga</i> (1990).<sup id="cite_ref-78" class="reference"><a href="#cite_note-78">[78]</a></sup><sup id="cite_ref-79" class="reference"><a href="#cite_note-79">[79]</a></sup><sup id="cite_ref-80" class="reference"><a href="#cite_note-80">[80]</a></sup>
</p><p>The rise in market demand in the 1990s for works by Indigenous artists spurred the growth of inexperienced, and, in some cases, fraudulent art dealers. Utopia became particularly attractive to outsiders seeking fast money through the acquisition of Indigenous art without understanding the culture that produced them.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81">[81]</a></sup> She was later documented saying that those who sought a quick profit from Indigenous art were employing a "strategy of producing bad quality paintings for bad people."<sup id="cite_ref-82" class="reference"><a href="#cite_note-82">[82]</a></sup>
</p><p>During her life, and after her death, authors and journalists reported that many of the works purportedly painted by Kngwarreye were, in fact, fakes.<sup id="cite_ref-Myers_83-0" class="reference"><a href="#cite_note-Myers-83">[83]</a></sup> In 1997, the <i><a href="/wiki/Northern_Territory_News" title="Northern Territory News">Northern Territory News</a></i> suggested an organised "school" of painters had created works in her style.<sup id="cite_ref-Myers_83-1" class="reference"><a href="#cite_note-Myers-83">[83]</a></sup>
</p><p>In 2018, British artist <a href="/wiki/Damien_Hirst" title="Damien Hirst">Damien Hirst</a> was alleged to have copied Kngwarreye's style for his "Veil" series. The artist claimed to have had no prior knowledge of her work, even though observers from the Utopia community viewed the similarities as too close to have been a coincidence. According to Hirst, the series was rooted in <a href="/wiki/Pointillism" title="Pointillism">Pointillism</a>, <a href="/wiki/Impressionism" title="Impressionism">Impressionism</a>, and <a href="/wiki/Post-Impressionism" title="Post-Impressionism">Post-Impressionism</a>. <a href="/wiki/Bronwyn_Bancroft" title="Bronwyn Bancroft">Bronwyn Bancroft</a>, an Indigenous artist and Arts Law Centre board member, said: "You can't actually copyright style... [but] in many ways it's what's called a moral copyright element".<sup id="cite_ref-84" class="reference"><a href="#cite_note-84">[84]</a></sup><sup id="cite_ref-85" class="reference"><a href="#cite_note-85">[85]</a></sup>
</p>
<h2><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=11" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a href="/wiki/Australian_art" title="Australian art">Australian art</a></li>
<li><a href="/wiki/Indigenous_Australian_art" title="Indigenous Australian art">Indigenous Australian art</a></li></ul>
<h2><span class="mw-headline" id="References">References</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Citations">Citations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=13" title="Edit section: Citations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
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<li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1215172403">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a{background-size:contain}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a{background-size:contain}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a{background-size:contain}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:#d33}.mw-parser-output .cs1-visible-error{color:#d33}.mw-parser-output .cs1-maint{display:none;color:#2C882D;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911F}html.skin-theme-clientpref-night .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-night .mw-parser-output .cs1-hidden-error{color:#f8a397}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-os .mw-parser-output .cs1-hidden-error{color:#f8a397}html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911F}}</style><cite id="CITEREFBurke2023" class="citation news cs1">Burke, Kelly (22 December 2023). <a rel="nofollow" class="external text" href="https://www.theguardian.com/australia-news/2023/dec/23/art-world-split-over-nga-name-change-for-one-of-australias-greatest-female-painters">"Art world split over NGA name change for one of Australia's greatest female painters"</a>. <i>The Guardian</i>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/issn/0261-3077">0261-3077</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2 January</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Art+world+split+over+NGA+name+change+for+one+of+Australia%E2%80%99s+greatest+female+painters&rft.date=2023-12-22&rft.issn=0261-3077&rft.aulast=Burke&rft.aufirst=Kelly&rft_id=https%3A%2F%2Fwww.theguardian.com%2Faustralia-news%2F2023%2Fdec%2F23%2Fart-world-split-over-nga-name-change-for-one-of-australias-greatest-female-painters&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-sg455-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-sg455_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-sg455_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-sg455_2-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGrishin2015" class="citation book cs1">Grishin, Sasha (2015). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/939572884"><i>Australian art: a history</i></a>. p. 455. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-522-86936-1" title="Special:BookSources/978-0-522-86936-1"><bdi>978-0-522-86936-1</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/939572884">939572884</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Australian+art%3A+a+history&rft.pages=455&rft.date=2015&rft_id=info%3Aoclcnum%2F939572884&rft.isbn=978-0-522-86936-1&rft.aulast=Grishin&rft.aufirst=Sasha&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F939572884&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-mca-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-mca_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-mca_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-mca_3-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.mca.com.au/artists-works/artists/emily-kame-kngwarreye/">"Emily Kame Kngwarreye"</a>. <i><a href="/wiki/MCA_Australia" class="mw-redirect" title="MCA Australia">MCA Australia</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">25 September</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MCA+Australia&rft.atitle=Emily+Kame+Kngwarreye&rft_id=https%3A%2F%2Fwww.mca.com.au%2Fartists-works%2Fartists%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.aboriginaldream.com/index.php?option=com_virtuemart&view=productdetails&virtuemart_product_id=30&virtuemart_category_id=9">"Utopia: Emily Kame Kngwarreye - My Mothers Country I"</a>. <i>www.aboriginaldream.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">6 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.aboriginaldream.com&rft.atitle=Utopia%3A+Emily+Kame+Kngwarreye+-+My+Mothers+Country+I&rft_id=http%3A%2F%2Fwww.aboriginaldream.com%2Findex.php%3Foption%3Dcom_virtuemart%26view%3Dproductdetails%26virtuemart_product_id%3D30%26virtuemart_category_id%3D9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMcCulloch2009" class="citation book cs1">McCulloch, Susan (2009). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/906803436"><i>McCulloch's contemporary Aboriginal art the complete guide</i></a>. McCulloch & McCulloch. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9804494-2-6" title="Special:BookSources/978-0-9804494-2-6"><bdi>978-0-9804494-2-6</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/906803436">906803436</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=McCulloch%27s+contemporary+Aboriginal+art+the+complete+guide&rft.pub=McCulloch+%26+McCulloch&rft.date=2009&rft_id=info%3Aoclcnum%2F906803436&rft.isbn=978-0-9804494-2-6&rft.aulast=McCulloch&rft.aufirst=Susan&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F906803436&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-:0-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:0_6-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:0_6-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-:0_6-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRyan2009" class="citation book cs1">Ryan, Judith (2009). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/271861651"><i>Across the desert : Aboriginal batik from central Australia</i></a>. Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre (1st ed.). Melbourne, VIC: National Gallery of Victoria. pp. 155–156. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7241-0299-0" title="Special:BookSources/978-0-7241-0299-0"><bdi>978-0-7241-0299-0</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/271861651">271861651</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Across+the+desert+%3A+Aboriginal+batik+from+central+Australia&rft.place=Melbourne%2C+VIC&rft.pages=155-156&rft.edition=1st&rft.pub=National+Gallery+of+Victoria&rft.date=2009&rft_id=info%3Aoclcnum%2F271861651&rft.isbn=978-0-7241-0299-0&rft.aulast=Ryan&rft.aufirst=Judith&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F271861651&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://artmob.com.au/artist/minnie-pwerle/">"Minnie Pwerle Archives - Art Mob"</a>. <i>Art Mob</i><span class="reference-accessdate">. Retrieved <span class="nowrap">6 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Art+Mob&rft.atitle=Minnie+Pwerle+Archives+-+Art+Mob&rft_id=https%3A%2F%2Fartmob.com.au%2Fartist%2Fminnie-pwerle%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-Barbara_Weir_–_Pwerle-8"><span class="mw-cite-backlink">^ <a href="#cite_ref-Barbara_Weir_–_Pwerle_8-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Barbara_Weir_–_Pwerle_8-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://pwerle.com.au/barbara-weir">"Barbara Weir – Pwerle"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">6 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Barbara+Weir+%E2%80%93+Pwerle&rft_id=https%3A%2F%2Fpwerle.com.au%2Fbarbara-weir&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-mb-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-mb_9-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://mbantua.com.au/jeannie-mills-pwerle/">"Jeannie Mills Pwerle"</a>. <i>Mbantua Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">19 April</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mbantua+Gallery&rft.atitle=Jeannie+Mills+Pwerle&rft_id=https%3A%2F%2Fmbantua.com.au%2Fjeannie-mills-pwerle%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20090814215922/https://www.abc.net.au/tv/messagestick/stories/s2635673.htm">"Emily in Japan Part 1"</a>. <i><a href="/wiki/Message_Stick" title="Message Stick">Message Stick</a></i>. Australian Broadcasting Corporation. 26 July 2009. Archived from <a rel="nofollow" class="external text" href="https://www.abc.net.au/tv/messagestick/stories/s2635673.htm">the original</a> on 14 August 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">13 July</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Message+Stick&rft.atitle=Emily+in+Japan+Part+1&rft.date=2009-07-26&rft_id=https%3A%2F%2Fwww.abc.net.au%2Ftv%2Fmessagestick%2Fstories%2Fs2635673.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://delmoregallery.com.au/pages/emily-kame-kngwarreye">"Emily Kngwarreye Biography and CV"</a>. <i>Delmore Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Delmore+Gallery&rft.atitle=Emily+Kngwarreye+Biography+and+CV&rft_id=https%3A%2F%2Fdelmoregallery.com.au%2Fpages%2Femily-kame-kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBiddle2016" class="citation book cs1">Biddle, Jennifer Loureide (2016). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/957122026"><i>Remote avant-garde : aboriginal art under occupation</i></a>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8223-6055-1" title="Special:BookSources/978-0-8223-6055-1"><bdi>978-0-8223-6055-1</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/957122026">957122026</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Remote+avant-garde+%3A+aboriginal+art+under+occupation&rft.pub=Duke+University+Press&rft.date=2016&rft_id=info%3Aoclcnum%2F957122026&rft.isbn=978-0-8223-6055-1&rft.aulast=Biddle&rft.aufirst=Jennifer+Loureide&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F957122026&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.vogue.com.au/vogue-living/arts/11-indigenous-australian-artists-you-should-know-about/image-gallery/1f65e31a0a04b022b28ccbf40465e16d">"21 Indigenous Australian artists you should know about"</a>. <i><a href="/wiki/Vogue_Australia" title="Vogue Australia">Vogue Australia</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Vogue+Australia&rft.atitle=21+Indigenous+Australian+artists+you+should+know+about&rft_id=https%3A%2F%2Fwww.vogue.com.au%2Fvogue-living%2Farts%2F11-indigenous-australian-artists-you-should-know-about%2Fimage-gallery%2F1f65e31a0a04b022b28ccbf40465e16d&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-fuss2024-14"><span class="mw-cite-backlink">^ <a href="#cite_ref-fuss2024_14-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-fuss2024_14-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-fuss2024_14-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-fuss2024_14-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-fuss2024_14-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-fuss2024_14-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-fuss2024_14-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-fuss2024_14-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-fuss2024_14-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-fuss2024_14-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-fuss2024_14-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-fuss2024_14-11"><sup><i><b>l</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFuss2024" class="citation web cs1">Fuss, Eloise (26 January 2024). <a rel="nofollow" class="external text" href="https://www.abc.net.au/news/2024-01-26/does-the-art-world-understand-emily-kam-kngwarray/103388990">"The NGA's major retrospective of Emily Kam Kngwarray re-writes her story and brings it back to Country"</a>. <i>ABC News</i><span class="reference-accessdate">. Retrieved <span class="nowrap">1 February</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ABC+News&rft.atitle=The+NGA%27s+major+retrospective+of+Emily+Kam+Kngwarray+re-writes+her+story+and+brings+it+back+to+Country&rft.date=2024-01-26&rft.aulast=Fuss&rft.aufirst=Eloise&rft_id=https%3A%2F%2Fwww.abc.net.au%2Fnews%2F2024-01-26%2Fdoes-the-art-world-understand-emily-kam-kngwarray%2F103388990&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://nmwa.org/art/artists/emily-kame-kngwarreye/">"Emily Kame Kngwarreye"</a>. <i>NMWA</i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=NMWA&rft.atitle=Emily+Kame+Kngwarreye&rft_id=https%3A%2F%2Fnmwa.org%2Fart%2Fartists%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-Phaidon_Editors-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-Phaidon_Editors_16-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation book cs1"><i>Great Women Artists</i>. Phaidon Press. 2019. p. 218. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0714878775" title="Special:BookSources/978-0714878775"><bdi>978-0714878775</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Great+Women+Artists&rft.pages=218&rft.pub=Phaidon+Press&rft.date=2019&rft.isbn=978-0714878775&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-Emily_Kngwarreye_Biography_and_CV-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-Emily_Kngwarreye_Biography_and_CV_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Emily_Kngwarreye_Biography_and_CV_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://delmoregallery.com.au/pages/emily-kame-kngwarreye">"Emily Kngwarreye Biography and CV"</a>. <i>Delmore Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">31 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Delmore+Gallery&rft.atitle=Emily+Kngwarreye+Biography+and+CV&rft_id=https%3A%2F%2Fdelmoregallery.com.au%2Fpages%2Femily-kame-kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFUniversity" class="citation web cs1">University, La Trobe. <a rel="nofollow" class="external text" href="https://www.latrobe.edu.au/about/vision/diversity-and-inclusion/square-the-ledger/profiles/suzanne-bryce">"Suzanne Bryce"</a>. <i>www.latrobe.edu.au</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.latrobe.edu.au&rft.atitle=Suzanne+Bryce&rft.aulast=University&rft.aufirst=La+Trobe&rft_id=https%3A%2F%2Fwww.latrobe.edu.au%2Fabout%2Fvision%2Fdiversity-and-inclusion%2Fsquare-the-ledger%2Fprofiles%2Fsuzanne-bryce&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-Aboriginal_Dreamings_Gallery-19"><span class="mw-cite-backlink">^ <a href="#cite_ref-Aboriginal_Dreamings_Gallery_19-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Aboriginal_Dreamings_Gallery_19-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.aboriginaldream.com/index.php?option=com_content&view=article&id=75:emily-kame-kngwarreye&catid=1:latest-news&Itemid=93">"Aboriginal Dreamings Gallery"</a>. <i>www.aboriginaldream.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">20 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.aboriginaldream.com&rft.atitle=Aboriginal+Dreamings+Gallery&rft_id=http%3A%2F%2Fwww.aboriginaldream.com%2Findex.php%3Foption%3Dcom_content%26view%3Darticle%26id%3D75%3Aemily-kame-kngwarreye%26catid%3D1%3Alatest-news%26Itemid%3D93&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html">"A story in wax: When batik connects Indonesia and indigenous Australia"</a>. <i>The Jakarta Post</i><span class="reference-accessdate">. Retrieved <span class="nowrap">20 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Jakarta+Post&rft.atitle=A+story+in+wax%3A+When+batik+connects+Indonesia+and+indigenous+Australia&rft_id=https%3A%2F%2Fwww.thejakartapost.com%2Flife%2F2020%2F06%2F12%2Fa-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.thejakartapost.com/life/2020/06/12/a-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html">"A story in wax: When batik connects Indonesia and indigenous Australia"</a>. <i>The Jakarta Post</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Jakarta+Post&rft.atitle=A+story+in+wax%3A+When+batik+connects+Indonesia+and+indigenous+Australia&rft_id=https%3A%2F%2Fwww.thejakartapost.com%2Flife%2F2020%2F06%2F12%2Fa-story-in-wax-when-batik-connects-indonesia-and-indigenous-australia.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGallery" class="citation web cs1">Gallery, Utopia Lane. <a rel="nofollow" class="external text" href="https://www.utopialaneart.com.au/pages/history-of-utopia-art-movement">"History of Utopia Art Movement - Early Days"</a>. <i>Utopia Lane Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">3 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Utopia+Lane+Gallery&rft.atitle=History+of+Utopia+Art+Movement+-+Early+Days&rft.aulast=Gallery&rft.aufirst=Utopia+Lane&rft_id=https%3A%2F%2Fwww.utopialaneart.com.au%2Fpages%2Fhistory-of-utopia-art-movement&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://gagosian.com/exhibitions/2022/emily-desert-painter-of-australia/">"Emily: Desert Painter of Australia, rue de Ponthieu, Paris, January 21–March 26, 2022"</a>. <i>Gagosian</i>. 19 December 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Gagosian&rft.atitle=Emily%3A+Desert+Painter+of+Australia%2C+rue+de+Ponthieu%2C+Paris%2C+January+21%E2%80%93March+26%2C+2022&rft.date=2021-12-19&rft_id=https%3A%2F%2Fgagosian.com%2Fexhibitions%2F2022%2Femily-desert-painter-of-australia%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCole2020" class="citation web cs1">Cole, Kelli (2020). <a rel="nofollow" class="external text" href="https://knowmyname.nga.gov.au/stories/emily-kame-kngwarreye/">"Know My Name: Emily Kame Kngwarreye"</a>. <i>National Gallery of Australia</i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Gallery+of+Australia&rft.atitle=Know+My+Name%3A+Emily+Kame+Kngwarreye&rft.date=2020&rft.aulast=Cole&rft.aufirst=Kelli&rft_id=https%3A%2F%2Fknowmyname.nga.gov.au%2Fstories%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://collections.museumsvictoria.com.au/articles/14272#:~:text=In%201977%20a%20group%20of,workshops%20facilitated%20by%20Jenny%20Green.">"Utopia Women's Batik Group, Northern Territory, 1970s-1980s"</a>. <i>Museums Victoria Collections</i><span class="reference-accessdate">. Retrieved <span class="nowrap">3 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Museums+Victoria+Collections&rft.atitle=Utopia+Women%27s+Batik+Group%2C+Northern+Territory%2C+1970s-1980s&rft_id=https%3A%2F%2Fcollections.museumsvictoria.com.au%2Farticles%2F14272%23%3A~%3Atext%3DIn%25201977%2520a%2520group%2520of%2Cworkshops%2520facilitated%2520by%2520Jenny%2520Green.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRyan2009" class="citation book cs1">Ryan, Judith (2009). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/271861651"><i>Across the desert : Aboriginal batik from central Australia</i></a>. Hilary Furlong, National Gallery of Victoria, National Gallery of Victoria. Ian Potter Centre (1st ed.). Melbourne: National Gallery of Victoria. p. 156. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7241-0299-0" title="Special:BookSources/978-0-7241-0299-0"><bdi>978-0-7241-0299-0</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/271861651">271861651</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Across+the+desert+%3A+Aboriginal+batik+from+central+Australia&rft.place=Melbourne&rft.pages=156&rft.edition=1st&rft.pub=National+Gallery+of+Victoria&rft.date=2009&rft_id=info%3Aoclcnum%2F271861651&rft.isbn=978-0-7241-0299-0&rft.aulast=Ryan&rft.aufirst=Judith&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F271861651&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBrody1990" class="citation book cs1">Brody, Annemarie (1990). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/780456175"><i>Utopia: a picture story</i></a>. Heytesbury Holdings Ltd. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-646-00909-5" title="Special:BookSources/0-646-00909-5"><bdi>0-646-00909-5</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/780456175">780456175</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Utopia%3A+a+picture+story&rft.pub=Heytesbury+Holdings+Ltd&rft.date=1990&rft_id=info%3Aoclcnum%2F780456175&rft.isbn=0-646-00909-5&rft.aulast=Brody&rft.aufirst=Annemarie&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F780456175&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMcLean2022" class="citation web cs1">McLean, Ian (2022). <a rel="nofollow" class="external text" href="https://www.sothebys.com/en/buy/auction/2022/aboriginal-art/awelye-1989">"Lot 41: Emily Kame Kngwarreye, Awelye, 1989"</a>. <i>Sotheby's</i><span class="reference-accessdate">. Retrieved <span class="nowrap">4 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sotheby%27s&rft.atitle=Lot+41%3A+Emily+Kame+Kngwarreye%2C+Awelye%2C+1989&rft.date=2022&rft.aulast=McLean&rft.aufirst=Ian&rft_id=https%3A%2F%2Fwww.sothebys.com%2Fen%2Fbuy%2Fauction%2F2022%2Faboriginal-art%2Fawelye-1989&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-FOOTNOTEGreen2007205-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGreen2007205_29-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGreen2007">Green 2007</a>, p. 205.</span>
</li>
<li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">"Aboriginal art worthy of regard." <i>London Evening Standard</i> [London, England], 24 Sept. 2013, p. 55. <i>Gale In Context: Biography</i>. Accessed 21 June 2022.</span>
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<li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.vizardfoundationartcollection.com.au/the-nineties/explore/emily-kame-kngwarreye/">"Explore the work of Australian artist, Emily Kame Kngwarreye"</a>. Potter Museum of Art, Melbourne University<span class="reference-accessdate">. Retrieved <span class="nowrap">25 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Explore+the+work+of+Australian+artist%2C+Emily+Kame+Kngwarreye&rft.pub=Potter+Museum+of+Art%2C+Melbourne+University&rft_id=https%3A%2F%2Fwww.vizardfoundationartcollection.com.au%2Fthe-nineties%2Fexplore%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Smee, Sebastian. "Aboriginal artists find a surprising new champion: Steve Martin." <i>Washington Post</i>, 16 May 2019. <i>Gale In Context: Biography.</i> Accessed 21 June 2022.</span>
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<li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">"'Outsider' releases Indigenous art to auction." <i>Age</i> [Melbourne, Australia], 20 Oct. 2020, p. 29. <i>Gale Academic OneFile.</i> Accessed 22 June 2022.</span>
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<li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.mca.com.au/artists-works/works/2011.22/">"Untitled (Awelye) | MCA Australia"</a>. <i>www.mca.com.au</i><span class="reference-accessdate">. Retrieved <span class="nowrap">24 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.mca.com.au&rft.atitle=Untitled+%28Awelye%29+%7C+MCA+Australia&rft_id=https%3A%2F%2Fwww.mca.com.au%2Fartists-works%2Fworks%2F2011.22%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-:2-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-:2_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:2_35-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://thewomensstudio.net/2018/04/30/emily-kame-kngwarreye/">"Emily Kame Kngwarreye"</a>. <i>The Women's Studio</i>. 30 April 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Women%27s+Studio&rft.atitle=Emily+Kame+Kngwarreye&rft.date=2018-04-30&rft_id=https%3A%2F%2Fthewomensstudio.net%2F2018%2F04%2F30%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://gagosian.com/artists/emily-kame-kngwarreye/">"Emily Kame Kngwarreye"</a>. <i>Gagosian</i>. 8 April 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Gagosian&rft.atitle=Emily+Kame+Kngwarreye&rft.date=2019-04-08&rft_id=https%3A%2F%2Fgagosian.com%2Fartists%2Femily-kame-kngwarreye%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Butler, Rex. "The impossible painter." <i>Australian Art Collector</i> 1.2 (1997): 3.</span>
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<li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Bell, Diane. "Dreaming, The." <i>Encyclopedia of Religion</i>, edited by Lindsay Jones, 2nd ed., vol. 4, Macmillan Reference USA, 2005, pp. 2478-2482. <i>Gale In Context: World History.</i> Accessed 26 June 2022.</span>
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<li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Ghosh, Rumela (2022). "The Grammar of Visual Design through the Prism of Australian Aboriginal Paintings." <i>International Journal of Latest Research in Humanities and Social Science</i>. <b>5</b> (1): 77. Accessed 28 June 2022. <a rel="nofollow" class="external free" href="http://www.ijlrhss.com/paper/volume-5-issue-1/12-HSS-1239.pdf">http://www.ijlrhss.com/paper/volume-5-issue-1/12-HSS-1239.pdf</a></span>
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<li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.kateowengallery.com/page/The-History-of-the-Aboriginal-Art-Movement">"The History of the Aboriginal Art Movement"</a>. <i>Kate Owen Gallery</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Kate+Owen+Gallery&rft.atitle=The+History+of+the+Aboriginal+Art+Movement&rft_id=https%3A%2F%2Fwww.kateowengallery.com%2Fpage%2FThe-History-of-the-Aboriginal-Art-Movement&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDunne2016" class="citation web cs1">Dunne, Carey (6 September 2016). <a rel="nofollow" class="external text" href="http://hyperallergic.com/305887/journeying-beyond-western-time-in-contemporary-aboriginal-australian-art/">"Journeying Beyond Western Time in Contemporary Aboriginal Australian Art"</a>. <i>Hyperallergic</i><span class="reference-accessdate">. Retrieved <span class="nowrap">30 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Hyperallergic&rft.atitle=Journeying+Beyond+Western+Time+in+Contemporary+Aboriginal+Australian+Art&rft.date=2016-09-06&rft.aulast=Dunne&rft.aufirst=Carey&rft_id=http%3A%2F%2Fhyperallergic.com%2F305887%2Fjourneying-beyond-western-time-in-contemporary-aboriginal-australian-art%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-sg456-42"><span class="mw-cite-backlink">^ <a href="#cite_ref-sg456_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-sg456_42-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGrishin2015" class="citation book cs1">Grishin, Sasha (2015). <a rel="nofollow" class="external text" href="http://worldcat.org/oclc/939572884"><i>Australian art: a history</i></a>. p. 456. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-522-86936-1" title="Special:BookSources/978-0-522-86936-1"><bdi>978-0-522-86936-1</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/939572884">939572884</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Australian+art%3A+a+history&rft.pages=456&rft.date=2015&rft_id=info%3Aoclcnum%2F939572884&rft.isbn=978-0-522-86936-1&rft.aulast=Grishin&rft.aufirst=Sasha&rft_id=http%3A%2F%2Fworldcat.org%2Foclc%2F939572884&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.kateowengallery.com/artists/Joh166/Johnny-Warangkula-Tjupurrula.htm">"Johnny Warangkula Tjupurrula - Artist Biography"</a>. <i>www.kateowengallery.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.kateowengallery.com&rft.atitle=Johnny+Warangkula+Tjupurrula+-+Artist+Biography&rft_id=https%3A%2F%2Fwww.kateowengallery.com%2Fartists%2FJoh166%2FJohnny-Warangkula-Tjupurrula.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCaruana" class="citation web cs1">Caruana, Wally. <a rel="nofollow" class="external text" href="https://www.sothebys.com/en/buy/auction/2019/aboriginal-art/emily-kame-kngwarreye-untitled">"Emily Kame Kngwarreye"</a>. <i>Sotheby's</i><span class="reference-accessdate">. Retrieved <span class="nowrap">29 May</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sotheby%27s&rft.atitle=Emily+Kame+Kngwarreye&rft.aulast=Caruana&rft.aufirst=Wally&rft_id=https%3A%2F%2Fwww.sothebys.com%2Fen%2Fbuy%2Fauction%2F2019%2Faboriginal-art%2Femily-kame-kngwarreye-untitled&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFHammond2017" class="citation web cs1">Hammond, Bradley (23 February 2017). <a rel="nofollow" class="external text" href="https://www.centralwesterndaily.com.au/story/4489318/at-the-gallery-kngwarreye-connects-the-dots-to-her-own-dreaming/">"At the gallery: Kngwarreye connects the dots to her own Dreaming"</a>. <i>Central Western Daily</i><span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Central+Western+Daily&rft.atitle=At+the+gallery%3A+Kngwarreye+connects+the+dots+to+her+own+Dreaming&rft.date=2017-02-23&rft.aulast=Hammond&rft.aufirst=Bradley&rft_id=https%3A%2F%2Fwww.centralwesterndaily.com.au%2Fstory%2F4489318%2Fat-the-gallery-kngwarreye-connects-the-dots-to-her-own-dreaming%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-:1-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-:1_46-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRyan2014" class="citation web cs1">Ryan, Judith (27 May 2014). <a rel="nofollow" class="external text" href="https://www.ngv.vic.gov.au/essay/kwementyay-kngwarreyes-big-yam-dreaming-2/">"Kwementyay Kngwarreye's Big yam Dreaming"</a>. <i>National Gallery of Victoria</i><span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Gallery+of+Victoria&rft.atitle=Kwementyay+Kngwarreye%27s+Big+yam+Dreaming&rft.date=2014-05-27&rft.aulast=Ryan&rft.aufirst=Judith&rft_id=https%3A%2F%2Fwww.ngv.vic.gov.au%2Fessay%2Fkwementyay-kngwarreyes-big-yam-dreaming-2%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-nma-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-nma_47-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nma.gov.au/exhibitions/utopia/emily-kame-kngwarreye">"Emily Kame Kngwarreye"</a>. <i>National Museum of Australia</i><span class="reference-accessdate">. Retrieved <span class="nowrap">26 December</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=National+Museum+of+Australia&rft.atitle=Emily+Kame+Kngwarreye&rft_id=https%3A%2F%2Fwww.nma.gov.au%2Fexhibitions%2Futopia%2Femily-kame-kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://herplacemuseum.com/wp-content/uploads/2018/12/2018-Victorian-Honour-Roll-of-Women-booklet.pdf">"Victorian Honour Roll of Women"</a> <span class="cs1-format">(PDF)</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Victorian+Honour+Roll+of+Women&rft_id=https%3A%2F%2Fherplacemuseum.com%2Fwp-content%2Fuploads%2F2018%2F12%2F2018-Victorian-Honour-Roll-of-Women-booklet.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPreston" class="citation web cs1">Preston, Katy. <a rel="nofollow" class="external text" href="https://aboriginalartgalleries.com.au/artist/614">"Artists Info - Emily Kame Kngwarrey"</a>. <i>Aboriginal Art Galleries</i><span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Aboriginal+Art+Galleries&rft.atitle=Artists+Info+-+Emily+Kame+Kngwarrey&rft.aulast=Preston&rft.aufirst=Katy&rft_id=https%3A%2F%2Faboriginalartgalleries.com.au%2Fartist%2F614&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://delmoregallery.com.au/pages/emily-kame-kngwarreye">"Emily Kngwarreye Biography and CV"</a>. <i>Delmore Gallery</i>. 8 February 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">30 January</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Delmore+Gallery&rft.atitle=Emily+Kngwarreye+Biography+and+CV&rft.date=2021-02-08&rft_id=https%3A%2F%2Fdelmoregallery.com.au%2Fpages%2Femily-kame-kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.utopiaartsydney.com.au/artworks.php?artistID=4-Emily-Kame%20Kngwarreye">"Emily Kame Kngwarreye | utopia art sydney"</a>. <i>www.utopiaartsydney.com.au</i><span class="reference-accessdate">. Retrieved <span class="nowrap">14 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.utopiaartsydney.com.au&rft.atitle=Emily+Kame+Kngwarreye+%7C+utopia+art+sydney&rft_id=https%3A%2F%2Fwww.utopiaartsydney.com.au%2Fartworks.php%3FartistID%3D4-Emily-Kame%2520Kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-acca.melbourne-52"><span class="mw-cite-backlink">^ <a href="#cite_ref-acca.melbourne_52-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-acca.melbourne_52-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://acca.melbourne/exhibition/fluent/">"Australian Centre for Contemporary Art"</a>. <i>acca.melbourne</i><span class="reference-accessdate">. Retrieved <span class="nowrap">14 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=acca.melbourne&rft.atitle=Australian+Centre+for+Contemporary+Art&rft_id=https%3A%2F%2Facca.melbourne%2Fexhibition%2Ffluent%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-:4-55"><span class="mw-cite-backlink">^ <a href="#cite_ref-:4_55-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:4_55-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://pwerle.com.au/emily-kame-kngwarreye">"Emily Kame Kngwarreye – Pwerle"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Emily+Kame+Kngwarreye+%E2%80%93+Pwerle&rft_id=https%3A%2F%2Fpwerle.com.au%2Femily-kame-kngwarreye&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Loos, Ted. "Ancient Traditions Reimagined: [SpecialSections]." <i>New York Times,</i> Late Edition (East Coast) ed., Mar 13 2020, <i>ProQuest.</i> Web. 17 June 2022 .</span>
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<li id="cite_note-Newstead-71"><span class="mw-cite-backlink">^ <a href="#cite_ref-Newstead_71-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Newstead_71-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFNewstead2014" class="citation book cs1">Newstead, Adrian (1 February 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=yDnAAgAAQBAJ"><i>The Dealer is the Devil: An Insiders History of the Aboriginal Art Trade</i></a>. Brandl & Schlesinger. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781921556449" title="Special:BookSources/9781921556449"><bdi>9781921556449</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">22 January</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Dealer+is+the+Devil%3A+An+Insiders+History+of+the+Aboriginal+Art+Trade&rft.pub=Brandl+%26+Schlesinger&rft.date=2014-02-01&rft.isbn=9781921556449&rft.aulast=Newstead&rft.aufirst=Adrian&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DyDnAAgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
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<li id="cite_note-dlan-73"><span class="mw-cite-backlink">^ <a href="#cite_ref-dlan_73-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-dlan_73-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDavidson" class="citation web cs1">Davidson, D'Lan. <a rel="nofollow" class="external text" href="https://www.dlandavidson.com.au/new-blog-22/2017/5/31/22-top-10-most-collectable-contemporary-indigenous-artists">"Top 10 Most Collectable Contemporary Australian Indigenous Artists"</a>. <i>D'Lan Contemporary</i><span class="reference-accessdate">. Retrieved <span class="nowrap">22 January</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=D%27Lan+Contemporary&rft.atitle=Top+10+Most+Collectable+Contemporary+Australian+Indigenous+Artists&rft.aulast=Davidson&rft.aufirst=D%27Lan&rft_id=https%3A%2F%2Fwww.dlandavidson.com.au%2Fnew-blog-22%2F2017%2F5%2F31%2F22-top-10-most-collectable-contemporary-indigenous-artists&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCoslovich2020" class="citation web cs1">Coslovich, Gabriella (8 July 2020). <a rel="nofollow" class="external text" href="https://www.afr.com/life-and-luxury/arts-and-culture/artworks-beat-melbourne-lockdown-20200707-p559xq">"Artworks beat Melbourne lockdown"</a>. <i>Australian Financial Review</i><span class="reference-accessdate">. Retrieved <span class="nowrap">22 January</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Australian+Financial+Review&rft.atitle=Artworks+beat+Melbourne+lockdown&rft.date=2020-07-08&rft.aulast=Coslovich&rft.aufirst=Gabriella&rft_id=https%3A%2F%2Fwww.afr.com%2Flife-and-luxury%2Farts-and-culture%2Fartworks-beat-melbourne-lockdown-20200707-p559xq&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBibby2007" class="citation news cs1">Bibby, Paul (24 May 2007). <a rel="nofollow" class="external text" href="http://www.smh.com.au/news/arts/105m-painting-of-the-lot-breaks-record/2007/05/23/1179601488234.html">"$1.05m painting of 'the lot' breaks record"</a>. <i><a href="/wiki/The_Sydney_Morning_Herald" title="The Sydney Morning Herald">The Sydney Morning Herald</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">14 July</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Sydney+Morning+Herald&rft.atitle=%241.05m+painting+of+%27the+lot%27+breaks+record&rft.date=2007-05-24&rft.aulast=Bibby&rft.aufirst=Paul&rft_id=http%3A%2F%2Fwww.smh.com.au%2Fnews%2Farts%2F105m-painting-of-the-lot-breaks-record%2F2007%2F05%2F23%2F1179601488234.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.theartnewspaper.com/2017/11/17/emily-kame-kngwarreye-painting-sells-for-dollar16m-breaking-record-for-an-australian-female-artist">"Emily Kame Kngwarreye painting sells for $1.6m, breaking record for an Australian female artist"</a>. <i>The Art Newspaper - International art news and events</i>. 17 November 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">16 February</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Art+Newspaper+-+International+art+news+and+events&rft.atitle=Emily+Kame+Kngwarreye+painting+sells+for+%241.6m%2C+breaking+record+for+an+Australian+female+artist&rft.date=2017-11-17&rft_id=https%3A%2F%2Fwww.theartnewspaper.com%2F2017%2F11%2F17%2Femily-kame-kngwarreye-painting-sells-for-dollar16m-breaking-record-for-an-australian-female-artist&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/artanddesign/2017/nov/17/emily-kame-kngwarreye-painting-sells-for-21m-in-sydney">"Emily Kame Kngwarreye painting sells for $2.1m in Sydney"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. 17 November 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">10 September</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Emily+Kame+Kngwarreye+painting+sells+for+%242.1m+in+Sydney&rft.date=2017-11-17&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2017%2Fnov%2F17%2Femily-kame-kngwarreye-painting-sells-for-21m-in-sydney&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTate" class="citation web cs1">Tate. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231102002101/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133">"<span class="cs1-kern-left"></span>'Untitled (Alhalkere)', Emily Kame Kngwarreye, 1989"</a>. <i>Tate</i>. Archived from <a rel="nofollow" class="external text" href="https://www.tate.org.uk/art/artworks/kngwarreye-untitled-alhalkere-t15133">the original</a> on 2 November 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">1 July</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tate&rft.atitle=%E2%80%98Untitled+%28Alhalkere%29%E2%80%99%2C+Emily+Kame+Kngwarreye%2C+1989&rft.au=Tate&rft_id=https%3A%2F%2Fwww.tate.org.uk%2Fart%2Fartworks%2Fkngwarreye-untitled-alhalkere-t15133&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTate" class="citation web cs1">Tate. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231101235056/https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134">"<span class="cs1-kern-left"></span>'Endunga', Emily Kame Kngwarreye, 1990"</a>. <i>Tate</i>. Archived from <a rel="nofollow" class="external text" href="https://www.tate.org.uk/art/artworks/kngwarreye-endunga-t15134">the original</a> on 1 November 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">1 July</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tate&rft.atitle=%E2%80%98Endunga%E2%80%99%2C+Emily+Kame+Kngwarreye%2C+1990&rft.au=Tate&rft_id=https%3A%2F%2Fwww.tate.org.uk%2Fart%2Fartworks%2Fkngwarreye-endunga-t15134&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTate" class="citation web cs1">Tate. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20231102000618/https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135">"<span class="cs1-kern-left"></span>'Untitled', Emily Kame Kngwarreye, 1990"</a>. <i>Tate</i>. Archived from <a rel="nofollow" class="external text" href="https://www.tate.org.uk/art/artworks/kngwarreye-untitled-t15135">the original</a> on 2 November 2023<span class="reference-accessdate">. Retrieved <span class="nowrap">1 July</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tate&rft.atitle=%E2%80%98Untitled%E2%80%99%2C+Emily+Kame+Kngwarreye%2C+1990&rft.au=Tate&rft_id=https%3A%2F%2Fwww.tate.org.uk%2Fart%2Fartworks%2Fkngwarreye-untitled-t15135&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCoslovich2003" class="citation news cs1">Coslovich, Gabriella (20 September 2003). <a rel="nofollow" class="external text" href="http://www.theage.com.au/articles/2003/09/19/1063625217241.html?from=storyrhs">"Aboriginal works and artful dodgers"</a>. <i><a href="/wiki/The_Age" title="The Age">The Age</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">28 November</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Age&rft.atitle=Aboriginal+works+and+artful+dodgers&rft.date=2003-09-20&rft.aulast=Coslovich&rft.aufirst=Gabriella&rft_id=http%3A%2F%2Fwww.theage.com.au%2Farticles%2F2003%2F09%2F19%2F1063625217241.html%3Ffrom%3Dstoryrhs&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLe_Roux2014" class="citation journal cs1">Le Roux, Geraldine (2014). <a rel="nofollow" class="external text" href="https://journals.jcu.edu.au/etropic/article/viewFile/3315/3259">"Entangled Values: Construction of a Global Conception of Australian Indigenous Arts"</a>. <i>etropic</i>. <b>13</b> (2): 79.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=etropic&rft.atitle=Entangled+Values%3A+Construction+of+a+Global+Conception+of+Australian+Indigenous+Arts&rft.volume=13&rft.issue=2&rft.pages=79&rft.date=2014&rft.aulast=Le+Roux&rft.aufirst=Geraldine&rft_id=https%3A%2F%2Fjournals.jcu.edu.au%2Fetropic%2Farticle%2FviewFile%2F3315%2F3259&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-Myers-83"><span class="mw-cite-backlink">^ <a href="#cite_ref-Myers_83-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Myers_83-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMyers2002" class="citation book cs1">Myers, Fred R. (16 December 2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=KiEYSolx3RoC&dq=emily%20kngwarreye%20%22fakes%22&pg=PA327"><i>Painting Culture: The Making of an Aboriginal High Art</i></a>. Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0822329492" title="Special:BookSources/0822329492"><bdi>0822329492</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">22 January</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Painting+Culture%3A+The+Making+of+an+Aboriginal+High+Art&rft.pub=Duke+University+Press&rft.date=2002-12-16&rft.isbn=0822329492&rft.aulast=Myers&rft.aufirst=Fred+R.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DKiEYSolx3RoC%26dq%3Demily%2520kngwarreye%2520%2522fakes%2522%26pg%3DPA327&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
<li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text">"Damien Hirst's latest spot paintings 'exactly like my people's story', says Australian artist." <i>Telegraph Online</i>, 29 Mar. 2018. <i>Gale In Context: Biography.</i> Accessed 29 May 2022.</span>
</li>
<li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/artanddesign/2018/mar/29/uncanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia">"<span class="cs1-kern-left"></span>'Uncanny similarity': new Damien Hirst works in spot of bother in Australia"</a>. <i>the Guardian</i>. 29 March 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">13 June</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=the+Guardian&rft.atitle=%27Uncanny+similarity%27%3A+new+Damien+Hirst+works+in+spot+of+bother+in+Australia&rft.date=2018-03-29&rft_id=http%3A%2F%2Fwww.theguardian.com%2Fartanddesign%2F2018%2Fmar%2F29%2Funcanny-similarity-new-damien-hirst-works-in-spot-of-bother-in-australia&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></span>
</li>
</ol></div></div>
<h3><span class="mw-headline" id="Sources">Sources</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=14" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGreen2007" class="citation book cs1">Green, Jenny (2007). "Holding the country: art from Utopia and the Sandover". In Hetti Perkins; Margie West (eds.). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/onesunonemoonabo0000unse"><i>One Sun One Moon: Aboriginal Art in Australia</i></a></span>. Sydney: <a href="/wiki/Art_Gallery_of_New_South_Wales" title="Art Gallery of New South Wales">Art Gallery of New South Wales</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7347-6360-0" title="Special:BookSources/978-0-7347-6360-0"><bdi>978-0-7347-6360-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Holding+the+country%3A+art+from+Utopia+and+the+Sandover&rft.btitle=One+Sun+One+Moon%3A+Aboriginal+Art+in+Australia&rft.place=Sydney&rft.pub=Art+Gallery+of+New+South+Wales&rft.date=2007&rft.isbn=978-0-7347-6360-0&rft.aulast=Green&rft.aufirst=Jenny&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fonesunonemoonabo0000unse&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRyan2008" class="citation book cs1">Ryan, Judith (2008). <i>Across the Desert: Aboriginal Batik from Central Australia</i>. Melbourne: <a href="/wiki/National_Gallery_of_Victoria" title="National Gallery of Victoria">National Gallery of Victoria</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7241-0299-0" title="Special:BookSources/978-0-7241-0299-0"><bdi>978-0-7241-0299-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Across+the+Desert%3A+Aboriginal+Batik+from+Central+Australia&rft.place=Melbourne&rft.pub=National+Gallery+of+Victoria&rft.date=2008&rft.isbn=978-0-7241-0299-0&rft.aulast=Ryan&rft.aufirst=Judith&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></li></ul>
<h2><span class="mw-headline" id="Further_reading">Further reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=15" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li>Butler, Rex (1997), <i><a rel="nofollow" class="external text" href="http://www.artcollector.net.au/FeaturedArtistsK">The Impossible Painter</a></i>, <i><a href="/wiki/Australian_Art_Collector" class="mw-redirect" title="Australian Art Collector">Australian Art Collector</a></i> magazine, issue 2, October – December 1997</li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCoster2009" class="citation news cs1">Coster, Peter (18 September 2009). <a rel="nofollow" class="external text" href="https://www.heraldsun.com.au/businessold/watching-the-price-of-spirituality/news-story/c3bb949d8dba3743a9125956eda63de7">"Watching the price of spirituality"</a>. <i><a href="/wiki/Herald_Sun" title="Herald Sun">Herald Sun</a></i>. Melbourne<span class="reference-accessdate">. Retrieved <span class="nowrap">20 March</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Herald+Sun&rft.atitle=Watching+the+price+of+spirituality&rft.date=2009-09-18&rft.aulast=Coster&rft.aufirst=Peter&rft_id=https%3A%2F%2Fwww.heraldsun.com.au%2Fbusinessold%2Fwatching-the-price-of-spirituality%2Fnews-story%2Fc3bb949d8dba3743a9125956eda63de7&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></li>
<li>Hart, D. (1995), <i>Emily Kame Kngwarreye: Paintings from 1989–1995</i>, Parliament House, Canberra</li>
<li>Isaacs, J., Smith, T., Ryan, J., Holt, D., Holt, J. (1998), <i>Emily Kngwarreye Paintings</i>, Craftsman House, Smith, T. (Ed.). North Ryde, Sydney.</li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMcDonald,_GayFisher,_Laura2015" class="citation journal cs1">McDonald, Gay; Fisher, Laura (June 2015). <a rel="nofollow" class="external text" href="https://www.artlink.com.au/articles/4318/emily-kame-kngwarreye-in-japan/">"Emily KameKngwarreye in Japan"</a>. <i><a href="/wiki/Artlink" title="Artlink">Artlink</a></i>. <b>35</b> (2): 48–51.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Artlink&rft.atitle=Emily+KameKngwarreye+in+Japan&rft.volume=35&rft.issue=2&rft.pages=48-51&rft.date=2015-06&rft.au=McDonald%2C+Gay&rft.au=Fisher%2C+Laura&rft_id=https%3A%2F%2Fwww.artlink.com.au%2Farticles%2F4318%2Femily-kame-kngwarreye-in-japan%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AEmily+Kame+Kngwarreye" class="Z3988"></span></li>
<li>Neale, M. (1998), <i>Emily Kame Kngwarreye: Paintings from Utopia</i>, Macmillan Publishers, South Yarra, Victoria.</li>
<li>Neale, M. (2008), <i>Utopia: The Genius of Emily Kame Kngwarreye</i>, National Museum of Australia Press, Canberra.</li>
<li>Thomas, D. (1988), <i>Earth's Creation: The Paintings of Emily Kame Kngwarreye</i>, Malakoff Fine Art Press, North Caulfield, Victoria.</li></ul>
<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Emily_Kame_Kngwarreye&action=edit&section=16" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a rel="nofollow" class="external text" href="https://www.daao.org.au/bio/emily-kame-kngwarreye/">Emily Kngwarreye</a> on <a href="/wiki/DAAO" class="mw-redirect" title="DAAO">DAAO</a></li>
<li><a rel="nofollow" class="external text" href="https://www.artgallery.nsw.gov.au/collection/artists/kngwarreye-emily-kame/">Emily Kam Ngwarray</a> at the <a href="/wiki/Art_Gallery_of_New_South_Wales" title="Art Gallery of New South Wales">Art Gallery of New South Wales</a></li>
<li><a rel="nofollow" class="external text" href="https://www.nma.gov.au/search?from=0&query=emily%20kngwarreye">Emily Kngwarreye</a>, various resources at the <a href="/wiki/National_Museum_of_Australia" title="National Museum of Australia">National Museum of Australia</a></li>
<li><a rel="nofollow" class="external text" href="https://www.grafico-qld.com/content/emily-kame-kngwarreye">Emily Kame Kngwarreye</a>, 1998 exhibition at Philip Bacon Galleries, review by Grafico Topico's Sue Smith</li></ul>
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class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/wiki/Araluen_Cultural_Precinct" title="Araluen Cultural Precinct">Araluen Cultural Precinct</a></li>
<li><a href="/wiki/Contemporary_Indigenous_Australian_art" title="Contemporary Indigenous Australian art">Contemporary Indigenous Australian art</a></li>
<li><a href="/wiki/Hermannsburg_School" title="Hermannsburg School">Hermannsburg School</a></li>
<li><a href="/wiki/List_of_Indigenous_Australian_art_movements_and_cooperatives" title="List of Indigenous Australian art movements and cooperatives">List of Indigenous Australian art movements and cooperatives</a></li>
<li><a href="/wiki/National_Aboriginal_%26_Torres_Strait_Islander_Art_Award" title="National Aboriginal & Torres Strait Islander Art Award">National Aboriginal & Torres Strait Islander Art Award</a></li>
<li><a href="/wiki/Papunya_Tula" title="Papunya Tula">Papunya Tula</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Significant places</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/wiki/Alice_Springs" title="Alice Springs">Alice Springs, Northern Territory</a></li>
<li><a href="/wiki/Balgo,_Western_Australia" title="Balgo, Western Australia">Balgo, Western Australia</a></li>
<li><a href="/wiki/Haasts_Bluff,_Northern_Territory" title="Haasts Bluff, Northern Territory">Haasts Bluff, Northern Territory</a></li>
<li><a href="/wiki/Kintore,_Northern_Territory" title="Kintore, Northern Territory">Kintore, Northern Territory</a></li>
<li><a href="/wiki/Papunya" title="Papunya">Papunya, Northern Territory</a></li>
<li><a href="/wiki/Pukatja,_South_Australia" title="Pukatja, South Australia">Pukatja (Ernabella), South Australia</a></li>
<li><a href="/wiki/Utopia,_Northern_Territory" title="Utopia, Northern Territory">Utopia, Northern Territory</a></li>
<li><a href="/wiki/Yuendumu" title="Yuendumu">Yuendumu, Northern Territory</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists: women</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/wiki/Wawiriya_Burton" title="Wawiriya Burton">Wawiriya Burton</a></li>
<li><a href="/wiki/Josepha_Petrick_Kemarre" title="Josepha Petrick Kemarre">Josepha Petrick Kemarre</a></li>
<li><a href="/wiki/Tjungkara_Ken" title="Tjungkara Ken">Tjungkara Ken</a></li>
<li><a href="/wiki/Lucy_Napaljarri_Kennedy" title="Lucy Napaljarri Kennedy">Lucy Napaljarri Kennedy</a></li>
<li><a class="mw-selflink selflink">Emily Kame Kngwarreye</a></li>
<li><a href="/wiki/Barbara_Mbitjana_Moore" title="Barbara Mbitjana Moore">Barbara Mbitjana Moore</a></li>
<li><a href="/wiki/Betty_Muffler" title="Betty Muffler">Betty Muffler</a></li>
<li><a href="/wiki/Doreen_Reid_Nakamarra" title="Doreen Reid Nakamarra">Doreen Reid Nakamarra</a></li>
<li><a href="/wiki/Narputta_Nangala" title="Narputta Nangala">Narputta Nangala</a></li>
<li><a href="/wiki/Ada_Andy_Napaltjarri" title="Ada Andy Napaltjarri">Ada Andy Napaltjarri</a></li>
<li><a href="/wiki/Biddy_Rockman_Napaljarri" title="Biddy Rockman Napaljarri">Biddy Rockman Napaljarri</a></li>
<li><a href="/wiki/Daisy_Jugadai_Napaltjarri" title="Daisy Jugadai Napaltjarri">Daisy Jugadai Napaltjarri</a></li>
<li><a href="/wiki/Eileen_Napaltjarri" title="Eileen Napaltjarri">Eileen Napaltjarri</a></li>
<li><a href="/wiki/Helen_Nelson_Napaljarri" title="Helen Nelson Napaljarri">Helen Nelson Napaljarri</a></li>
<li><a href="/wiki/Kitty_Pultara_Napaljarri" title="Kitty Pultara Napaljarri">Kitty Pultara Napaljarri</a></li>
<li><a href="/wiki/Linda_Syddick_Napaltjarri" title="Linda Syddick Napaltjarri">Linda Syddick Napaltjarri</a></li>
<li><a href="/wiki/Louisa_Napaljarri" title="Louisa Napaljarri">Louisa Napaljarri</a></li>
<li><a href="/wiki/Molly_Jugadai_Napaltjarri" title="Molly Jugadai Napaltjarri">Molly Jugadai Napaltjarri</a></li>
<li><a href="/wiki/Mona_Rockman_Napaljarri" title="Mona Rockman Napaljarri">Mona Rockman Napaljarri</a></li>
<li><a href="/wiki/Ngoia_Pollard_Napaltjarri" title="Ngoia Pollard Napaltjarri">Ngoia Pollard Napaltjarri</a></li>
<li><a href="/wiki/Nora_Andy_Napaltjarri" title="Nora Andy Napaltjarri">Nora Andy Napaltjarri</a></li>
<li><a href="/wiki/Norah_Nelson_Napaljarri" title="Norah Nelson Napaljarri">Norah Nelson Napaljarri</a></li>
<li><a href="/wiki/Parara_Napaltjarri" title="Parara Napaltjarri">Parara Napaltjarri</a></li>
<li><a href="/wiki/Peggy_Rockman_Napaljarri" title="Peggy Rockman Napaljarri">Peggy Rockman Napaljarri</a></li>
<li><a href="/wiki/Sheila_Brown_Napaljarri" title="Sheila Brown Napaljarri">Sheila Brown Napaljarri</a></li>
<li><a href="/wiki/Susie_Bootja_Bootja_Napaltjarri" title="Susie Bootja Bootja Napaltjarri">Susie Bootja Bootja Napaltjarri</a></li>
<li><a href="/wiki/Takariya_Napaltjarri" title="Takariya Napaltjarri">Takariya Napaltjarri</a></li>
<li><a href="/wiki/Tjunkiya_Napaltjarri" title="Tjunkiya Napaltjarri">Tjunkiya Napaltjarri</a></li>
<li><a href="/wiki/Topsy_Gibson_Napaltjarri" title="Topsy Gibson Napaltjarri">Topsy Gibson Napaltjarri</a></li>
<li><a href="/wiki/Valerie_Lynch_Napaltjarri" title="Valerie Lynch Napaltjarri">Valerie Lynch Napaltjarri</a></li>
<li><a href="/wiki/Wintjiya_Napaltjarri" title="Wintjiya Napaltjarri">Wintjiya Napaltjarri</a></li>
<li><a href="/wiki/Makinti_Napanangka" title="Makinti Napanangka">Makinti Napanangka</a></li>
<li><a href="/wiki/Dorothy_Napangardi" title="Dorothy Napangardi">Dorothy Napangardi</a></li>
<li><a href="/wiki/Pansy_Napangardi" title="Pansy Napangardi">Pansy Napangardi</a></li>
<li><a href="/wiki/Naata_Nungurrayi" title="Naata Nungurrayi">Naata Nungurrayi</a></li>
<li><a href="/wiki/Gloria_Petyarre" title="Gloria Petyarre">Gloria Petyarre</a></li>
<li><a href="/wiki/Kathleen_Petyarre" title="Kathleen Petyarre">Kathleen Petyarre</a></li>
<li><a href="/wiki/Nancy_Petyarre" title="Nancy Petyarre">Nancy Petyarre</a></li>
<li><a href="/wiki/Minnie_Pwerle" title="Minnie Pwerle">Minnie Pwerle</a></li>
<li><a href="/wiki/Maggie_Napaljarri_Ross" title="Maggie Napaljarri Ross">Maggie Napaljarri Ross</a></li>
<li><a href="/wiki/Margaret_Scobie" title="Margaret Scobie">Margaret Scobie</a></li>
<li><a href="/wiki/Barbara_Weir" title="Barbara Weir">Barbara Weir</a></li>
<li><a href="/wiki/Ruby_Tjangawa_Williamson" title="Ruby Tjangawa Williamson">Ruby Tjangawa Williamson</a></li>
<li><a href="/wiki/Yaritji_Young" title="Yaritji Young">Yaritji Young</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists: men</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/wiki/Hector_Burton" title="Hector Burton">Hector Burton</a></li>
<li><a href="/wiki/Albert_Namatjira" title="Albert Namatjira">Albert Namatjira</a></li>
<li><a href="/wiki/Tiger_Palpatja" title="Tiger Palpatja">Tiger Palpatja</a></li>
<li><a href="/wiki/Wenten_Rubuntja" title="Wenten Rubuntja">Wenten Rubuntja</a></li>
<li><a href="/wiki/Paddy_Japaljarri_Stewart" title="Paddy Japaljarri Stewart">Paddy Japaljarri Stewart</a></li>
<li><a href="/wiki/Anatjari_Tjakamarra" title="Anatjari Tjakamarra">Anatjari Tjakamarra</a></li>
<li><a href="/wiki/Long_Jack_Phillipus_Tjakamarra" title="Long Jack Phillipus Tjakamarra">Long Jack Phillipus Tjakamarra</a></li>
<li><a href="/wiki/Kaapa_Tjampitjinpa" title="Kaapa Tjampitjinpa">Kaapa Tjampitjinpa</a></li>
<li><a href="/wiki/Yala_Yala_Gibbs_Tjungurrayi" title="Yala Yala Gibbs Tjungurrayi">Yala Yala Gibbs Tjungurrayi</a></li>
<li><a href="/wiki/Turkey_Tolson_Tjupurrula" title="Turkey Tolson Tjupurrula">Turkey Tolson Tjupurrula</a></li>
<li><a href="/wiki/Billy_Stockman_Tjapaltjarri" title="Billy Stockman Tjapaltjarri">Billy Stockman Tjapaltjarri</a></li>
<li><a href="/wiki/Clifford_Possum_Tjapaltjarri" title="Clifford Possum Tjapaltjarri">Clifford Possum Tjapaltjarri</a></li>
<li><a href="/wiki/Mick_Namarari_Tjapaltjarri" title="Mick Namarari Tjapaltjarri">Mick Namarari Tjapaltjarri</a></li>
<li><a href="/wiki/Timmy_Payungka_Tjapangati" title="Timmy Payungka Tjapangati">Timmy Payungka Tjapangati</a></li>
<li><a href="/wiki/Yannima_Tommy_Watson" title="Yannima Tommy Watson">Yannima Tommy Watson</a></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Major works</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><i><a href="/wiki/Earth%27s_Creation" title="Earth's Creation">Earth's Creation</a></i></li>
<li><i><a href="/wiki/Gulgardi" title="Gulgardi">Gulgardi</a></i></li>
<li><i><a href="/wiki/Warlugulong" title="Warlugulong">Warlugulong</a></i></li></ul>
</div></td></tr></tbody></table></div>
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<ul><li><span class="uid"><a rel="nofollow" class="external text" href="http://id.worldcat.org/fast/419731/">FAST</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://isni.org/isni/000000012209961X">ISNI</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/31910415">VIAF</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://authority.bibsys.no/authority/rest/authorities/html/9062819">Norway</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/120533367">Germany</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987012384955005171">Israel</a></span></li>
<li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Kngwarray, Emily Kam, approximately 1910-1996"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/nr98024170">United States</a></span></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/01124249">Japan</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35134420">Australia</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p274585200">Netherlands</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://ci.nii.ac.jp/author/DA12586538?l=en">CiNii</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.aucklandartgallery.com/explore-art-and-ideas/artist/2046/">Auckland</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.agsa.sa.gov.au/collection-publications/collection/creators/_/3340/">South Australia</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.daao.org.au/bio/emily-kame-kngwarreye">Australian Artists</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.moma.org/artists/37578">Museum of Modern Art</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.ngv.vic.gov.au/explore/collection/artist/73/">Victoria</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://rkd.nl/en/explore/artists/257024">RKD Artists</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://collections.tepapa.govt.nz/agent/1271">Te Papa (New Zealand)</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500329368">ULAN</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="http://www.womenaustralia.info/biogs/AWE5171b.htm">Australian Women's Register</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/477780">Trove</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w6d557m4">SNAC</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/076709752">IdRef</a></span></li></ul>
</div></td></tr></tbody></table></div></div>' |
Whether or not the change was made through a Tor exit node ($1) (tor_exit_node) | false |
Unix timestamp of change ($1) (timestamp) | '1715820528' |
