Shire of East Pilbara (Martumili Artists)

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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The Watch Out

DESART PHOTOGRAPHY PRIZE

RETURNING UNSOLD WORKS (EDITION NUMBERS) TO ART CENTRES AND FUTURE SALES/PRINTING PROCEDURES

For each successful entry for the photography prize, Desart will print one photograph, to be catalogued as an AP (Artist’s Proof). This image will be framed and shown in the exhibition and then retained by Desart (catalogued on SAM for our ‘Collection’).

Desart manages sales for the first month of the exhibition. During this time, Desart will retain 30% of the public sale price to recoup framing, printing, freight and general exhibition costs. The artist will be paid 70% of the public price. Art Centres must invoice Desart for this.

Desart will create catalogue numbers on SAM for an edition of 10 works, but these 10 works will only be printed on demand if the image sells.

The works are priced so that they are part of a finite edition – that is, no more than 10 will ever be produced. It is essential that everyone honours even this after the exhibition to retain the integrity and value of the work as a limited edition. If the artist wishes to alter the image, they could potentially create a ‘second state’ to sell, but the original photograph is capped at an edition of 10 only.

After the first month, any unsold ‘works’ (which are actually catalogue numbers rather than physical works) are returned to the art centre for any future sales.

For this Desart will provide each art centre with a report of sales. The art centre will the need to catalogue these in their own system (SAM) using the remaining edition numbers.

Below is our contact (Richard at Darkstar) and all prints should be printed there, to the same specifications, in order to retain the integrity and identical nature of the edition of photographs.

darkstardigital.com.au

Richard Crampton: 0408 849 276

rcrampton@darkstardigital.com.au

Shop 3, 138 Botany Rd, Alexandria, NSW 2015

Images are sent by drop box including thumbnails and print size should be specified as A2, A3 or A4. For consistency the works need to be printed on white cotton rag paper. Printing costs can be found on the website:

http://darkstardigital.com.au/pricing/

Richard is prepared to send the works straight to the purchaser or back to the art centre but you will need to factor in packing and shipping costs (he will let you know how much). Sydney clients are often happy to go and pick the work up.

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Untitled 1 – Landscape Aerial

“When Martu paint, it’s like a map. Martu draw story on the ground and on the canvas, and all the circle and line there are the hunting areas and different waters and tracks where people used to walk, and [some you] can’t cross, like boundaries. So nowadays you see a colourful painting and wonder what it is, but that’s how Martu tell story long ago. It’s not just a lovely painting, it’s a story and a songline and a history and everything that goes with it.” 

– Ngalangka Nola Taylor and Joshua Booth

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.

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Kunawarritji (Canning Stock Route Well 33)- Debra Thomas

“We went to Kunawarritji. We went out to see the waterholes with Kumpaya [Girgirba], my aunty – my dad’s sister. It’s the first time I went in a chopper to see the waterholes. Kumpaya take me to show me the waterholes, show me my father’s Country. It was good. I went first to see the waterholes and then I start painting. The waterholes are my father’s Country.

We go out there sometimes, but now I’m doing a lot of painting there in Punmu. I was learning to make a painting now, with the old people. But they all passed away now. And they told me, ‘you can do you own Country, your dad’s Country’. And I made a couple of paintings of my father’s Country. They were telling me, ‘just do your father’s Country, Kunawarritji’.”

– Debra Thomas

Kunawarritji is an important site in the Great Sandy Desert where multiple stories and histories intersect. Originally a spring water and major Martu pujiman (traditional, desert dwelling) camping site, at the turn of the 20th century Kunawarritji was converted into a well along the Canning Stock Route. Each year throughout the 1930-50s, the well became a site of contact between the drovers, their cattle, and desert families. 

Long before colonial history entered this Country, however, other stories dominated the site. Primarily, Kunawarritji features in the Minyipuru (Jakulyukulyu, Seven Sisters Jukurrpa (Dreaming). Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following a group of women as they walk, dance, and even fly from waterhole to waterhole. As they travelled the women left markers in the landscape and create landforms that remain to this day. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

The Minyipuru travelled to Kunawarritji from Nyipily (Nyipil, Nibil, Canning Stock Route Well 34), and transformed themselves into a distinctive group of trees that remain in the area between these two sites. From Kunawarritji Yurla followed the sisters to Pangkapirni, where he finally caught one of the women. 

Today, Kunawarritji is a site of return, a place where people came back to continue their life in the desert with the formation of Kunawarritji Aboriginal community in the early 1980s. The community’s cultural significance endures, with the population swelling up to 1000 during cultural business.

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Parnngurr Community

Parnngurr is an Aboriginal community located 370km east of Newman, at the Southern end of the Karlamilyi (Rudall River) area, and in the Pilbara region of Western Australia. Created during the return to Country movement of the 1980s, with the recognition of Aboriginal land rights and native title, the community was named after its’ original primary water source, a nearby rockhole and yinta (permanent spring). Until recently the community was widely known as Cotton Creek, after the European name for the ephemeral creek running alongside the community. Parnngurr and its surrounds are physically dominated by distinctively red tali (sandhills), covered sparingly with spinifex and low lying shrub.

Historically Parnngurr Rockhole was an important site for Aboriginal people during the pujiman (traditional, desert born) era. During this nomadic period families stopped and camped here depending on the seasonal availability of water and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. At Parnngurr and other similarly important camp sites, families would meet for a time before moving to their next destination. 

Parnngurr is also a site chronicled in the epic Jukurrpa (Dreaming) story of the Minyipuru (Jakulyukulyu, Seven Sisters), as they flee from the lustful old man, Yurla. The sisters stopped to rest on Parnngurr Hill before continuing on their long journey east. Minyipuru is a central Jukurrpa narrative for Martu, Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara people that is associated with the seasonal Pleiades star constellation. Relayed in song, dance, stories and paintings, Minyipuru serves as a creation narrative, a source of information relating to the physical properties of the land, and an embodiment of Aboriginal cultural laws. Beginning in Roebourne on the west coast of Western Australia, the story morphs in its movement eastward across the land, following the women as they walk, dance, and even fly from waterhole to waterhole. As they travel the women camp, sing, wash, dance and gather food, leaving markers in the landscape and creating landforms that remain to this day, such as groupings of rocks and trees, grinding stones and seeds. During the entirety of their journey the women are pursued by a lustful old man, Yurla, although interactions with other animals, groups of men, and spirit beings are also chronicled in the narrative.

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Kulyakartu

Kulyakartu is a large area in the far north of the Martu homelands, near the Percival Lakes region of Western Australia’s Great Sandy Desert. Kulyakartu is mostly flat grass Country, and is known as a good hunting area. In particular, parnajarrpa (goanna), wild cats, and lunki (witchetty grub) are found in abundance here. In the wantajarra (wet season) the dry lakes in the region fill with water.