'Adhaz Parw Ngoedhe Buk/Frigate Bird Mask' (2008) by the Torres Strait master, Alick Tipoti, at the NGA

CANBERRA

Posted by Jeremy Eccles | 28.04.21

There are fascinating differences between the two major institutions in Canberra in the presentation of their First Nations collections. At the National Gallery you can't avoid the Indigenous even as you hurry in to make your timed booking for the Big Show, 'Botticelli to van Gogh'. The increasingly sacred 'Aboriginal Memorial' of 200 silent lorrkon haunts the entrance; the First Nations galleries are beside you as you ride up the escalators; and ahead, in the main building, the new 'Belonging' juxtaposes black and white images of the country. Even the big 'Know My Name' showing of women's art closes – or maybe opens - with the contribution of Aboriginal women. And there's still the fourth Indigenous Triennial – actually another Quinquennial – to come in November. Meanwhile, over the Lake, the National Museum seems to want you to work extra hard just to find their First Nations galleries. Up and down stairs or a lift, outside and inside the building, un-signposted and then disorderly. Why would you place the currently trendy show of Indigenous fashion, 'Piinpi' in the middle of a historic display, I wonder? I'm reminded that the Art Gallery of NSW traditionally kept the Indigenous in its basement, though it is promising to do an NGA when 'Sydney Modern' opens: “Facing our original building across an art garden, the expansion is due for completion in 2022 and will place historic and contemporary works by First Nations artists front and centre”, promises Director Michael Brand in 'The Art Newspaper'. Of course, most NGA visitors will currently be heading for those 'Sunflowers' in the UK National Gallery's grand touring show. Plenty else to delight, mind you - Rembrandt's self-portrait, Turner's sunset, Monet's waterlilies, El Greco's Christ, and an insightful portrait of the Russian-born man who kicked off the Gallery's collection.» Read More