australian female painters of the 20th century australian female painters of the 20th century

Debuting at New York Fashion Week in 2018, models marched down the runway in designs proudly emblazoned with the phrases not for sale, bimbo and hysterical, a reclamation of terms traditionally used as insults and to objectify womens bodies. Freda Robertshaw, Standing nude, 1944,Collection: Cruthers Collection of Womens Art, University of Western Australia, Perth. Rosemary Madigan, Torso, 1948, Purchased 1976. Purchased 1989. Her work has a definitely pop art feel without the cheesiness. On this occasion, Canberra-based soprano, Hannah Bleby sang the Kyrie eleison from a long vertical aperture high above the performers and audience. Increased access to art schools meant that more women artists were becoming professional artists, showing their work and achieving exposure through publications such as Art in Australia and its sister publication The Home. As late as the mid 20th century, art teacher Wilfrid Blunt, . Weitzel made a number of strongly graphic linocuts of urban subjects while living here including the Harbour Bridge, inner-city streets and slums. Working collaboratively under their fashion label Flamingo Park, they drew upon a mutual love for the Australian environment, developing a distinct voice in fashion through bold garments and prints. It was at Flights Grosvenor School that Weitzel extended his printmaking into multiple block colour prints, including this work and its companion Abstract design 2. Ethleen Palmer studied at East Sydney Technical College and began experimenting with relief printmaking in 1933. For 25 years, the Anangu women artists of the Tjanpi Desert Weavers (Tjanpi meaning wild grass in Pitjantjatjara language) have developed and mastered their skills, weaving baskets and creative collaborative fibre art installations. Tjanpi Desert Weavers is an award-winning, Indigenous governed and directed social enterprise located on the Ngaanyatjarra Pitjantjatjara and Yankunytjatjara (NPY) lands in Central Australia. Sann Mestrom, Me & you, 2018, Purchased 2019. Her voice remained suspended in air, like the embroidered object itself. Bush Couture (fashion house), Linda Jackson (designer), Black rainbow opal outfit, 1985, Purchased from Gallery admission charges 1985. Yayoi Kusama is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. https://nga.gov.au/, Partners & Patrons A lesser-known artist who worked earlier in the century, Janet Cumbrae Stewarts paintings adopted the language of the academic nude. australian female painters of the 20th century. 20th Century Australian Artist. Most of us, especially Australians, are quite familiar with the works of Frederick McCubbin and Tom Roberts members of the Heidelberg School. She's known for creating pastel paintings of women's power suits from the 80's as well as handbags and shoes. Judith Leyster (1609 - 1660) Self-Portrait by Judith Leyster. The term "Australian Modern Painting" is a most imprecise description, but it suffices to describe 20th century modern art in Australia up to about 1960, an era which opens with the end of Australian Impressionism (c.1886-1900) - also known as the Heidelberg School - and whose end coincides with the high-point of the career of the great . Bonhams Fine Art Auctioneers and Valuers: auctioneers of art, pictures, collectables and motor cars . AGNSW collection Ailsa Lee Brown Sydney trams 1927, AGNSW collection Ailsa Lee Brown Work for the new bridge 1937, AGNSW collection Ailsa Lee Brown Dressmakers 1937, AGNSW collection Adrian Feint The goddess and the aspidistra 1934. As the readings concluded, Hannah Bleby sang the final section of Byrds Mass, the Agnus dei. For the artist, the falling ribbon symbolises the promise of escape and overlaps with histories of women held captive in fairy stories, poetry, literature and history alike. AGNSW collection Weaver Hawkins Mother and child 1928, AGNSW collection Nora Heysen Pines, The Cedars, Hahndorf 1932, AGNSW collection Ethleen Palmer Study for 'Burnt out circa 1952, AGNSW collection Ethleen Palmer Granite peaks 1938. The book is both a celebration of 10 colonial women artists who became botanical artists in the 19th and 20th centuries - and their artwork. While softer in tone, Clarice Becketts work looked at phenomena such as the flare of colour at sunrise and sunset. Tracey Moffatt, Something more, 1989, Courtesy of Naomi Milgrom AO, Melbourne. Barbara Campbells Dubious letter (1992)60 metres of hand-embroidered ribbon tacked together to form a skirt-shaped objectwas suspended from the high ceilings in the Remembering gallery, centred to eye level, with generous space all around. Contributions by Kelli Cole, Curator, Aboriginal and Torres Strait Islander Art, and Rebecca Edwards, Sid and Fiona Myer Curator Australian Art. NAS alumnae Julie Rrap, Fiona Foley, Fiona Hall, Margaret Olleyand lecturerGrace Crowley are featured in this article. Andrews, an Ohio State University Chinese art professor, visited the Harn Wednesday to talk about female artists in 20th century China to an audience of over 40. She was among a small group of artists instrumental in promoting the modern colour linocut in Australia in the 1930s, having studied the medium in Europe. Amy Sherald. Ann Newmarch, Women hold up half the sky!, 1978, Gift of the artist 1988; For Pammie, 1994, Gift of Louise Dauth 2005, Misses Hampson, The Westbury quilt, 1900 1903, Purchased through the Australian Textiles Fund 1990, Bonita Ely, Murray River punch, 1980, Courtesy of Bonita Ely and Milani Gallery, Brisbane, Jill Orr, Naomi Herzog (photographer), Southern cross to bear and behold (flame); Southern cross to bear and behold (burning), 2009, Courtesy of a private collection, Jo Lloyd, Performers: Deanne Butterworth, Rebecca Jensen, Jo Lloyd; Producer: Michaela Coventry; Composer: Duane Morrison; Costumes: Andrew Treloar, Archive the archive, 2020, Performance commission generously supported by Philip Keir and Sarah Benjamin, Vivienne Binns with collaborators Daphne Anderson, John Abery, Genara Banzon, Lionel Bawden, Ray Beckett, Peter Binns, Beverley Bisset, Elsie Brown, Mike Brown, Erica Burgess, Norma Cairns, Eugene Carchesio, Cheo Chai-Hiang, Virginia Coventry, Rebecca Cummins, Mandhira De Saram, Bryan Doherty, Kate Dugdale, Lois Eastwood, Helen Eager, Bonita Ely, Nola Farman, Ruth Frost, Akira Fujishita, Kunio Fukushima, Tamio Fukushima, Mez Gates, Laurel Grey, Christopher Hodges, Pat Hoffie, Tess Horwitz, Kyomi Ititani, Hiroo Itoh, Josephine Knight, Shoichi Kogure, Steven Holland, Marie Howard, Wayne Hutchins, Narelle Jubelin, Therese Kenyon, Leonie Lane, Lila McLain, Marie McMahon, Seiko Machida, Irene Maher, Maria-Luisa Marino, David Martin, Eichi Matsuda, Jean Nixon, Rod OBrien, Valerie Odewahn, Pat Parker, Elwyn Perkins, Gregory Pryor, Emily Purser, Neil Roberts, Catherine Rogers, Shigeyoshi Satoh, Dalia Shelef, Muriel Smith, Jane Stewart, Osami Tominaga, Peter Tully, Ruth Waller, Meg Walsh, Paul Westbury, Anthea Williams, Alice Whish, Tower of Babel, 1989 continuing, Gift of the artist 2020, r e a, Gamilaraay/Wailwan/Biripi people, Resistance (flag), 1996, Purchased 2004. 7 min read. Self-Portrait Nude with Amber Necklace 1906, oil on cardboard by Paula Modersohn-Becker (1876-1907) THE NATIONAL ART SCHOOL ACKNOWLEDGES THE GADIGAL PEOPLES OF THE EORA NATIONS, THE TRADITIONAL OWNERS ON WHOSE LANDS, WATER AND SKIES WE MEET AND SHARE. Barbara Tribe, Lovers II, 193637 (cast 1988), Gift of the Barbara Tribe Foundation 2008. Square cloud compound draws on the history of Cockatoo Island, a site which since colonisation has operated as a prison and an institutional home for young women. AGNSW collection Dorrit Black Black boys post 1938. Sold for 360 inc. premium . List Gallery Activity 1. Womens portraits and self-portraits reflect different stories and artistic connections. As the high note fell away, Clare Grant began to walk carefully around the embroidered form, focusing her gaze on the lower section, reading the old French translation aloud, moving her eyes steadily upwards and pausing where the text joined with the 16th century Scots translation. Jenny Watson, Self portrait as a narcotic, 1989, Collection: Museum of Contemporary Art Australia, Sydney. Arthur Boyd. Vera Blackburn made it within a couple of years of learning linocutting from Thea Proctor, just before she left for England, where she was to remain for the rest of her life. Explore. The resulting posters spoke to a range of womens and broader issues including Aboriginal land rights and environmentalism. AGNSW collection Eveline Syme Sydney tram line 1936, Eveline Syme studied art in Paris in the early 1920s, including at Andre Lhotes school in Montparnasse, where she learnt the principles of cubism. As mentioned yesterday the Australian Art World of the 1920s was dominated by men, however women began to make an impact. In late 2018 - a year that has come to be associated with a renewed critical analysis of the expectations Read more Modern Australian Women: Works from a Private Collection By Maria Quirk, with Beckett Rozentals, Angela Hesson and Petra Kayser. Curators: Deborah Hart, Head Curator, Australian Art and Elspeth Pitt, Curator, Australian Art with Yvette Dal Pozzo, Assistant Curator, Australian Art. Photo: Peter Morgan. 5 min read, 9 Feb 2023 Community also informs the batiks by women artists from Utopia in the Northern Territory including Jeanie Pwerle and Rosie Kngwarray who portray womens stories and ceremony in flowing designs. Rosemary Laing, flight research #2a, #2b, #3, #4, #8 19992000; bulletproofglass #2, #3, 2002, Courtesy of Rosemary Laing; Tolarno Galleries, Melbourne; Stephen Grant and Bridget Pirrie; and Anthony Medich. For women, 5, 6, and 7 are the most popular diamond ring sizes. They were the modern women - able to vote and earn a living. The . Purchased with funds provided by the Coe and Mordant families 2008, Nell, selfnature is subtle and mysterious nun.sex.monk.rock, 2010, Purchased 2021, Bess Norriss Tait, Coralie, 190710, Collection: National Gallery of Victoria, Melbourne. Jane. Jo Lloyd, Archive the Archive, 2020, Photographer: Peter Rosetzky. Watch. installation view, 2020. The only woman in The London Group, her educated and refined paintings and prints are often based on children's folktales. The development of this collection coincided with the escalation of the Me Too movement, a global response to the harassment of women. An I work with the thoughts that stimulate the dance; when we watch someone dance, we are watching the thinking. He went on to explore painting, tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass. In the early twentieth century, artists including Agnes Goodsir and Bessie Davidson found support outside of Australia, particularly in France, where they were able to live in creative communities, free from expectations of marriage and other heterosexual norms. The list consists of 374 members. She worked at the court of the Duke of Alcala, the court of the Duke of Savoy and in Florence, where members of the Medici family were patrons. Drawn from the National Gallerys collection and loans from across Australia, it is one of the most comprehensive presentations of art by women assembled in this country to date. In London she studied at Claude Flights Grosvenor School, making her first colour linocuts. She was official court painter for the Grand Duke Ferdinando II. She held her first solo exhibition in Sydney at the Macquarie Galleries, exhibiting works that declared the cubist-inspired aesthetics she had developed while overseas. While its size and monochromatic appearance contrasts with her linocuts of the same period, it shares something of their emphasis on repetition, dynamic movement and simplified form. Margaret Dodd, This woman is not a car, 1982, Courtesy of Margaret Dodd. Art schools for women started popping up in Australia. Gertrude Abercrombie, Coming Home, 1947, private collection. CRICOS: 03197B Australian Botanical Artists Margaret Flockton (1861-1953) Paul Jones OBE (1921 - 1997) Emily Pelloe (1878 - 1941) Betty Conabere (1929 - 2009) Margaret Stones AM OBE GM (1920-2018) New Zealand Botanical Artists Susan Worthington (2022) AFRICA South African Botanical Artists Dr Auriol Batten (1918-2015) Barbara Jeppe (1921-1999) Here we see Nude Study (1932) by Adelaide Perry . The Australian: 25 female artists you should know Article by Oscar Adcock NAS alumnae Julie Rrap, Fiona Foley, Fiona Hall, Margaret Olley and lecturer Grace Crowley are featured in this article. . In particular close contemporaries, Thea Proctor, Margaret Preston and Grace Cossington Smith were frequently sources of inspiration and irritation to each other. See opening hours What was Philippa thinking? the contribution of women to the applied arts, and training and professionalism in 19th and 20th century Europe, Russia, North America and Australasia. Kathy Temins memorial gardens challenge the idea of monuments as heroic sculptures cast in steel. Animals were a popular subject and many women often depicted Australian fauna in ink drawings or linocuts or woodcuts. He made two versions of this image; the Gallery has the key (black) and colour blocks for another version that is slightly larger in size, which has a few small differences in the image. Expressionist Painters FAUVES (1905-1907) Henri Matisse (1869-1954) Founder of Fauvism and the leading colourist in modern art. Using art encyclopedias and museum websites, it has curated a list of women who have influenced the art world in a number of ways. Ailsa Lee Brown was born in Sydney and studied under Thea Proctor and Adelaide Perry at the Julian Ashton Art School. When the auto-complete results are available, use the up and down arrows to review and Enter to select. Her story of learning to communicate despite these immense barriers is legendary. But first some more from Jane about Australian Women Artists. Music is among Dorrit Blacks most dynamic compositions. Best remembered for his elegant and witty montages of domestic objects and flowers in quasi-surreal still-life paintings, Adrian Feint was also a designer, printmaker and illustrator, creating covers for Art in Australia and The Home magazines and an important body of bookplates. During the 1920s she became increasingly focused on modernising her practice and in 1927 she left for Europe in order to acquire a definite understanding of the aims and methods of the modern movement and in particular, the cubists. Kathy Temin, Pavilion garden, 2012, Purchased 2017. Frederick McCubbin 7. Artist Janet Dawson observed that abstract work is a great joy If you can empty your mind of chatter, and just live with the work for a few minutes, you find this enormous release into a mode of thought that is beyond speech., Installation view: Colour, light and abstraction, Anne Dangar, Plate, c 1935, Gift of Ruth Ainsworth 1998; Plate, c 1932, Gift of Grace Buckley in memory of Grace Crowley 1982; Plate, c 1935, Bequest of Michael Fizelle 1985; Plate, c 1937, Purchased 1978, Dorrit Black, The olive plantation, 1946, Collection: Art Gallery of South Australia, Adelaide. AGNSW collection Ethel Spowers Wet afternoon 1929-1930. Lyrebird was made before he left Sydney for Europe and reveals the influence of Japanese ukiyo-e woodblock prints in its elegant design, compressed picture plane and colouring. List of Women Artists: Up to 17th Century 18th Century 19th Century Early-Mid 20th Century Contemporary Artists Undated . Some of the most famous female painters of the 20th century are Georgia O'Keefe, Frida Kahlo, Kara Walker, and Marina Abramovic. It features works by over forty artists, including Margaret Preston, Grace Crowley, Thea Proctor and Grace Cossington Smith. Women were originally denied from attending life drawing classes at art schools. Paul Haefliger arrived in Sydney as a teenager with his family and studied at the Julian Ashton Art School in the 1930s, before travelling to London where he studied with British modernist painters Bernard Meninsky and Mark Gertler. Bequest of the artist 1980; Painting, 1951, Purchased 1969; Abstract painting, 1947, Purchased 1959; Abstract painting, 1952, Purchased 1976, Mira Gojak, Transfer station 1 (detail), 2011, Purchased 2021. Entries include biographical information, a list of principle . Framed photograph of Sue Ford and Micky Allan, framed photograph of Micky Allans 1978 performance exhibition Photography, Drawing, Poetry: A Live-in Show, books and objects all loaned from Micky Allan as part of the installation Mickys Room 2020-2021. Vera Blackburn grew up in an art-loving family in Sydney and first made linocuts under the direction of Thea Proctor, and later at Adelaide Perrys art school. Find out more through the link below. Despite the originality of her art, Cullen is now little known, having died prematurely at the age of 25 in the mid-1970s. We will look at Dorrit in more detail in a future blog. Celebrate dyk, We are hiring - final days to apply Activists, Revolutionaries, and Humanitarians Historical/Getty Images Helen Keller, born in 1880, lost her sight and hearing in 1882. In 1913, age 20, he had his first individual exhibition, showing 90 drawings. Gift of Mrs Suzanne Brookman through the Art Gallery of South Australia Foundation 2003. Gift of Mrs Dolores Barber 1977, Valerie MacSween, Pakana people, Shell necklace, 1995, Purchased 1998, Lola Greeno, Pakana people, Shell necklace, 1995, Purchased 1998, Dulcie Greeno, Pakana people, Shell necklace, 1998, Purchased 1998, Corrie Fullard, Pakana people, Shell necklace, 2002, Purchased 2003. 20th-century Australian art: Modern impressions Share Print this set By the Art Gallery of NSW Printmaking has been an important and respected art form in Australia since the late 19th century, with painters such as Tom Roberts and Julian Ashton making etchings as a small, but significant, part of their practice. Portraying her home Alhalkere with plants like atnwelarr (pencil yam) in bloom, her work attracted great attention, and she represented Australia posthumously at the Venice Biennale in 1997. Below Dora Meeson in Leaving the Front (circa 1918) highlights the pressure on women who were left in a vulnerable and emotional position once their men enlisted. Supported by Wesfarmers Arts in recognition of the 50th Anniversary of the 1967 Referendum, Mavis Warrngilna Ganambarr, Datiwuy people, Pandanus woven mat, 2008, Purchased 2013, Bronwyn Oliver, Trace, 2001, Purchased 2002; Garland, 2006, Purchased 2008, Bea Maddock, Terra Spirituswith a darker shade of pale, 199398, Gordon Darling Australia Pacific Print Fund 1998, Rosalie Gascoigne, Feathered fence, 1979, Gift of the artist 1994, Mirdidingkingathi Juwarnda Sally Gabori, Kayardild/Kaiadilt people, Outside Dibirdibi, 2008, Acquired with the Founding Donors Fund 2009, Emily Kame Kngwarreye, Anmatyerre people, Untitled (Alhalker), 1992, Collection: Art Gallery of New South Wales, Sydney. The vibrant patchwork of materials in this work including lamps, stockings, fabric and beer bottles forms an oversized cubbyhouse that evokes a childlike sense of wonder and discovery and a means of escape. Withdrawn. Artemisia Gentileschi (1593-1656) The Italian Baroque painter was born in Rome, the daughter of Tuscan. After travelling around Cornwall for the past week and meeting 4,598 dogs I realise I will have to do a blog on the Dogs of England! Installation view: Jenny Kee and Linda Jackson. In these two rooms, and across different media, artists show their connections with Country and their interest in the environment. Recalling the loss of family, Temin connects architectural forms and tenderness with the act of remembering, her faux-fur works reminiscent of childhood toys, soft to the touch and comforting. Rosa Bonheur (1822-1899) "The Highland Shepherd," by Rosa Bonheur, 1859. TEQSA: PRV12036. Share by Email, Copyright 2020 NAS | Website by Symbiosys. Anna Johanna Maria "Annita" van Iersel (born 5 October 1948), known as Annita Keating from 1975 to 1998, is a Dutch-born . Stacker has compiled a list of 25 female artists from the 20th century you should know. Donated through the Australian Government's Cultural Gifts Program, Mira Gojak, Transfer station 1, 2011, Purchased 2021, Lesley Dumbrell, Foehn, 1975, Purchased 1976, Virginia Cuppaidge, Lyon, 1972, Gift of the artist 2012, Gemma Smith, Cusp, 2019, Courtesy of Gemma Smith and Sarah Cottier Gallery, Sydney, Mary Webb, Joie de vivre, 1958, Collection: Art Gallery of New South Wales, Sydney. Angelica Kauffman (1741-1807) Swiss painter Angelica Kauffmann had an unusually successful career for a female artist of her time. Installation view: Barbara Campbell: Cries from the tower redux, Soprano singer Hannah Bleby performing Cries from the tower redux, Barbara Campbell and Clare Grant performing Cries from the tower redux, Barbara Campbell, Dubious letter from the performance Cries from the tower, 1992, Purchased 1995, Barbara Campbell, Clare Grant and Agatha Gothe-Snape performing Cries from the tower redux, Del Kathryn Barton, the infinite adjustment of the throatand then, a smile (detail), 2019, Courtesy of Del Kathryn Barton and Roslyn Oxley9, Sydney, Barbara Campbell performing Cries from the tower redux, View of the audience watching Cries from the tower redux, Kathy Temin, Pavilion garden (detail), 2012, Purchased 2017, Kathy Temin, Tombstone garden (detail), 2012, Purchased 2012, Barbara Campbell, Clare Grant and Agatha Gothe-Snape following their performance of Cries from the tower redux, Book your free Alice Hinton-Bateup, Kamilaroi/Wonnarua peoples, Ruths story, 1988, Gift of Marla Guppy 2019. Her favorite themes were empty landscapes, portraits and still lifes. In 1997, the Art Gallery of Western Australia hosted the first international women's art blockbuster in Australia with the touring exhibition Inside the Visible: An Elliptical Traverse of 20th Century Art, in, of and from the feminine. Pioneers such as the 19th century Heidelberg School protested and finally by the early 20th century it became acceptable to incorporate realistic naked figures in their works. The print echoes the self-consciously tasteful imagery of Proctors eclectic still-life compositions, although it was made several years after Feint and Proctor quarrelled and may be a barbed commentary on her work, rather than a respectful homage. Although this movement exposed widespread gender discrimination, it was also criticised for primarily advancing the voices of white, cisgender women (who are assigned female at birth and identify as women). The group of works on display here comes from their Spring 2019 collection WOMEN and offers an unapologetic account of the experience of womanhood. She began making colour linocuts in 1927, taught by her friend and contemporary Ethel Spowers. Works by Thea Proctor, Margaret Preston and Grace Cossington-Smith were dotted around the exhibition and we will take a close look at these three artists tomorrow. The women recognized as artists in this period were either nuns or children of painters. Black reduced these forms to very basic geometric shapes in a compressed picture plane, influenced by the principles of cubism. The popular American art movement has plenty of female practitioners. This is the largest of Perrys linocuts and shows the Sydney Harbour Bridge under construction. Printmaking has been an important and respected art form in Australia since the late 19th century, with painters such as Tom Roberts and Julian Ashton making etchings as a small, but significant, part of their practice. . Purchased 2019, Flamingo Park (fashion house), Linda Jackson (designer), Jenny Kee (designer), Opal Oz outfit, 1981, Gift of Jane de Teliga 1987, Flamingo Park (fashion house), Linda Jackson (designer), Jenny Kee (designer), Universal Opal Oz outfit, 1984, Purchased 1985, Bush Couture (fashion house), Linda Jackson (designer), Black rainbow opal outfit, 1985, Purchased from Gallery admission charges 1985, Linda Jackson, Olga Ayers Rock coat, circle top and dirndl skirt, 1980-81, Purchased 1981. AGNSW collection Dorrit Black Music 1927-1928. A Free Flame: Australian Women Writers and Vocation in the Twentieth Century by Ann-Marie Priest is published by UWA Publishing. In the early twentieth century, artists including Agnes Goodsir and Bessie Davidson found support outside of Australia, particularly in France, where they were able to live in creative communities, free from expectations of marriage and other heterosexual norms. Isabel Davies, Kitchen creation (detail), 1977, Collection: Mildura Arts Centre, Victoria. The sky, harbour and foreground trees surge with the same energy as the passing ferries, echoing the dynamic curves of the bridge. A prodigious artist, she left 560 paintings after her death at the age of only 31. Her work is based in conceptual art and shows some attributes of feminism . Seeking to capture the spirit of the new age, printmakers sought new ways of expressing values that were reshaping the cities and towns. In Scenes on the death of nature, Ferran used the camera to explore the pleasure and ethics of looking. This drawing for the linocut Kirribilli (The little steamer) is notable because the image appears in the same orientation as the final print. Tjanpi Desert Weavers: Dorcas Tinnimai Bennett (Ngaanyatjarra people), Cynthia Nyungalya Burke (Ngaanyatjarra people), Roma Yanyakarri Butler (Ngaanyatjarra people), Judith Yinyika Chambers, (Ngaanyatjarra people), Chriselda Farmer (Pitjantjatjara people), Polly Pawuya Jackson, (Ngaanyatjarra people), Joyce James (Ngaanyatjarra and Pitjantjatjara people), Eunice Yunurupa Porter (Ngaanyatjarra people), Winifred Puntjina Reid (Ngaanyatjarra people), Rosalie Richards, (Ngaanyatjarra people), Delilah Shepherd (Ngaanyatjarra people), Erica Ikunga Shorty, (Ngaanyatjarra people), Dallas Smythe (Ngaanyatjarra people), Martha Yunurupa Ward, (Ngaanyatjarra people), Nancy Nangawarra Ward (Ngaanyatjarra people), Kungkarangkalpa (Seven Sisters), 2020, Commissioned by the National Gallery of Australia, Canberra 2020, Tjungkara Ken, Pitjantjatjara people, Seven Sisters, 2012, Purchased 2012, Topsy Tjulyata, Pitjantjatjara people, Kungkarangkalpa: Seven Sisters story, 1992, Purchased 1993, Ken Family Collaborative: Freda Brady (Pitjantjatjara people), Sandra Ken (Pitjantjatjara people), Tjungkara Ken (Pitjantjatjara people), Paniny Mick (Pitjantjatjara people), Maringka Tunkin (Pitjantjatjara people), Tingila Yaritji Young (Pitjantjatjara people), Seven Sisters, Purchased 2020, Ken Family Collaborative: Freda Brady (Pitjantjatjara people), Sandra Ken (Pitjantjatjara people), Tjungkara Ken (Pitjantjatjara people), Paniny Mick (Pitjantjatjara people), Maringka Tunkin (Pitjantjatjara people), Tingila Yaritji Young (Pitjantjatjara people), Kangkura-KangkuraKu Tjukurpa A sisters story, 2017, Collection: Art Gallery of South Australia, Adelaide.