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25.01.2022 Stories hidden in plain sight. Louie Pwerles Young Man Learning the Law, 1996, 90x150, 96D025.

25.01.2022 In the spotlight Lit up on the wall, Emily Kame Kngwarreyes Gathering Yams, 1995.

25.01.2022 Lily Sandover Kngwarreye - Emily Kame Kngwarreyes closest friend - painted her sacred place, Enteebra. The detailed lines of Ayippa grass combined with a topographical overview of her Country create works such as this - delicate, detailed and utterly unique. Lily Sandover Kngwarreye, 'Enteebra', 2000, 00H030, 120x120cm

25.01.2022 #Repost @ngvmelbourne - the iconic #delmoreemily Big Yam Dreaming, 1995. Emily Kam Kngwarray initiated a revolution. In conceptual works such as this late masterwork her art resisted interpretation as any kind of narrative, map-making, diagram or landscape: it was no longer notation but a form of visual music. Kngwarray's monochrome painting Anwerlarr Anganenty (Big Yam Dreaming) explores important aspects of her cultural heritage. The vast composition, accomplished in... a single, continuous stroke, conceptualises the veins, sinews and contours of Alhalker, Emily's birthplace, as seen from a planar perspective. Embracing the monumental surface, Kngwarrays vision appears throughout the piece in contrasting rhythms: angular, meandering long stretches, short jabs of tension, energetic rushes and volatile lines. The drawing signifies the subterranean roots of the long tuberous vegetable, the cracks that form in the ground when the pencil yam ripens and the striped body paintings worn by Anmatyerr women in awely ceremonies. Listen to our audio playlist featuring contemporary voices sharing their thoughts on this monumental work, Indigenous Australian culture and the significance of yams as food and cultural icon. Link in bio. #NGVEveryDay Emily Kam Kngwarray Anwerlarr anganenty (Big yam Dreaming) 1995 National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria by Donald and Janet Holt and family, Governors, 1995 Emily Kam Kngwarray/Licensed by Copyright Agency, Australia Audio playlist: Presented by The Wheeler Centre.

24.01.2022 Greeny Purvis Petyarre was the eldest of Emily Kngwarreyes nephews. He was the senior boss of The Emu Dreaming. As Emilys closest male relative and an important Anmatyerre lawman, Greeny was responsible for the Sorry Business. He had two sell out solo exhibitions with Gallery Gabrielle Pizzi in Melbourne. During the second exhibition in 1994, Gabriel told Don Holt that, in her opinion, Greeny was at that time, The most sophisticated male Aboriginal artist in Australia. Greeny is sorely missed. Greeny Purvis Petyarre, Old Man Emu, 2000, 121x122cm, 00K001.

24.01.2022 Lily Sandover Kngwarreye - Emily Kame Kngwarreye’s closest friend - painted her sacred place, Enteebra. The detailed lines of Ayippa grass combined with a topographical overview of her Country create works such as this - delicate, detailed and utterly unique. Lily Sandover Kngwarreye, 'Enteebra', 2000, 00H030, 120x120cm

24.01.2022 Alalgura Landscape IV, 1994 was painted during a romantic, stylistically transitional period and is included in our survey publication, Emily Kngwarreye Paintings (1998).

23.01.2022 Polly Ngales Wild Plum, 2009 is painted in the classic colours of red, yellow and white. This choice not only differentiates from her sisters (Kathleen and Angeline) palettes, but signals her seniority as the eldest sister, as her chosen colours are more ceremonially significant than that of her sisters. Details: 120x210cm, code 09A001.

23.01.2022 Lindsay Bird is the only living nephew of Emily Kame Kngwarreye. He is a respected elder and tribal leader of the Anmatyerre tribe. Lindsays paintings are iconic, often depicting the sacred ceremonial sites where 'Mens Business' is conducted. This powerful painting represents the teaching of the young men of his community, Mulga Bore, south of Utopia. Lindsay Bird, 1994, 90x150cm, 94D008.

23.01.2022 In Ceremony, 1994, Emilys sequential dotting within vertical lines recalls the ritual of anointing the performative body with linear designs during Anmatyerre ceremony, recreating the rippling movement of people gathered and the flickering of campfires. Details: Emily Kngwarreye, 152x121.5cm, 94H054.

21.01.2022 This densely layered beauty, Merne Everything VI, is featured in our book Emily Kngwarreye Paintings (1998). Details: 1994, 94A104, 120x150cm.

21.01.2022 There is nothing repetitive about Louie Pwerles paintings. Each work was approached as a new and valuable opportunity to talk about, express and illustrate Anmatyerre law and his Dreaming. Louie Pwerle, Young Man Learning the Law, 1998, 120x150cm, 98D022.

19.01.2022 A jewel from Emily Kame Kngwarreyes golden period in 1995, Early Summer Yams, 120x150cm, 95K008.

18.01.2022 Inspired by an abundant crop of succulent, sweet berries, Angeline Ngales Wild Plum celebrates with dazzling effect the dreaming of her ancestors and their deep connection with the anwekety or conkerberry bush. Angeline Ngale (Kngale), 'Wild Plum', 1998, 98G015, 90x120cm

18.01.2022 Louie Pwerle was an Anmatyerre elder and law man, highly respected by all who knew him. His paintings are strong and elegantly composed. In conversation with Louie about the stars, it was clear that what happens up there is entirely connected to what happens on the earth - a continual loop of journeys and arrivals between sacred places taking place in the past, present and into the future. His paintings have a similar quality, the authority of his voice as strong then before his early passing, as it is now, and into the future for all the young men fortunate enough to be taught the ways of the Anmatyerre by him. Young men learning the Law, 1995, 90x150cm, 95H055.

18.01.2022 Emily Kame Kngwarreyes Wandering Emu II, 1995, 90x120cm was painted during a period in which Emily moved seamlessly between styles previously mastered, occasionally morphing these styles to create delicate yet structured compositions such as this. Throw in a rare inclusion of blue and - - one of our favourite little gems. Code: 95D041.

17.01.2022 Painted in August 1992 during a characteristically dry central Australian winter, this somber, powerful painting truthfully reflects the season, mood and condition of Emilys Country, Alhalkere. Details: Alhalkere, my Country, 1992, 92H014, synthetic polymer on Belgian linen, 120x150cm.

16.01.2022 One of a few works marking a period of prolonged mourning in Emilys life, 'Mourning Story II', 1991, 120x150cm, 1Y46.

16.01.2022 Another Wild Turkey ceremonial work by the remarkable Cowboy Louie Pwerle. In his Dreaming, the Bush Hen roams the land leaving tracks between, and by, the soakages (places of water) in Atnwengerrp land on Utopia. Cowboy Louie Pwerle, 1994, 120x150cm, 94L038.

16.01.2022 Painted at Don Holts home (Delmore Downs) in the Northern Territory, A DESERT LIFE CYCLE III, is an aerial view of Emilys Country, Alhalkere,(Alalgura) close to The Sandover River where her totemic wild yam (arlatyey) and bush potato (anatye) grow in abundance, shaded by the ghost gums (Eucalyptus Papuana), which cover the landscape like a parkland. In a stunning, layered approach with colour, we see the sporadic clustered growth of plants in different stages of maturity. Another wonderful #delmoreemily Emily Kame Kngwarreye. Code: 1S14, 230.0 x 130.0 cm

16.01.2022 Emily Kame Kngwarreyes Early Summer Flowers, 1994, 120x150cm, 94L16.

15.01.2022 This beautiful example of Emily Kngwarreyes fine dot work was painted at the Delmore guest quarters on the 5th of January, 1992. Details: Kame Summer Awelye, 121x208cm, code 92A13.

14.01.2022 #Repost @nationalgalleryaus with Emily Kngwarreye included in the amazing campaign #knowmyname Today 76 works of art, by 45 women-identifying artists will be exhibited on 1500 signs across @oohmedias network of billboards and digital signs across metropolitan and regional Australia for six weeks. When you find them, snap a pic and tag us @nationalgalleryaus. #KnowMyName #5WomenArtists . [Emily Kame Kngwarreye Anmatyerr people 'Yam awely' 1995 Emily Kame Kngwarreye/Copyright Agency]

14.01.2022 Wild Plum by Polly Ngale celebrates the colours and lifecycle of her anwekety/conkerberry dreaming. This bush plum provides a succulent berry that ripens through a variety of colours, from deep reds to purples. Polly's paintings often depict the bright yellow seeds, a feast for emus, amongst the bush plums. Polly Ngale (Kngale), 'Wild Plum', 2008, 08I29, 90x150cm

13.01.2022 Gracie Pwerle’s exquisite fine dot work celebrates her central Dreaming of anwekety or bush plum. Whilst focusing in on flora, she simultaneously provides a topographical view of the landscape of her Country, Alhalkere, with a distinct sense of movement, directing your eye across the landscape. Gracie Pwerle, Painting 98L001, 1998, 90x150cm

12.01.2022 Emily Kame Kngwarreyes Ntange, 1994. In late September 1994 Emily briefly left yam lines aside and explored line in the form of grass, or ntange. This unique painting is plate 62 in our book, Emily Kngwarreye Paintings (1998).

12.01.2022 Happy Friday everyone! Here we have a petite lined work by Emily Kame Kngwarreye from mid 1994. To enquire contact us at [email protected]. Code: 94H035.

12.01.2022 Reflecting on Emily Kngwarreyes masterpiece Desert Storm, 1992, Don Holt recalls: Emily had been visiting us at Delmore Downs for many years, so we knew her very well before one day in April 1989, she asked for paint and brushes. In December 1992, while she was painting this brilliant work at our home, Emily was so happy as she sang in her language, about the profusion of wildflowers covering the land on Utopia. She explained to me that this painting was her Country from above, a birds eye view. She pointed out the central area in the painting where the yams grew. Her sacred, special yams. Another exquisite #delmoreemily Code: 92L113, 121.6x310cm

11.01.2022 Cowboy Louie (or Cowboy Louie Pwerle) is the younger brother of Louie Pwerle. He first started painting for Delmore Gallery in April 1989. He paints The Wild Turkey (Bush Hen) which is his responsibility. The wild turkeys are a great food source for the Anmatyerre people, and this painting is one of an important series of his Bush Turkey Dreaming. Cowboy is represented in many important collections including the National Gallery of Victoria and the National Gallery of Australia. Cowboy Louie Pwerle, 1991, 120x210cm, 1U83.

11.01.2022 Kathleen Petyarres Sandhills, 1999 is a museum quality piece. To enquire contact us at [email protected]. Details: code 99I008, 150x150cm.

10.01.2022 Wild Plum by Kathleen Ngale celebrates the colours and lifecycle of her anwekety/conkerberry dreaming. This bush plum provides a succulent berry that ripens through a variety of colours, from deep reds to purples, with delicate greenery and white flowers. Captured here in Kathleens classic pastel palette. Kathleen Ngale (Kngale), 'Wild Plum', 2007, 07H01, 122x152cm

09.01.2022 Kathleen Petyarres Sandhills', 1999 is a museum quality piece. To enquire contact us at [email protected]. Details: code 99I008, 150x150cm.

09.01.2022 Wild plum all over Polly Ngales piece from 2005 is a classic Polly - yellow, red and white - with a generous helping of spontaneous abandon. Details: Wild Plum, 2005, 120x150cm, code 05L012.

08.01.2022 Painted at Don Holt’s home (Delmore Downs) in the Northern Territory, A DESERT LIFE CYCLE III, is an aerial view of Emily’s Country, Alhalkere,(Alalgura) close to The Sandover River where her totemic wild yam (arlatyey) and bush potato (anatye) grow in abundance, shaded by the ghost gums (Eucalyptus Papuana), which cover the landscape like a parkland. In a stunning, layered approach with colour, we see the sporadic clustered growth of plants in different stages of maturity. Another wonderful #delmoreemily Emily Kame Kngwarreye. Code: 1S14, 230.0 x 130.0 cm

08.01.2022 This extraordinary painting is one of the early works in Dave Pwerle Rosss Star Dreaming series. Dave is represented in several public collections including the National Gallery of Victoria, Art Gallery of WA, Queensland Art Gallery, Musée du quai Branly and in private collections in Australia and overseas. In 1991 Dave, along with 25 other Indigenous artists from around the world, was commissioned by the Smithsonian Institution as part of a competition to paint a large replica of the space shuttle "Endeavour. Daves entry was one of three to be acquired by the Smithsonians permanent collection. Dave Pwerle Ross Star Dreaming, 1990, 120x150cm, 0N32.

07.01.2022 Emily Kame Kngwarreyes Merne Akngerre has been in the Delmore Collection for 27 years. Painted at Delmore in November 1992, measuring just over 3 metres in length and featured in our book, Emily Kngwarreye Paintings (1998), its a museum quality work - another spectacular Delmore Emily.

06.01.2022 Moody winter hues in June of 1993, Emily Kame Kngwarreye, 90x120cm, code 93F068.

06.01.2022 One of a few works marking a period of prolonged mourning in Emilys life, Mourning Story II, 1991, 120x150cm, 1Y46.

06.01.2022 Inspired by an abundant crop of succulent, sweet berries, Angeline Ngale’s ‘Wild Plum’ celebrates with dazzling effect the dreaming of her ancestors and their deep connection with the anwekety or conkerberry bush. Angeline Ngale (Kngale), 'Wild Plum', 1998, 98G015, 90x120cm

05.01.2022 ‘Wild Plum’ by Polly Ngale celebrates the colours and lifecycle of her anwekety/conkerberry dreaming. This bush plum provides a succulent berry that ripens through a variety of colours, from deep reds to purples. Polly's paintings often depict the bright yellow seeds, a feast for emus, amongst the bush plums. Polly Ngale (Kngale), 'Wild Plum', 2008, 08I29, 90x150cm

04.01.2022 This was the first of a series of powerful Star Dreaming paintings by the remarkable Dave Pwerle Ross. Dave was a senior law man of the highest regard, both knowledgeable and influential. His death last year was a great loss to all who knew him, not withstanding a personal loss to Don Holt, with whom he who shared a strong friendship and long history. Dave Pwerle Ross Star Dreaming, 1991, 150x230, 1Y35.

03.01.2022 Enjoy the soft pastel pinks of Kathleen Ngales Wild Plum, 2010, 90x150cm. To enquire contact [email protected]. Code: 10K009.

02.01.2022 Emily Kngwarreye explores a cool palette in this painting from the monetesque clouds of 1993.

01.01.2022 A classic Delmore Emily Awelye, 1994 by Emily Kame Kngwarreye. Awelye is plate 46 in our book, Emily Kngwarreye Paintings. Code: 94A022

01.01.2022 Wild Plum by Kathleen Ngale celebrates the colours and lifecycle of her anwekety dreaming. Wild Plum, 2007, 07J22, 152x210cm

01.01.2022 Reflecting on Emilys masterpiece Desert Storm, 1992 today: This is a striking instance of body and country becoming one: her body reaches in, her arms stretch across space, her breasts drag on it, nurture it with paint, a woman drawing her country with her bodys reach, imprinting her sacred body markings on it, and then bringing it back in to her body. Fluidity of movement gives the painting structure, it exists only as a result of the artists bodys movements traced as... paint. Our acts of seeing, our sense of three kinds of space as simultaneously present, become engulfed in this materiality. What emerges is not these three spatial readings as alternatives, but a folding of each of them into the others, a fluidity in which each of them survives only as a glimpse, as one content among others, like a jetsam in a rushing flood, a strong scent caught on a cold wind after rain or an overwhelming flash of memory in this case, joyous. Terry Smith, Emily Kngwarreye Paintings, 1998, p.32. Another exquisite #delmoreemily #emilykamekngwarreye #epic #masterpiece #delmoregallery See more