Bush Women

this page from top John Kean, June Moorhouse, Pantjiti Mary McLean and Queenie McKenzie (Gara-Gara) at Fremantle Arts Centre, 1994. Tjapartji Kanytjuri Bates and Pantjiti Mary McLean at Fremantle Arts Centre, 1994. Queenie McKenzie (Gara-Gara) at Fremantle Arts Centre, 1994. All photographs Nalda Searles. following page from top Tjingapa Davies, Right Way to have a Kurri, 1992, acrylic polymer on 15–18 cotton canvas, 127.9 by 93.5 cm. Courtesy the Warburton Arts Project. Tommy Lowry Tjapaltjarri, The Artist’s Country from Tjuntju to Kalipyinpa, 1983, synthetic polymer paint on canvas, 107.0 by 152.5 cm. Commissioned in 1983. Gift of The Sportscraft Sportsgirl Group. Art Collection, Arts Centre Melbourne. Photograph Mark Ashkanasy.

Curating Bush Women in 1994

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Bush Women

Published on Oct 4, 2018

Fremantle Arts Centre

In the 1990s, women from remote Australia became prominent in the Australian artworld. After a centure dominated by male artists, Emily Kame Kngwarreye, Pantjiti Mary McLean, Queenie McKenzie (Gara-Gara) and other women began to find a place on the walls of galleries and homes around the country. They captured the imagination with their distinct visions of growing up in the bush, of working on pastoral stations and living in missions. They showed a different side of Australian history, one full of the dramas of living in the desert and small settlements. Fremantle Arts Centre's 1994 exhibition Bush Women: Fresh Art From Remote WA contributing to the forging of a new frontier in the continent's imagination, as it brought together women from the freshwater country of the north-west of WA and artists from the deserts of the Ngaanyatjarra Lands in the south-east. It was the first exhibition to show the extent of this women's art movement in WA. In 2018, Fremantle Arts Centre restaged Bush Women.

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Bush Women by Fremantle Arts Centre - Issuu