Opened this week (14 October), NGV Australia has presented a new approach to First Nations bark painting with the impressive hang, Bark Salon. The opening coincides with the first anniversary of the ‘No’ vote on last year’s Referendum for a First Nations voice in Parliament.
Walking into this space, it is as though an arena of voices surrounds the viewer. It feels very fitting, and a silent and smart act of affirmation.
Featuring more than 160 bark paintings hung from floor to ceiling, Bark Salon is a large-scale display of First Nations bark painting, “that references – and subverts – the traditional European salons of the 18th and 19th centuries,” explains the Gallery.
The salon hang is a very colonial mode of presentation, and choosing to use it takes agency over those systems of power, and to allow First Nations voices to show just how dynamic and different culture is in their hands.
The Gallery adds: “During the 18th, 19th and 20th centuries, the salon served as a critical platform for artists to exhibit their work to potential patrons. The space, hung en masse, was notably democratic; it welcomed not only aristocrats and the bourgeoisie, but also individuals from diverse social and economic backgrounds. The salon also functioned as a pivotal forum for dictating aesthetic tastes, which in turn inspired rebellion from artists experimenting with subject matter, form and tradition.”
NGV Director Tony Ellwood AM said of the new presentation: “Since the NGV began acquiring the work of First Peoples, bark painting has been a focus and strength. The NGV has been working with First Nations communities to build one of the country’s most significant collections of bark painting that represents the dynamism and diversity of the art form. This creative and thought-provoking display, referencing the traditional European salon hang, offers an opportunity for audiences to experience some of the icons of this collection in surprising and unexpected ways.”
Faced with the sheer volume of barks, the installation feels immersive, picking up on current trends. However, it also is a great lesson in a quick grasp – viewers cannot help recognise the radical experimentation as bark painting has moved from traditional perceptions into a vibrant contemporary medium. It’s possible to pit one bark against another to raise questions and expand understanding.
The exhibition spans eight decades from the 1950s to today, and features bark paintings from Yirrkala, Melville Island, Ramingining, Elcho Island, Kalumburu, Maningrida and more. Among the works are those from some of Australia’s most respected First Nations leaders and pioneering artists, including many women artists.
Bark Paintings typically are made using Stringybark (Eucalyptus tetradonta), which is cut from the tree in the wet season. The barks on display use both traditional ochre pigments and acrylic paints.
Bark Salon can be viewed at the Ian Potter Centre: NGV Australia’s dedicated First Nations galleries, Wurrdha Marra. It is free to visit.
