Null Gloria PETYARRE (c38/45-2021) - ART ABORIGENE
Bush medicine leaves, 2012
Ac…
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Gloria PETYARRE (c38/45-2021) - ART ABORIGENE Bush medicine leaves, 2012 Acrylic on canvas (without stretcher) 150 x 91 cm approx. Certificate from Colin Stevens

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Gloria PETYARRE (c38/45-2021) - ART ABORIGENE Bush medicine leaves, 2012 Acrylic on canvas (without stretcher) 150 x 91 cm approx. Certificate from Colin Stevens

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BRIAN DETTMER (Naperville, Illinois. 1974). "Paper-desk," 2007. Mixed media. Signed, titled and dated. Measurements: 47 x 46.5 x 10.5 cm. 49 x 99 x 13 cm. (with urn). Brian Dettmer became known for his surprising alterations of paper supports, such as old books, newspapers and maps, to create a new work. It is in this vein that the present work is situated, an abstract and textured composition that originates from recycling. Much of Dettmer's current work consists of altering books, such as old dictionaries, encyclopedias, textbooks, science and engineering books, art books, medical guides, history books, atlases, comics, wallpaper samplers and others. Dettmer stamps and trims the books, exposing selected images and text to create intricate three-dimensional derivative works that reveal new or alternative interpretations of the books. Dettmer never inserts or displaces the content of the books (Moayeri 2008). This process is carried out with no pre-planning or tracing of the contents before cutting the book (Cullum 2010). While cutting away the unwanted material with knives, tweezers and surgical tools, Dettmer stabilizes the remaining paper with a varnish (Fox 2009). An early example of Dettmer's altered books is his 2003 work, New International Dictionary, an original 1947 unabridged dictionary, stamped and cut to expose images within the dictionary (Sundell 2005, at p. 70). Dettmer has subsequently expanded his process by folding, creasing, folding, rolling or stacking one or more books before sealing and cutting them or, in some cases, sanding them to create various forms. Dettmer has also constructed larger sculptures using complete sets of encyclopedias and other reference books. Other notable examples of media transformed by Dettmer include music cassette tapes melted down and turned into a life-size human skeleton (Tyson 2007) and various animal skulls; cut-up and overlaid road maps of the United States and the Middle East (Packer 2005) and three-dimensional map sculptures; VHS videotapes of gangster movies unraveled and turned into funeral flower arrangements; and a controversial reconfiguration of audio excerpts from George W. Bush's 2002 State of the Union Address (Feigly 2003) (Feigly 2003). Brian Dettmer's work has been published and exhibited widely in museums, art centers and galleries around the world, including the Smithsonian (Washington D.C. ), Museum of Arts and Design (New York), Virginia Museum of Contemporary Art (Virginia), Museum of Contemporary Art (Georgia), Museum Rijswijh (Netherlands), Wellcome Collection (United Kingdom), Bellevue Arts Museum (Washington), The Kohler Arts Center (Wisconsin), Pérez Art Museum Miami (Florida),[1] and Illinois State Museum (Illinois). His work is in public and private collections in the United States, Latin America, Europe, Australia and Asia.

TJAMITJINPA Ronnie (1943-2023) Tingari cycles acrylic on canvas prepared in black signed lower center 92 x 122 cm PROVENANCE: Number 1 Company Ply Ltd - African Muse Gallery - Private collection This lot is presented by Stéphane Jacob-Langevin Ronnie Tjampitjimpa (c.1940-2023) is one of the great names in Aboriginal desert painting. Originally from Kintore, west of Papunya in the central desert, he has been painting since 1971, in other words, since the beginnings of "contemporary" Aboriginal painting, when under the impetus of Geoffrey Bardon - an art teacher based in the region - Aborigines began to reproduce on their school walls, then on plywood sheets and finally on canvas, the paintings they had previously produced for ritual purposes. Ronnie draws his inspiration from the myths associated with the Tingari Men, the great ancestors of the Dreamtime that the Pintupi still celebrate today. These mythical men roamed the Australian territory accompanied by their wives and young apprentices. They would initiate them as they went along. The initiations took place at sites they created, which still exist today: it is here that the Aborigines commemorate their memory during ceremonies in which they paint motifs on the ground evoking the Dreamtime. More often than not - and this is the case here - the works inspired by the Tingari ancestors retrace in stylized form the paths they once followed in the desert. Highly geometric in inspiration, these "tracks" often have the appearance of more or less complex labyrinths that structure the clan territories of central desert communities. They are depicted as if seen from the sky, but there is no particular way of reading such canvases: neither right nor left, neither up nor down. Collections:- Musée du Quai Branly, Paris- Aboriginal Art Museum, Utrecht, Holland- National Gallery of Australia, Canberra - National Gallery of Victoria, Melbourne - Museum & Art Gallery of the Northern Territory, Darwin - Art Gallery of Western Australia, Perth, etc.