Skip to content
  • Open today 9am–5pm
  • Free general admission

We are updating our new website in stages. This page will be changed to the new design but is not currently optimised for mobile devices.

You are in site section: Exhibitions

The exhibition

George Milpurrurru

George Milpurrurru. Photo: Luke Taylor.

Old Masters spans a critical period in the history of the art of Arnhem Land and its peoples, from 1948 to 1988.

The Second World War is a significant historical marker for the people of Arnhem Land, due to the bombing of Darwin and parts of the northern coast of the region.

Anthropologists arrived after the war, and were followed by the collectors, both private and public, to see at firsthand the art of Arnhem Land, and to meet its creators and collect their work. They took their art to new audiences, in Australia and abroad.

The National Museum of Australia opened to the public in 2001. By and large its collections have been confined to storage, and many of the artists have been little known outside their communities.

Nonetheless, over the past decades the old masters in this exhibition have attracted the attention of the art world and the public at large; and recent generations of Arnhem Land bark painters continue to build on their artistic heritage, taking their art in new directions while building on past achievements.

Old Masters is a small taste of the Museum’s collection of bark paintings; it is but a sample of the richness, diversity and complexity of Indigenous cultures across Australia. Through this exhibition, the Museum encourages all Australians to share in the history and culture of Indigenous Australians.


This text is an extract from consultant curator Wally Caruana’s ‘Introduction’ to the exhibition catalogue, Old Masters: Australias Great Bark Artists.

Introduction

Read the full catalogue ‘Introduction’ by Wally Caruana

Identity

The expression of identity is a recurring theme in bark painting and is key to understanding how to read the 122 works on show in Old Masters.

More on identity in bark painting

Return to Top