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Aboriginal Studies Department, Museum of Victoria, Women's Work: Aboriginal Artefacts in the Museum of Victoria, Melbourne, 1992.

ATSIC, Through Women's Eyes, Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra, 1991.

Jennifer Loureide Biddle, Breasts, Bodies, Canvas: Central Desert Art as Experience, University of New South Wales Press, Sydney, 2007.

Michael Boulter, The Art of Utopia: A New Direction in Contemporary Aboriginal art, Craftsman House, Sydney, 1991.

Anne Marie Brody, Utopia: A Picture Story: 88 Silk Batiks from the Robert Holmes à Court Collection, Heytesbury Pty Ltd, Perth, 1990.

Anne Marie  Brody, (ed.), Stories: Eleven Aboriginal Artists, Craftsman House, Sydney, 1997.

Rex Butler, A Secret History of Australian Art, Craftsman House Fine Art Publishing, St Leonards, 2002.

Belinda Carrigan, (ed.), Utopia: Ancient Cultures, New Forms, Heytesbury Holdings Ltd and the Art Gallery of Western Australia, Perth, 1998.

Wally Caruana, Aboriginal Art, World of Art Series, Thames and Hudson, London, 1993.

Max Charlesworth, Francoise Dussart and Howard Morphy, Aboriginal Religions in Australia: An Anthology of Recent Writings, Aldershot, Hants, England; Burlington, VT; Ashgate, 2005.

Rosemary Crumlin and Anthony Knight, Aboriginal Art and Spirituality, Collins Dove, Melbourne, 1991.

Michael Eather et al. (eds), Dreamtime: Zeitgenössische Aboriginal Art, Remaprint, Klosterneuburg, Austria, 2001.

Hank Ebes, Nangara, Australian Aboriginal Art Exhibition from the Ebes Collection (2 vols), Aboriginal Gallery of Dreamings, Melbourne, 1996.

Bronwyn Bancroft, 'Mystical lyricist: a personal view: Emily Kame Kngwarreye', Art and Australia, vol. 36, no. 2, 1998, pp. 196–8.

Philip Batty, 'Selling Emily: Confessions of a white advisor', Artlink, vol. 27, no. 2, 2007, pp. 68–71.

Roger Benjamin, 'Aboriginal art: Exploitation or empowerment?', Art in America, vol. 78, no. 7, July 1990, pp. 211–6.

Jennifer Loureide Biddle, 'Breasts, bodies, art: Central desert women's paintings and the politics of the aesthetic encounter', Cultural Studies Review, vol. 12, no. 1, March 2006, pp. 16–31.

Jennifer Loureide Biddle, 'Country, skin, canvas: The intercorporeal art of Kathleen Petyarre', Australian and New Zealand Journal of Art, vol. 4, no. 1, 2003, pp. 61–76.

Jennifer Loureide Biddle, 'Inscribing identity: Skin as Country in the central desert', in Sara Ahmed and Jackie Stacey (eds), Thinking Through the Skin, Routledge, London and New York, 2001.

Rex Butler, 'Aboriginal art out of context', Eyeline, no. 55, spring, 2004, pp. 26–9.

Rex Butler, 'Emily Kame Kngwarreye and the undeconstructible space of justice', Eyeline, no. 3, autumn/winter, 1998, pp. 24–30.

Rex Butler, 'The impossible painter', Australian Art Collector, issue 2, October–December, 1997, pp. 42–5.

Rex Butler, 'Introduction' in Butler, R (ed.), Radical Revisionism: An Anthology of Australian Art, Institute of Modern Art, Brisbane, 2005, pp. 7–37.

Rex Butler, 'My, sir does know what he wants', Art Monthly, no. 77, March 2005, pp. 19–20.

Rex Butler, 'Three signs of the contemporary', Contemporary Visual Arts and Culture Broadsheet, vol. 34, no. 2, 2005, pp. 106–7.

Julie Copeland, 'The land and the market', Art Monthly Australia, no. 83, September 1995, pp. 4–9.

Adam Dutkiewicz, 'From appreciation to appropriation', JAS, Australia's Public Intellectual Forum, no. 64, 2000, pp. 117–9.

Mary Eagle, 'Traditions of representing the land in Aboriginal art', Art and Australia, vol. 37, no. 2, 1999, pp. 236–44.

Deborah Edwards, 'Emily Kame Kngwarreye' in Tradition Today: Indigenous Art in Australia, Art Gallery of New South Wales, Sydney, 2004, pp. 58–61.

Heather Ellyard, 'Big Yam Dreaming', Art and Australia, vol. 36, no. 4, 1999, pp. 490–91.

Denise Green, 'Painting post Greenburg', Art Monthly Australia, no. 87, March 1996, pp. 20–23.

Jenny Green, J, 'Emily Kame Kngwarray: An accidental modernist', Artlink, vol. 20, no. 1, 2000, pp. 17–19.

Jenny Green, 'The enigma of Emily Kngwarray' in Max Charlesworth, Françoise Dussart and Howard Morphy, Aboriginal Religions in Australia: An Anthology of Recent Writings, Aldershot, Hants, England; Burlington, VT; Ashgate, 2005, pp. 185–92.

Jenny Green, 'Holding the country: Art from Utopia and the Sandover' in One Sun, One Moon: Aboriginal Art in Australia, Art Gallery of New South Wales, Sydney, 2007, pp. 203–9.

Jennifer Green, 'Utopian women' in White, I, et al. (eds), Fighters and Singers: Some of the Lives of Aboriginal Women, Allen and Unwin, Sydney, 1985, pp. 55–67.

Christopher Hodges, 'Kngwarreye', Art and Australia, vol. 34, no. 3, 1997, pp. 330–1.

Christopher Hodges, 'Utopia', Artlink: Contemporary and Aboriginal Art, vol. 10, nos 1 & 2, 1992, pp. 9–10.

Robert Hollingworth, 'Looking at (not seeing): Reconsidering the work of Emily Kame Kngwarreye', Art Monthly, no. 115, November 1998, pp. 15–17.

Jennifer Isaacs, 'Bush gardens', Art and Australia, vol. 35, no. 4, 1998, pp. 510–17.

Vivien Johnson, 'Is there a gender issue in Aboriginal art?', Art and Australia, vol. 32, no. 3, autumn, 1995, pp. 350–7.

Vivien Johnson, 'Twentieth century dreaming: Contemporary Aboriginal art', Art and Australia Pacific, vol. 1, no. 1, December 1993, pp. 71–78.

Vivien Johnson, 'Upon a painted emotion', Art and Australia, vol. 30, no. 2, summer, 1992, pp. 238–40.

Victoria King, 'Embodied perceptions: Aboriginal expressions of place', in John Cameron (ed.), Changing Places: Re-Imagining Australia, Longueville Books, Sydney, 2003, pp. 286–95.

Victoria King, 'Utopia now: A journey to Emily's country', Art and Australia, vol. 37, no. 4, June–August, 2000, pp. 524–5.

Marcia Langton, 'Dreaming art' in Nikos Papestergiadis (ed.), Complex Entanglements: Art, Globalisation and Cultural Difference, Rivers Oram, London, 2003, pp. 42–56.

Marcia Langton, 'Homeland: Sacred visions and the settler state', Artlink, vol. 20, no. 1, 2000, pp. 11–16.

Michelle McDonald, 'The problem of criticism: Emily Kame Kngwarreye', Art Monthly, no. 108, April 1998, pp. 20–21.

Susan Manford, ‘Eight Emilys’, Art Write, no. 23, July 2001, viewed 15 May 2006.

Bernice Murphy, 'Australian art: Examining its past, re-imagining its future (a partial itinerary 1970–2000)' in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Books, Australian National University, Canberra, 2005, pp. 460–82.

Stephen Craig Naylor, 'Australia's representation at the Venice Biennale', Art and Australia, vol. 40, no. 4, June–August, 2003, pp. 594–601.

Margo Neale, 'Cult of cultural convergence: Black on white or white on black', Art Monthly, no. 72, April 1994, pp. 7–8.

Margo Neale, 'Marks of meaning', in Margo Neale (ed.), Utopia: The Genius of Emily Kame Kngwarreye, National Museum of Australia/National Museum of Art, Osaka/National Art Center, Tokyo/The Yomiuri Shimbun, Tokyo, 2008, pp. 33–47.

Margo Neale, 'The politics of visibility: How Aboriginal art found its way into art galleries', in Caroline Turner (ed.), Art and Social Change: Contemporary Art in Asia and the Pacific, Pandanus Books, Australian National University, Canberra, 2005, pp. 483–97.

Margo Neale, 'Two worlds: One vision', in Margo Neale (ed.), Emily Kame Kngwarreye. Alhalkere. Paintings from Utopia, Queensland Art Gallery and Macmillan Publishers Australia Pty Ltd, Melbourne, Australia, 1998, pp. 23–32.

Christine Nicholls, 'An introduction to the women painters of Utopia, Northern Territory', Journal of the Anthropological Society of South Australia, vol. 32, nos 1–2, December 1999, pp. 1–27.

Judith Ryan, 'Abstraction, meaning and essence in Aboriginal art', Art and Australia, vol. 35, no. 1, 1997, pp. 74–81.

John Slavin, 'Notes towards the end of time: The Venice Biennale', Art Monthly Australia, no. 102, August 1997, pp. 10–13.

Terry Smith, 'Rethinking regionalism: Art in the Northern Territory', Art and Australia, vol. 31, no. 4, winter, 1994, pp. 469–71.

Nicholas Thomas, 'A compelling vision', Asian Art News, vol. 3, no. 3, May/June 1998, pp. 48–51.

Philip Batty and N Sheridan, CAAMA/Utopia Artists-in-Residence Project: Louie Pwerle and Emily Kame Kngwarreye, 1989–90, Perth Institute of Contemporary Arts, Perth, 1990.

Michael Boulter, First Solo Exhibition, Utopia Art Sydney, 1990.

Michael Boulter and Christopher Hodges, Australia's First International Art Movement, Utopia Art Sydney, 1990.

Pat Brassington, Mary Scott and Tim Burns (eds), Painting from the Desert, University of Tasmania, Hobart, 1990.

Anne Marie Brody, Contemporary Aboriginal Art from The Robert Holmes à Court Collection, Heytesbury Holdings Ltd, Perth, 1990.

Anne Marie Brody, Utopia: A Picture Story: 88 Silk Batiks from The Robert Holmes à Court Collection, Tandanya National Aboriginal Cultural Institute Inc, Adelaide, October 1989.

Anne Marie Brody, Utopia Women's Paintings: The First Works on Canvas: A Summer Project, Heytesbury Pty Ltd, Perth, 1989.

Jenny Green, 'The enigma of Emily Ngwarray' in World of Dreamings, National Gallery of Australia, Canberra, 2000. Online only: National Gallery of Australia, viewed July 2007.

Deborah Hart, Emily Kame Kngwarreye: Paintings from 1989–1995, Works from the Delmore Collection, Parliament House, Canberra, 1995.

Deborah Hart, Place and Perception: New Acquisitions: Parliament House Art Collection, Parliament House, Canberra, 1995.

Deborah Hart, et al, Identities: Art from Australia, Taipei Fine Arts Museum, Taiwan, 1993.

Christopher Hodges, Utopia Women, Coventry Gallery, Sydney, 1989.

Lowe Art Museum, Australian Aboriginal Art from the Collection of Donald Kahn, University of Miami, Miami, 1991.

Victoria Lynn and Marion Borgelt, Abstraction, Art Gallery of New South Wales, Sydney, 1990.

Patrick McCaughey, Utopia Body Paint: A Collection of 77 Paintings by Australian Aboriginal Artists at Utopia, Central Australia, a North American Tour, LIPS Inc, St Louis, USA, 1994.

Dawn Mendham and Margie West, Contemporary Territory, Museum and Art Gallery of the Northern Territory, Darwin, 1994.

National Gallery of Australia, The Eye of the Storm: Eight Contemporary Indigenous Australian Artists, National Gallery of Australia, Canberra, and National Gallery of Modern Art, New Delhi, 1996.

Margo Neale, Yiribana: An Introduction to the Aboriginal and Torres Strait Islander Collection: The Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 1994.

William Nuttall, Contemporary Australian Abstraction, Niagara Galleries, Melbourne, 1996.

Michael Anthony O'Ferrall, Tjukurrpa: Desert Dreamings: Aboriginal Art from Central Australia (1971–1993), Art Gallery of Western Australia, Perth, 1993.

Hetti Perkins, Aboriginal Women's Exhibition, Art Gallery of New South Wales Sydney, 1991.

Hetti Perkins and Brenda Croft (eds), Fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson: XLVII Esposizione Internazionale D'arte La Biennale di Venezia 1997, Australian Pavilion, 15 June – 9 November 1997, Art Gallery of New South Wales, 1997.

Gabrielle Pizzi, Aboriginal Paintings from the Desert, Gabrielle Pizzi at the Union of Soviet Artists' Gallery, Moscow, 1991.

Rebecca Price and Elizabeth Nicholson (eds), Dreaming Their Way: Australian Aboriginal Women Painters, Scala Publishers Ltd, London, 2006.

Avrill Quail, Making Our Times: Selected Works of Art from the Aboriginal and Torres Strait Islander Collection, National Gallery of Australia and Thames and Hudson, Sydney, 1996.

Judith Ryan, 'Australian Aboriginal Art: Otherness or Affinity?' Aratjara: Art of the First Australians, Kunstammlung Nordrhein-Westfalen, Düsseldorf, 1993.

Judith Ryan, Mythscapes: Aboriginal Art of the Desert, National Gallery of Victoria, Melbourne, 1989.

Nakamura Setsuko (ed.), Prism: Contemporary Australian Art, Bridgestone Museum of Art and Ishibashi Foundation, Tokyo, Japan, 2006.

Rudolf Talmacs, Communicative Abstraction: Philosophical Reflections, Utopia Art Sydney, 1992.

Daniel Thomas, 'Taking charge. The art of Emily Kame Kngwarreye', Earth's Creation. The Painting of Emily Kame Kngwarreye, Lauraine Diggin Fine Art, Melbourne, 1998.

Takeo Uchiyama (ed.), Crossroads – Towards a New Reality: Aboriginal Art from Australia, National Museum of Modern Art, Kyoto, 1992.

Utopia Art Sydney, Emily Kame Kngwarreye: New Directions, Utopia Art Sydney, 1994.

Daphne Wallace, Michael Desmond and Wally Caruana, Flash Pictures: By Aboriginal and Torres Strait Islander Artists, National Gallery of Australia, Canberra, 1991.

Peter Alford, 'Kngwarreye's Japan dreaming', The Australian, 26 February 2008, p. 5.

Australian Associated Press, 'Japanese exhibition for art great's works', Koori Mail, 30 January 2008, p. 48.

Sonia Barron, 'Transitions of a remarkable painter', Canberra Times, 3 September 1994, p. 7.

Rex Butler, 'Emily Kame's mystic masterpieces', Courier-Mail, Weekend Arts, 17 January 1998, p. 12.

Jane Cadzow, 'The Emily industry', Age Good Weekend Magazine, 5 August 1995, pp. 27–35.

Edan Corkhill, 'Dreamtime on canvas', Japan Times Online, 21 February 2008.

Johnathon Dart, 'A vision of Utopia', Canberra Times, 12 October 2007, p. 11.

S Dunkerley, 'Desert visions on world stage', Northern Territory News, 8 March 08, p. 28.

Felicity Fenner, 'A new approach to landscape', Sydney Morning Herald, 4 July 1992, p. 41.

Felicity Fenner, 'Making a break with tradition', Sydney Morning Herald, 6 February 1993, p. 44.

Michael Fitzgerald, 'Daughter of Utopia', Time, 23 September 1996, pp. 132–3.

Anthea Gerrie, 'Now art's great matriarch can rest in peace', Observer, 8 September 1996, p. 27.

D Guinness, 'Kngwarreye colours the world', The Australian, 11 December 1992, p. 10.

T Ingram, 'Emily starts an art movement so the artist changes her spots', Financial Review, 11 August 1994, p. 29.

John Kavanagh, 'Different ages of a painter's style', Business Review Weekly, 1 August 1994, p. 122.

R Lancashire, 'Great Aboriginal painter who crossed artistic borders: A leading woman desert painter dies', Age, 5 September 1996, p. C4.

E Lynn, 'Beguiled by black woman's adventures in the abstract', Weekend Australian, 19–20 June 1993, p. 56.

S McCulloch, 'Abstract artistry rooted in tradition', The Australian, 4 September 1996, p. 5.

S McCulloch, 'Too many dots', The Australian, Weekend Review, 21–2 September 1996, p. 5.

John McDonald, 'Utopia: The Genius of Emily Kame Kngwarreye', Craft Arts International, No 73, 2008, p. 85–8.

John McDonald, 'When mind and body act as one', Sydney Morning Herald, 1 March 2008, p. 16.

John McDonald, 'Eyeing the dots' (review of Emily Kame Kngwarreye: Alhalkere: Paintings from Utopia exhibition at Art Gallery of New South Wales venue), Sydney Morning Herald, 4 April 1998, p. 5.

S McLean, 'Aunty's dreaming of Utopia', Courier-Mail, 21 February 1998, p. 7.

L Martin-Chew, 'A credit to Kngwarreye's peculiar genius', The Australian, 20 February 1998, p. 16.

Steve Meacham, 'A place in the sun for a late bloomer', Sydney Morning Herald, 10 October 2007, p. 11.

Margo Neale, 'Women artists of Utopia', Association News, National Gallery of Australia, May/June 1991.

Zilia Papp and Deborah Cameron, 'Little yen for Australian artworks', Age, 29 May 2006, p. 6.

L Shanahan, 'Taking the Aboriginal point of view to the rest of the world', Age, 8 October 2007, p. 3.

Sue Smith, 'Sense of place' (review of Kngwarreye retrospective and Emily Kame Kngwarreye exhibition at Philip Bacon Galleries, Brisbane, February/March 1998), Courier-Mail, 14 February 1998, p. 28.

D Streak, 'From the outback to Osaka: Custodian's desert artworks impress', Canberra Times, 26 February 2008, p.6.

D Streak, 'Much more than an exhibition', Canberra Times, 22 January 2008, p. 3.

Katrina Strickland, 'Aussie art on the road in Japan', Australian Financial Review, 27 March 2008, p. 51.

Rudolf Talmacs, 'Emily Kame Kngwarreye: 1992 exhibition', Utopia Art Sydney, 1992.

Akino Yoshihara, 'Emily's country', The Daily Yomiuri, Weekend edition, 14 March 2008, p. 12.

Sally Butler, 'Emily Kame Kngwarreye and the enigmatic object of discourse', PhD thesis, University of Queensland, 2002.

Lisa Chandler, 'Making a mark: The collection and display of Aboriginal and Asian art at the Queensland Art Gallery', PhD thesis, Australian National University, 2006.

Victoria King, 'Art of place and displacement: Embodied perception and the haptic ground', PhD thesis, College of Fine Arts, University of New South Wales, 2005.

Sue Lovegrove, 'The unsolidity of the ground', PhD thesis, National Institute of the Arts, School of Art, Australian National University, 2002.

Kayo Tamura, 'Australian Aboriginal art in Japan: A study of recent public exhibitions', MA thesis, University of Melbourne, 1995.

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