Context (CMS Context)
This set is invaluable in representing the senior generation's earlier work, relative to both Lily Karadada's later print, and the works of her daughter, Regina. While the core interest in representing Wandjina and ceremony is a constant over this period of more than 15 years, the approach to printmaking and the style of the works shifts notably. The earlier prints, and Lily's most recent large work, are populated with relevant artefacts and creatures, and situated within their environments; Regina's approach is in a sense simpler, more focussed on the artistry of the Guion Guion genre; her works exhibit a different kind of confidence in the print medium. The rock art of the Kimberley region of Australia's northwest incorporates two figure styles, Wandjina - squat ancestral spirits with a distinctive halo-style band of colour around the head - and Guion Guion, more varied, elongated anthropomorphic creatures. These have been renowned and controversial since their European discovery by Sir George Grey in 1837 (Wandjina) and the explorer Joseph Bradshaw in 1891 (Guion Guion, also known as Bradshaws after him. It has been claimed from time to time that design aspects and/or the graphic sophistication of the rock paintings indicated some immigrant, non-Aboriginal influence; these claims are not considered sustainable by contemporary scholars, but reflect the wider issues at stake in the study and interpretation of rock art and the judgements about cultural value, race, etc. that have entered into observations of specific genres.

From the mid-1970s members of the Karadada family began producing art work related to these traditions. The two sets of prints offered by APW beautifully exemplify this practice. The large Lily Karadada print featuring the two Wandjina is magnificent and technically outstanding in its printmaking craft. We have previously acquired one of Regina Karadada's Guion Guion works but consider that the suite justifies fuller representation. We would plan to rotate them within the Museum's future permanent world archaeology gallery, exemplifying the life that a major archaeological tradition leads in the contemporary indigenous imagination and art.
Event Date 13/8/2013
Author: Remke van der Velden

Context (CMS Context)
Drawn by Karadada (1925-2008) on the plate in Kalumburu in July 1994 and printed in an edition of 30 plus proofs, by APW Senior Printer Martin King at APW, Melbourne, 1997. This work was made by Rosie using her pocket knife to 'draw' her image on to the copper plate, rocking the tip of the blade back and forth to create a 'zig zag' mark on the hard-ground. This work was reproduced (full page) in the publication: 'place made: Australian print Workshop' (page 57) published by the National Gallery of Australia, 2004. Reference to descriptive text bout the work in the same publication (page 56).
Event Date 13/8/2013
Author: Remke van der Velden

Context (CMS Context)
Presented by The Art Fund and the Esmée Fairbairn Foundation. An acquisition project to build a collection of modern and contemporary work on paper from Australia, Canada and South Africa was undertaken over 2011-13 with the support of a grant under The Art Fund's RENEW programme. The collection was developed with the expert advice and generous assistance of Annie Coombes and Norman Vorano in relation to South African and Inuit artists respectively. Khadija Carroll, Anita Herle and Diana Wood Conroy also contributed to the selection process. Obtained from Australian Print Workshop, 210 Gertrude Street, Fitzroy, Victoria, 3065, Australia. Acquired on 30 July 2013. Arrived on 8/8/2013.
Event Date 13/8/2013
Author: maa

Description (CMS Description)
Etching by Rosie Karadada, untitled (Coolamon, Dancing Bradshaws and Waterholes), 1997. Edition number 24/30. Original limited edition work on paper, signed by the artist. Hard-ground etching printed in one colour, from one copper plate. Condition: Good.
Event Date 13/8/2013
Author: maa