Nyapanyapa Yunupingu’s White Painting

Detail of Nyapanyapa Yunupingu’s “White Painting” (2010). Earth pigments on bark

“I do beautiful neat paintings and work. I do paintings, all of it, not with any other colors, like black, only with the white one…I didn’t do trees, rocks or anything else, not at all…I only made designs. My father didn’t teach me, I learnt it myself. I saw my father’s hands painting and then my father said, ‘I want you to do this, my daughter, to work this way. To paint as you are watching my hands.’ He painted as I watched him. As he did this he said, ‘You will do this in the future my daughter.’ The painting I did was my own and I haven’t made any mistakes, none. My lines aren’t tangled and messy, not at all.”–Nyapanyapa Yunupingu

This work is on view in Marking the Infinite: Contemporary Women Artists from Aboriginal Australia through September 9, 2018.

Meet the Marking the Infinite Artists: Nonggirrnga Marawili

In this series, we introduce the nine artists behind Marking the Infinite: Contemporary Women Artists from Aboriginal Australia, on view at The Phillips Collection June 2 – September 9, 2018.

Installation view of work by Nonggirrnga Marawili in Marking the Infinite. Photo: Lee Stalsworth

NONGGIRRNGA MARAWILI
Born c. 1939, Darrpirra, Northern Territory
Lives and works at Yirrkala, Northern Territory
(Madarrpa/Australian)

Nonggirrnga Marawili was born into the Madarrpa, one of the approximately 20 clans composing the Yolngu people in Arnhem Land, the sparsely populated northeastern tip of the Northern Territory, which consists almost entirely of Aboriginal lands. Marawili learned to paint while assisting her husband Djutadjuta Mununggurr, an artist and leader of another Yolngu clan, the Djapu. During the 1990s, she contributed many important commissions and exhibitions of Yolngu art, but it was only after 2011 that she emerged as one of the preeminent figures in contemporary bark painting. In 2015, she was awarded the prestigious bark painting prize at the National Aboriginal and Torres Strait Islander Art Awards. Recently, she was selected for inclusion in the 2017 National Indigenous Art Triennial at the National Gallery of Australia, Canberra.

Volunteer Spotlight: Natalie Hall

In this series, Manager of Visitor and Family Engagement Emily Bray profiles volunteers within the museum. Phillips volunteers are an integral part of the museum and help in many ways: greeting and guiding guests through the museum, helping with Sunday Concerts, assisting patrons in the library, helping out with Phillips after 5 and special events, and so much more. Our volunteers offer a wealth of expertise and experience to the museum, and we are delighted to highlight several them.

Natalie Hall, Art Information Volunteer

Natalie Hall (left)

What year did you start volunteering at The Phillips Collection?
I began volunteering in 2008 after I retired from my position as an administrator at an independent school in Alexandria. We were members of the Phillips so volunteering was an easy extension of that interest.

What do you see as the most valuable aspect of your volunteering?
I love to interact with guests who have a range of questions from the mundane but important “Where’s the restroom?” to discussion of Duncan Phillips’s life and ideas as a collector.  The exhibit Moving Forward, Looking Back in the first gallery has really sparked curiosity about the Phillips family and the collection.

What do you do when you are not volunteering at The Phillips Collection?
We travel a lot to visit family in the US and Jordan and visit colleagues in Indonesia and Thailand.  I am also very involved with Arlington politics and lobby for the National Peace Corps Association.

What is your favorite room or painting here?
Like Duncan Phillips, I love the color of the Pierre Bonnard paintings and Vincent van Gogh’s “The Garden at Arles.” Georgia O’Keeffe is another favorite.

If you had to choose one word to describe the Phillips, what would it be?
Stimulating.

Share a fun fact about you!
I study Indonesian at the Embassy close to the Phillips. We taught in Java and Bali.  The wealth of art in all forms was fascinating, especially in Bali.

Is there anything else you would like to share?
Emily Bray has been so supportive of volunteers.  The flexibility of self-scheduling is most welcome. People should consider volunteering.