Gladys Wik Elder, Indigenous Activist

Sherman Fairchild Fellow Ariana Kaye on the personal history revealed in Ricky Maynard’s portrait of Gladys Wik Elder 

In my previous blog post, I discussed how photographer John Edmonds transforms traditionally objectified representations of Black people into more empowering and realistic representations. Indigenous peoples have also historically suffered the indignity of objectification. Here, with Ricky Maynard’s photograph of Gladys Wik Elder, we have an example of a powerful memorial to an Indigenous person, Gladys Tybingoompa (1946-2006), who spent her life fighting for equal land ownership for the Wik people in Cape York Queensland, Australia.

Ricky Maynard, Gladys Wik Elder (from Returning to Places That Name Us), 2000, Pigment print on paper, 12 x 16 in., The Phillips Collection, Museum Acquisition, 2017

This photographic portrait was acquired by The Phillips Collection as part of an effort to present a more diverse, inclusive, and globalized perspective of photography. Photography is an important aspect of the collection, originating with Duncan Phillips’s relationship with Alfred Stieglitz. Phillips said Stieglitz had mastered the medium and inspired the museum to continue to expand its photography collection over the years.  

Ricky Maynard, an Indigenous Tasmanian artist, created the photographic series Returning to Places that Name Us in 2000. This portrait of Gladys is one of five Wik Elders portraits that Maynard created for the series to bring attention to the Wik Decision—not just as a matter of current concern, but something that held broader importance for the entire country and its colonial history. The Wik struggle became known as the Wik Decision, or Wik Peoples v. Queensland of 1996, in which the High Court of Australia determined that people who were leasing pastoral land from the government were not the exclusive owners of that land. The court held that the same land also belonged to the Indigenous population. That was a great achievement. However, it was short lived, and soon the Native Title Act, which had given Indigenous populations ownership of land, was modified in favor of government owners and leasers of land. This made it more difficult for Indigenous people to claim land ownership. 

Still from a video by the Art Gallery of New South Wales showing Gladys Tybingoompa sitting for her portrait

Gladys sat for her portrait in Maynard’s backyard. The portrait shows a close-up view of Gladys, emphasizing heightened emotion in her expression. Viewers can even see her crack a smile as she poses for the camera. This smile evokes her full-of-life personality; Gladys famously danced outside of the Australian High Court on the day the court handed down its decision that Indigenous communities should have jurisdiction over their own land. Maynard said this series transformed his photographic practice, stating: “I saw every picture. I looked into the faces of all those Aboriginal people and it was sad. I started questioning the photographer’s role. It changed my life and the way I viewed pictures.” 

Curator Hetti Perkins from the Art Gallery of New South Wales in Australia describes how the texture of Gladys’s face reflects her peoples’ history and their perseverance on the quest for equality. To me, the complex topography of the Wik people’s land becomes visible to the viewer precisely because of Maynard’s proximity to her facial features. As discussed by Perkins and captured by Maynard, Gladys’s face provides us with a map of the privations, confiscations, and battles fought on this journey. By highlighting the geographical topography on Gladys’s face, the photograph reveals the indistinguishable connection between Gladys and her ancestral land. 

This portrait of Gladys Tybingoompa teaches us how much we can learn about a person and their history from a close-up portrait. If you were to get your portrait taken, what would you want people to know about you? 

 

For more information:

John Edmonds’s Engagement with the African Past, African American Present, and Collective Future

Ariana Kaye, The Phillips Collection Sherman Fairchild Fellow 2020-2021, on John Edmonds

On December 15, I had the pleasure of hearing artist John Edmonds talk about his work. In conversation with Dr. Ashley James, the two discussed how Edmonds’s work aims to show how Black people style themselves (or “self-fashion”) and his connection to both African art and to historically white and European art.

Tête d’Homme (2018) (at the Whitney Museum of American Art) and Hood II (2016) (gifted to The Phillips Collection in 2018) exemplify some of the key points that Edmonds talked about during the conversation. Both of these works are photographs. Edmonds emphasized the role that photography has had and still has in authentically or inauthentically portraying Black subjects. In the 19th century and earlier, photography was used to exploit Black people and present them as “others.” In Edmonds’s work, he seeks to reclaim objectifying photography and portrays Black subjects in empowering and true representations. 

LEFT: Pablo Picasso, Tête d’Homme, 1907, Oil on canvas, Merion, Lincoln University, Barnes Foundation; RIGHT: John Edmonds, Tête d’Homme, 2018, Archival pigment photograph, 24 × 30 in., Courtesy of the artist and Company, New York

The French Tête d’Homme, translated to English as “Head of a Man,” references the types of titles that European artists like Picasso would use to title their works, most often inspired by African masks that they collected. By using the title, Edmonds seeks to reclaim the French and art historical linguistic use of the title, and show a head of a real man who is Blackwith a work of art that connects him to his own ancestral past, in order to tell his own story about what the object he is presented with means to him.  

Edmonds also collects African masks and figurines in order to investigate where they come from and which African tribe they could possibly belong to. He usually purchases the objects from different street vendors in New York City. He is not worried about the “authenticity” of the objects, but more about what they represent, that they have all been loved by generations of families and ancestors who appreciated them and used them for different aesthetic and ceremonial purposes. 

John Edmonds, Untitled (Hood 2), 2016, Archival pigment print, 20 x 14 in., The Phillips Collection, Promised gift of Vittorio Gallo, 2018

While masks were used as forms of adornment in earlier centuries, according to Edmonds the new form of that is the hood, the sweatshirt, or the du-rag serving as a mode of selffashioning for Black people today. The hood is seen in Hood IIfrom a series of photographs he started in 2016. We cannot see the face or gender of the person, also representing the universality of the hood—it does not have a gender. Many of Edmonds’s subjects are gender non-conforming individuals, and he believes that creating a society in which these people can live their truth is essential to being modern.  

Dr. James exemplified John Edmonds’s work perfectly during the talk with her remark: “Let’s bring the Black body that caused all the conversation back into the conversation.” In Edmonds’s work, the Black body is the center of the conversation, reclaiming the Black past, present and future 

What is your vision for future Black representation? 

To hear more from John Edmonds, listen to his Conversations with Artists event at the Phillips in 2019:

Some Great (Women) Artists

Head of PK12 Initiatives Erica Harper explores works by Barbara Hepworth, Regina Pilawuk Wilson, and Angela Bulloch.

The lede for Jackson Pollock’s 1949 LIFE magazine article reads: “Is he the greatest living painter in the United States?” Pollock is photographed in (an admittedly bad-ass) paint spattered leather jacket and jeans combo, his clothing a canvas against another canvas of his own. His stance is cool and casual, leaned back with his arms folded across his chest. His face is stoic, punctuated by the cigarette dangling from his mouth. The message seems clear—abstract expressionism is tough, complicated, and undeniably masculine.

(Left) Jackson Pollock in LIFE magazine; (Right) Helen Frankenthaler in LIFE magazine

By the time Helen Frankenthaler is photographed by Gordon Parks for her own spread in LIFE in 1956, her influence on the art form is undeniable. Parks photographed her barefoot, wearing a knee-length skirt and button-down shirt tied into a side knot, surrounded by her works. She sits, quite literally, as a stark contrast to Pollock (photographed by Martha Holmes). But Frankenthaler, much like many artists at the time who happened to be women, balked at the categorization of “woman artist.” She once said in the New York Times, “There are three subjects I don’t like discussing: my former marriage, women artists, and what I think of my contemporaries.”

So what, right? Perhaps Pollock was truly the greatest living painter in the United States in 1949, but who was even included in that conversation? What then of all the aspiring artists who didn’t fit the mold? I’d like to turn your attention to some great works in our collection which all happen to be outdoors, and all happen to be by women. I started to wonder if those women, like Frankenthaler, felt dismissive of the label or if perhaps “woman artist” meant something different?

Barbara Hepworth (born 1903, Yorkshire, England) was 46 years old when Pollock graced LIFE magazine. Her sculptures can be interpreted as being about relationships: between forms, between humans and landscapes, color and texture, and especially between people as both individuals and a part of society. Hepworth was truly a force in her time, a major international figure, showing her work in exhibitions all over the world. She took an active role in the way her work was presented and was particular about its documentation. That she was a woman in a largely male-dominated world did little to stop her.

Barbara Hepworth, Dual Form, 1965/cast 1966, Bronze height: 72 in., The Phillips Collection, Acquired with the Dreier Fund for Acquisitions and additional funds from Natalie R. Abrams, Alan and Irene Wurtzel, and a bequest from Nathan and Jeanette Miller, 2006

Master weaver Regina Pilawuk Wilson (born 1948, Northern Territory of Australia) was one-year old at the time of Pollock’s cover. Her subject matter is based around weaving fiber art using techniques she learned from her grandmother who taught her where, when, and how to collect the right grasses, vines, and sources of natural color like flowers, berries, and roots. She perfected them over the decades and became an authority figure for her sense of familial and cultural identity. Most known for her paintings, printmaking and woven fiber-artworks, she paints syaws (fish nets), warrgarri (dilly bag), and yerrdagarri (message sticks). Her work has been shown in many Australian and international museums, collections, and galleries. Wilson’s work is markedly ancestral and matrilineal in origin, and divorcing it from “woman” feels almost sacrilege from my vantage.

Regina Pilawuk Wilson painting Yerrdagarri in the Hunter Courtyard, 2018. Photo: Rhiannon Newman

Finally, there’s Angela Bulloch (born 1966, Ontario, Canada). She wasn’t even alive when Pollock appeared on the cover of LIFE. The world had changed so rapidly, and in so many ways that it’s no surprise that Bulloch’s work incorporates video, sound, light, installation, sculpture, and painting. In fact, her work that sits outside the museum was partly created with the use of a computer program. She is also part of the Young British Artists, a loose group of visual artists who first began to exhibit together in London in 1988. And, despite the cultural advances of the time, female artists were still a distinct minority among the male dominated environment of the Young British Artists.

Angela Bulloch with her sculpture. Heavy Metal Stack: Fat Cyan Three, 2018, Powder coated steel, Made possible with support from Susan and Dixon Butler, Nancy and Charles Clarvit, John and Gina Despres, A. Fenner Milton, Eric Richter, Harvey M. Ross, George Vradenburg and The Vradenburg Foundation

Angela Bulloch with her sculpture. Heavy Metal Stack: Fat Cyan Three, 2018, Powder coated steel, Made possible with support from Susan and Dixon Butler, Nancy and Charles Clarvit, John and Gina Despres, A. Fenner Milton, Eric Richter, Harvey M. Ross, George Vradenburg and The Vradenburg Foundation. Photo: Rhiannon Newman

I lament that I don’t actually know how these women would feel about being called a “woman artist.” I can imply but that feels wholly irresponsible and arrogant to do. But then I came across a quote from Hepworth that addressed this very subject. She gave birth to triplets in 1934, and, atypically, found a way to both take care of her children and continue producing her art. And though she likely wouldn’t want to speak for women as a whole, I’ll leave you with her words to consider:

“A woman artist is not deprived by cooking and having children, nor by nursing children with measles (even in triplicate)—one is in fact nourished by this rich life, provided one always does some work each day; even a single half hour, so that the images grow in one’s mind.”

 

References:
Frankenthaler: https://www.newyorker.com/magazine/2018/10/08/how-new-yorks-postwar-female-painters-battled-for-recognition
Hepworth: https://www.tate.org.uk/art/artists/dame-barbara-hepworth-1274/who-is-barbara-hepworth
Pollock: https://www.life.com/people/jackson-pollock-early-photos-of-the-action-painter-at-work/
Bulloch: https://en.wikipedia.org/wiki/Angela_Bulloch
Wilson: https://en.wikipedia.org/wiki/Regina_Pilawuk_Wilson