Aboriginal Art in the US and Canada


Musée de la Civilisation, Quebec City, Canada

Lifelines. Indigenous Contemporary Art from Australia
October 21, 2015 – September 5, 2016

Lifelines abounds in life and color, its close to 100 works specially selected by guest curator Professor Françoise Dussart of the University of Connecticut. The exhibition features three thematic zones for the key moments along the way: “Lands of Dreams,” “Lands of Knowledge,” and “Lands of Power.”

Lifelines gives us the creation of the world as seen by the indigenous peoples of Australia and expresses their constant dialogue with all that surrounds them. It opens a vital window on the eternal and contemporary concerns of the Australian continent’s first human occupants.

A Musée de la civilisation production in collaboration with the University of Virginia’s Kluge-Ruhe Aboriginal Art Collection.

Boxer Milner Tjampitjin, Oolaign, 2000. Synthetic polymer paint on canvas 59 1/16 x 39 3/8 in. (150 x 100 cm). © 2014 Artists Rights Society (ARS), New York/VISCOPY, Australia.

Johnson Museum of Art, Cornell University, Ithaca, NY

No Boundaries: Aboriginal Australian Contemporary Abstract Painting
June 9 – August 14, 2016

No Boundaries presents the work of nine trailblazing artists who were inspired by their ancient cultural traditions to forge one of the most dynamic painting movements of recent times. The exhibition will be comprised of more than 75 paintings produced between 1992 and 2012.

Created at the frontier where Indigenous and Western cultures meet, these paintings speak across cultures, a reminder that contemporary art comes from all corners of the globe. This exhibition offers the very first opportunity for U.S. audiences to view these artists’ works in depth, featuring a stunning selection from each period in their careers. Although rarely seen in the U.S., these artists stand at the vanguard of global contemporary art practice.

Harvard Art Museums, Cambridge, MA

Everywhen: The Eternal Present in Indigenous Art From Australia
February 5 – September 18, 2016

Everywhen: The Eternal Present in Indigenous Art from Australia surveys contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. For Indigenous people, the past is understood to be part of a cyclical and circular order known as the everywhen; conceptions of time rely on active encounters with both the ancestral and natural worlds. While the exhibition focuses on the last 40 years of Indigenous art, it also includes historical objects from the rich collections of Harvard University’s Peabody Museum of Archaeology and Ethnology to underscore both the continuity of cultural practice and remarkable adaptive innovations.

The exhibition showcases more than 70 works drawn from public and private collections in Australia and the United States, and features many works that have never been seen outside Australia.

Harvey Art Projects USA, Ketchum, ID

Jimmy Pompey ‘Cowboy Story’ & Recent Paintings from Iwantja Arts
March 10 – May 31, 2016

Harvey Art Projects USA in conjunction with Iwantja Arts of South Australia is proud to present cowboy paintings by dynamic painter, country music identity, and retired stockman, Jimmy Pompey.

Iwantja Community is located on the eastern side of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. The Community sits on a small ridge at the edge of the Indulkana Ranges. This is a place on Iwantja Creek where Tjurki, the owl, rested on his Dreamtime travels. The community grew up on an exposed ridge overlooking the creek, part of an excision of land from Granite Downs cattle station.

This exhibition also highlights recent works by senior Iwantja artists.

Harvey Art Projects USA, Ketchum, ID

May 25 – June 29 2016

This beautiful spring exhibition highlights the diversity of painting across the Central Desert of Australia. This vast region comes alive with a plethora of desert blooms during late fall and the early winter months of May and June. Aboriginal people have used the plant life of Central Australia for thousands of years to supplement their diet of native game as well as for medicines, weapons, clothing and shelter. Often mobs gather together during this time to participate in ceremony and significant cultural events.

Bard Graduate Center Gallery, New York, NY

Frontier Shores: Collection, Entanglement and the Manufacture of Identity in Oceania
April 22 – September 18, 2016

In the nineteenth and early twentieth centuries, the growing discipline of anthropology was both a powerful tool of colonial control and an ideological justification for it. As European empires and their commercial reach expanded, different populations became intertwined in relationships of exchange and power. Focusing on Oceania-the vast region encompassing Australia, New Zealand, New Guinea, and the tropical Pacific Islands-Frontier Shores explores how anthropology was used by colonial powers to justify and gain control over the resources and lives of the various native peoples, how collection both described and pacified the frontier, and how marginalized peoples adapted to, resisted, or otherwise exerted their own power and agency in the colonial context.

Thirty-nine objects, collected from the 1830s to the mid-twentieth century, demonstrate the richness of cultural contact in Oceania and the ways in which this material was often used to construct an imagined culture or tradition. A digital interactive available in the Gallery and online will explore the cultural makeup of this diverse region and plot many of the objects into a chronology of cultural contact.

Newcomb Art Museum, New Orleans, LA

Marking the Infinite:
August 1, 2016 – January 13, 2017

Marking the Infinite features works by the following contemporary women artists from Aboriginal Australia: Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Lena Yarinkura, Gulumbu Yununpingu, Nyapanyapa Yunupingu, Carlene West, and Regina Pilawuk Wilson.

The works are drawn from the collection of Miami-based collectors and philanthropists Debra and Dennis Scholl. Marking the Infinite will be the second major touring exhibition of Aboriginal Australian art drawn from the Scholl’s collection, following the highly successful exhibition of male painters, No Boundaries: Aboriginal Australian Contemporary Abstract Painting, on tour during 2015-16. Marking the Infinite originated at the Nevada Museum of Art, Reno.


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Booker-Lowe Gallery, Houston, TX
Founded in 2002, Booker-Lowe is one of a handful of American art galleries showcasing Australia’s internationally-acclaimed indigenous art. The gallery offers its individual clients, interior designers and architects, corporations and institutions, quality original artworks, whether for the living room or the board room.

Harvey Art Projects, USA, Ketchum, ID
Based in Sun Valley, Idaho and presenting events in New York, Los Angeles, & San Francisco, Harvey Art Projects is an organization dedicated to developing cultural awareness, understanding and appreciation of the finest Aboriginal Art in America through regular exhibitions and satellite events. Founder Julie Harvey is an arts professional with over twenty years of experience in Australia an the United States. As a specialist in Aboriginal art, Harvey is also the Head Curator of the San Francisco based Stephen J. Luczo Collection of Contemporary Aboriginal Art.

Pollon Art, New York, NY
Pollon Art was founded as a means to bridge the gap between North American collectors and the Australian Aboriginal and Torres Strait Islander art market. Pollon Art offers clients intimate knowledge and experience in these fields, gathered through extensive professional experience in both the primary and secondary art markets. Founder, Miriam Grundy, brings to the US art market a fresh and highly intuitive approach to collecting Aboriginal art, matching the values and identity of the client, collection or space with artworks and artists that reflect these. The Pollon Art experience is underscored by the belief that genuine relationships, and collaborative and informed decision-making brings the best results. Based in New York City and Beverly Hills, Pollon Art provides tailored advisory services to private clients, as well as curated public exhibitions from some of the most compelling artists, past and present.


The Kelton Foundation
Founded in 1983, the Kelton Foundation promotes the stewardship, enhancement and understanding of art, maritime history and man’s relationship with the sea through its collections of maritime art, navigational instruments, China Trade art and objects, Pacific ethnographic materials, Australian Aboriginal art and other fine and ethnographic art related to these fields.