Aboriginal Art in the US


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.

Perez Art Museum Miami, Miami, FL

No Boundaries: Aboriginal Australian Contemporary Abstract Painting
September 17, 2015 – January 3, 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

Pérez Art Museum Miami, September 17, 2015 – January 3, 2016
Charles H. Wright Museum of African-American History, Detroit, Michigan, January 17 – May 15, 2016

Nora Eccles Harrison Museum of Art, Logan, UT

Abstraction and the Dreaming: Aboriginal Paintings from Australia’s Western Desert (1971-Present)
September 12 – December 12, 2015

Abstraction and the Dreaming includes more than fifty artworks by 34 artists spanning the emergence of painting at an Aboriginal settlement called Papunya in the early 1970s to the present day. The early “Papunya boards” created in 1971-1972 are descendants of mark-making that dates to well over one hundred centuries ago and are the beginning of the Western Desert art movement. With fewer than 600 in existence, the “Papunya boards” have a singular status within the history of Australian Aboriginal art. Because some of these designs were associated with sacred male-only ceremonies, women were not allowed to participate in art-making.

Over time, Papunya artists moved away from the use of symbols toward greater abstraction. The scale of artworks on canvas grew and women began painting, using a markedly more gestural and vibrant style than their male counterparts. Today, these works are interpreted and experienced as contemporary abstract paintings, stimulating a rich dialogue about indigenous art in the contemporary art world.

Salon 94 Bowery, New York, NY

Warlimpirrnga Tjapaltjarri: Maparntjarra
September 9 – October 24, 2015

Salon 94 is pleased to present the first US solo exhibition of Warlimpirrnga Tjapaltjarri. Warlimpirrnga is one of Australia’s most acclaimed contemporary Aboriginal artists and a leading figure of the Aboriginal Australian painting movement.

Few painters can match the optical intensity found in his paintings. Shimmering like a mirage, they pulse and swirl, hovering between the canvas and the eye like an electromagnetic field. At times the effect is so powerful that the only human response is to turn away: to shield one’s eyes from their radiant energy. Amongst his Pintupi kin in Australia’s Western Desert, Warlimpirrnga is considered a powerful maparntjarra (ritual healer)—a claim that is easy to accept when confronted with the alchemic force of his paintings.

The epicenter of the power in Warlimpirrnga’s paintings comes from his great muse Wilkinkarra (Lake Mackay). Wilkinkarra is a vast glistening expanse spanning 1,350 square miles between the Gibson and Great Sandy Deserts of Western Australia. Warlimpirrnga’s depictions are usually focused on the site of Marawa—a claypan found at the Lake’s northern end. This is a site of particular significance in the journeys of the Tingari—a group of ancestral beings who travelled over vast stretched of the country during the Tjukurrpa.

Harvey Art Projects, Ketchum, ID

Survey: Celebrating Australian Indigenous Art in America 2010 – 2015
August 7 – September 30, 2015

This August in Sun Valley, Harvey Art Projects proudly announces a special Anniversary exhibition to celebrate the Australian gallery’s 5th Anniversary since opening its doors in Ketchum in 2010. This exhibition features the finest examples of Aboriginal art selected from the past 5 years of curated exhibitions. The show will also feature new works by some of Australia’s leading artists. With over 40 exhibits from the most remote regions of Aboriginal Australia, each exhibit has been carefully curated by Director Julie Harvey in conjunction with the aboriginal art centers – a process that involves many trips ‘out bush’ in Australia. As the only international gallery in the USA to work directly with Australia’s leading Indigenous Art centers, Harvey Art Projects is a unique presence in this country and a vital component of Ketchum’s vibrant art scene.


No events are listed at this time.


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.