Adam Knight | |
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Born | |
Occupation | Art consultant |
Adam Knight is an Australian art curator and dealer. He has operated seven commercial art galleries and is the owner of the Mitchelton Gallery of Aboriginal Art, located in Taungurung country outside Nagambie in Victoria, Australia. [1]
Knight has influenced the careers of some of the most important Aboriginal Australian artists, including Clifford Possum Tjapaltjarri, Rover Thomas, Ningura Napurrula, Gabriella Possum Nungurrayi, Naata Nungurrayi, Yannima Tommy Watson, and Gloria and Kathleen Petyarre. [2]
Knight was born in Broadford, Victoria, Australia. He was an only child and grew up in a farming community not connected to a power company's grid. His father looked after camels and donkeys and was a breeder of tigers and rhesus monkeys. [2] Throughout his childhood he was regularly taken to the Northern Territory, where his father bought wild camels and donkeys, allowing him to develop close bonds with Aboriginal friends. Early business enterprises included selling products for a local community, Cherbourg in QLD such as emu eggs and didgeridoos. This and his parents' friendship with artists such as Clifford Possum Tjapaltjarri set the foundation for his career as an art dealer. [3]
He attended Assumption College, Kilmore from 1984 to 1990. [4]
Knight's career developed more seriously in the arts when he met Tjapaltjarri in 1992 and became fascinated by the work and stories of the Indigenous Australian art community. At the age of 20 he sold his first painting after touring around the Kimberleys with Judy Daly, who worked with the Aboriginal economic development office in Perth. [5] He met numerous artists within these remote communities who were to find fame, including Queenie McKenzie Nakarra, Jack Britten, Shirley Purdie and Rover Thomas Joolama. [2]
He opened his first art gallery, Knights Indigenous Art Gallery, in 1995. [6]
In 2004 Knight opened Australian Contemporary Aboriginal Art in Abbotsford, Victoria. [7] In 2007 he founded the Aranda Aboriginal Art gallery in Collingwood, a suburb of Melbourne. [8]
Knight's work expanding the reach of Indigenous artists continued and in 2008 he commissioned Gabriella Possum Nungurrayi, daughter of Tjapaltjarri, to create a large-scale installation piece for a display by Jamie Durie at the Chelsea Flower Show in London. This won Durie the gold prize awarded by HRH Queen Elizabeth II, who was presented with an original work by Nungurrayi which now hangs in the royal collection alongside that of her father. [9] [10]
A new Aranda art gallery was opened in Alice Springs in the Northern Territory in 2009, followed by Aranda Art Gallery in Armadale, Victoria in 2012. [11]
In 2017, a show curated by Knight called "Sharing Country" at Olsen Gruin gallery, New York, featuring artists including Sandy Brumby, Tommy Watson, Joseph Jurra Tjapaltjarri, Iluwanti Ken, Puna Yanima and Tuppy Ngintja Goodwin [12] was listed as one of the top 10 Hottest group shows to see in New York that summer by Artnet. [13]
In 2018 Knight curated "Beyond the Veil" at the same gallery, an exhibition of metaphysical dot paintings created by Aboriginal women, from May to July 2018. Some artists in the show, such as Emily Kame Kngwarreye, were over 70 when their work was created. [14] [15]
In the wake of Damien Hirst being accused of plagiarising Aboriginal artists in his show "The Veil Paintings", which showed at the Gagosian in Beverly Hills earlier that year, [16] [17] [18] the show gained a lot of publicity and was a critical success. [19] [20] [21]
Formerly the vice president of the Aboriginal Art Association of Australia (AAAA) [22] Knight took over as president of the organisation in 2018. [23]
In 2018 the Mitchelton Gallery of Aboriginal Art was opened in Nagambie. Knight created the gallery in partnership with Gerry Ryan, OAM. [24] [25] Following the closure of the Aranda Aboriginal Art gallery in 2011, a result of bargain basement auctions selling indigenous art at knock-down prices [26] Knight was selling work from his home in Tallarook and preparing to set up a small scale gallery there, when Ryan paid him and his collection a visit. Overwhelmed by the work on display he proposed they collaborate on a gallery at the Mitchelton winery complex outside Nagambie in Victoria which was purchased by Ryan in 2011. They began planning a new building but decided to use the cellars under the winery, where the scale (the size of three soccer pitches) and climatic conditions created a perfect exhibition space. [27]
In 2016 Knight discussed how the goal of the AAAA was to respectfully represent the individuals and organisations involved in the practice of producing, promoting, protecting or supporting indigenous art and allow it to support the culture of their communities. [28] He encourages people to see indigenous art as more than just decoration and strives to show that the market isn't transitory but an establishment dedicated to disseminating meaningful cultural artifacts. [26]
Knight has donated artworks to a number of organisations including The Arts Centre Gold Coast in 2011. [29] In 2012 he was awarded ‘Perpetual Benefactor’ Status at this gallery. [30]
In September 2011, Knight joined a group of other entrepreneurs to run clinics in deprived South African areas and give a young Aboriginal team a chance to play an Exhibition AFL match against a local team at the African Games in Mozambique. Another match was played in the slums of Soweto. [31]
In August 2018 Knight and fellow philanthropist Patrick Corrigan made a donation of five paintings to the Ella Indigenous Learning Centre for exhibition in their Moore Park location. [32]
Knight is also active in promoting ethical and ecologically sound farming practices. [33]
William Barak, named Beruk by his parents,, the "last chief of the Yarra Yarra tribe", was the last traditional ngurungaeta (elder) of the Wurundjeri-willam clan, the pre-colonial inhabitants of present-day Melbourne, Australia. He became an influential spokesman for Aboriginal social justice and an important informant on Wurundjeri cultural lore.
Emily Kame Kngwarreye was an Aboriginal Australian artist from the Utopia community in the Northern Territory. She is one of the most prominent and successful artists in the history of Australian art.
Clifford Possum Tjapaltjarri AO was an Australian painter, considered to be one of the most collected and renowned Australian Aboriginal artists. His paintings are held in galleries and collections in Australia and elsewhere, including the Art Gallery of New South Wales, the National Gallery of Australia, the Kelton Foundation and the Royal Collection.
Papunya is a small Indigenous Australian community roughly 240 kilometres (150 mi) northwest of Alice Springs (Mparntwe) in the Northern Territory, Australia. It is known as an important centre for Contemporary Indigenous Australian art, in particular the style created by the Papunya Tula artists in the 1970s, referred to colloquially as dot painting. Its population in 2016 was 404.
The Pintupi are an Australian Aboriginal group who are part of the Western Desert cultural group and whose traditional land is in the area west of Lake Macdonald and Lake Mackay in Western Australia. These people moved into the Aboriginal communities of Papunya and Haasts Bluff in the west of the Northern Territory in the 1940s–1980s. The last Pintupi to leave their traditional lifestyle in the desert, in 1984, are a group known as the Pintupi Nine, also sometimes called the "lost tribe".
Papunya Tula, registered as Papunya Tula Artists Pty Ltd, is an artist cooperative formed in 1972 in Papunya, Northern Territory, owned and operated by Aboriginal people from the Western Desert of Australia. The group is known for its innovative work with the Western Desert Art Movement, popularly referred to as "dot painting". Credited with bringing contemporary Aboriginal art to world attention, its artists inspired many other Australian Aboriginal artists and styles.
Mick Namarari Tjapaltjarri, was one of the most important painters to emerge from the Western Desert.
Billy Stockman Tjapaltjarri, was one of Australia's best-known artists of the Western Desert Art Movement, Papunya Tula.
Cassidy Possum (Stockman) Tjapaltjarri was an Australian Aboriginal spokesman, a tribal elder and well known visual artist.
Kitty Pultara Napaljarri is an Anmatyerre-speaking Indigenous artist from Australia's Western Desert region. Born at Napperby Station east of Yuendumu, Northern Territory, she worked on the station and first learned to paint there around 1986. Her work is held in the collections of the Art Gallery of South Australia and South Australian Museum.
Contemporary Indigenous Australian art is the modern art work produced by Indigenous Australians, that is, Aboriginal Australians and Torres Strait Islander people. It is generally regarded as beginning in 1971 with a painting movement that started at Papunya, northwest of Alice Springs, Northern Territory, involving Aboriginal artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa, and facilitated by white Australian teacher and art worker Geoffrey Bardon. The movement spawned widespread interest across rural and remote Aboriginal Australia in creating art, while contemporary Indigenous art of a different nature also emerged in urban centres; together they have become central to Australian art. Indigenous art centres have fostered the emergence of the contemporary art movement, and as of 2010 were estimated to represent over 5000 artists, mostly in Australia's north and west.
Warlugulong is a 1977 acrylic on canvas painting by Indigenous Australian artist Clifford Possum Tjapaltjarri. Owned for many years by the Commonwealth Bank of Australia, the work was sold by art dealer Hank Ebes on 24 July 2007, setting a record price for a contemporary Indigenous Australian art work bought at auction when it was purchased by the National Gallery of Australia for A$2.4 million. The painting illustrates the story of an ancestral being called Lungkata, together with eight other dreamings associated with localities about which Clifford Possum had traditional knowledge. It exemplifies a distinctive painting style developed by Papunya Tula artists in the 1970s, and blends representation of landscape with ceremonial iconography. Art critic Benjamin Genocchio describes it as "a work of real national significance [and] one of the most important 20th-century Australian paintings".
The Anmatyerr, also spelt Anmatyerre, Anmatjera, Anmatjirra, Amatjere and other variations) are an Aboriginal Australian people of the Northern Territory, who speak one of the Upper Arrernte languages.
Kaapa Mbitjana Tjampitjinpa was a contemporary Indigenous Australian artist of Anmatyerre, Warlpiri and Arrernte heritage. One of the earliest and most significant artists at Papunya in Australia's Northern Territory in the early 1970s, he was a founding member and inaugural chairman of the Papunya Tula artists company, and pivotal to the establishment of modern Indigenous Australian painting.
Warlimpirrnga Tjapaltjarri is an Australian Aboriginal artist. He is one of central Australia's most well-known indigenous artists.
Gabriella Possum Nungurrayi is a contemporary Indigenous Australian artist born in the Papunya community, she followed in her father Clifford Possum Tjapaltjarri's footsteps and became an internationally respected painter. Examples of her work are held in many gallery collections in Australia and elsewhere, including the National Gallery of Australia, the Flinders University Art Museum, the Kelton Foundation Collection, the Museum & Art Gallery of the Northern Territory and the Royal Collection.
Sandy Brumby is an Aboriginal Australian artist whose work rapidly became popular following the start of his career late in life.
Long Jack Phillipus Tjakamarra, occasionaly referred to as Kumantjayi Long Tjakamarra, was a Ngalia/Warlpiri man and a founding member of the Papunya Tula art cooperative. His contribution to the Honey Ant Dreaming mural would help define and catalyze the art style of the Western Desert Art Movement.