Long before the arrival of the British, Australia was home to many diverse Indigenous nations, each with its own language and artistic practices. With over 250 language groups, Indigenous peoples used art as a means of conveying cultural narratives. Through artistic expression, such as painting, sculpture, and weaving, they transmitted knowledge, preserved stories, and established connections to the environment, known today as ‘Country.’

The word ‘Country’ is a complex and ultimately untranslatable concept. It might best be understood as the nexus of land, water, sky, animals, bodies, and law. Capitalised, ‘Country’ signifies a living, sentient entity that requires both physical and spiritual care, intricately tied to a person’s identity and ancestral links to place.

Indigenous histories and art-making traditions have been marked by significant milestones. At least 65,000 years ago, the first Aboriginal peoples walked onto the continent, establishing diverse cultures and traditions. For millennia, they lived with the changing landscape, bearing witness to ice ages and continental shifts. Indigenous people thrived in all parts of Australia, from the hinterland to the desert, the rainforest to the coast. They travelled vast inland distances and crossed oceans, trading objects and ideas with various nations.
Before British colonisation, both the Dutch and French visited Australia, and Aboriginal peoples in northern Australia regularly travelled back and forth with Makassan fishers from modern-day Indonesia. Torres Strait Islanders had strong connections with both Papua New Guinea and far north Queensland, using their huge sea-voyaging canoes to cross oceans. The British arrival in 1788 led to widespread dispossession and violence. In the late 19th century, there was the introduction of ‘Protection Acts’ aimed at controlling Indigenous populations; these acts often erased their artistic practices. A resurgence of Indigenous culture and art began in the 1970s, marked by the establishment of Papunya Tula Artists in 1971, a pioneering Indigenous art centre in the Central Desert of Australia’s Northern Territory, which played a crucial role in the contemporary Indigenous art movement. In 1972, the Aboriginal Tent Embassy was founded in Canberra, becoming a significant protest site advocating for Indigenous rights and sovereignty.

The long history of interaction and exchange among Indigenous people laid the groundwork for evolving art-making traditions. Key moments in the last century have catalysed significant changes in contemporary Indigenous practice, with one such pivotal moment occurring in 1971-1972, when senior male artists at Papunya in the Western Desert began translating ephemeral ritual designs into modern acrylic paintings. This is often regarded as the first time these designs were recognised as art rather than artefacts. Rendered in acrylic on board, these paintings channelled modernist principles from millennia before modernism and were quickly acknowledged by the art world as contemporary paintings of great consequence.

Positioning the birth of contemporary Indigenous art at Papunya can overshadow earlier influential artists such as Tommy McRae, William Barak, Paddy Compass, Yirawala, Albert Namatjira, and so on. Nonetheless, this moment formalised the establishment of the first Indigenous-run art centre, Papunya Tula Artists.
The 1970s saw the rise of what might today be called ‘contemporary Indigenous art’. This movement gained momentum through the work of senior male artists such as Long Jack Phillipus Tjakamarra (Ngalia/Warlpiri) and Johnny Warangkula Tjupurrula (Pintupi/Luritja) at Papunya. They transformed previously ephemeral designs into permanent artworks on scraps of composition board.

During this time, Australia experienced tumultuous relations between settlers and Indigenous peoples. In 1988, the country celebrated the ‘Bicentennial,’ marking 200 years of British occupation. Many Indigenous people still view the arrival of the British as an act of invasion, believing that their sovereignty was never ceded. This perspective made the Bicentennial a divisive period in Australian history. Despite the political controversies surrounding the celebration, the Bicentennial also sparked increased interest in Indigenous art, both locally and globally. This newfound attention led to greater recognition and support for Indigenous artists.

In 1990, Rover Thomas (Gija) and Trevor Nickolls (Ngarrindjeri) became the first Indigenous artists to represent Australia at the Venice Biennale, making a significant impression on the international art scene. Thomas was known for landscapes reflecting his connection to Country, while Nickolls produced vibrant works addressing contemporary Indigenous issues. Their participation elevated the visibility of Indigenous art globally and challenged stereotypes about what Indigenous art ‘looks’ like.
Seven years later, in 1997, Emily Kam Kngwarray (Anmatyerre), along with Judy Watson (Waanyi) and Evonne Koolmatrie (Ngarrindjeri), became the first Indigenous women to showcase their work at the Venice Biennale. Kngwarray’s innovative use of colour and form also aligned so seamlessly with the principles of modernism that it is still celebrated today, with the Tate recently hosting a major retrospective of her work.

Urban and new media artists continue to challenge preconceptions about Indigenous art, with figures such as Gordon Bennett, Destiny Deacon (Kuku/Erub/Mer), and Tracey Moffatt AO emerging as significant international figures from the 1980s, 1990s, and 2000s. Moffatt, who famously resists being categorised as an ‘Indigenous artist’, went on to showcase her work at the Venice Biennale as the first Indigenous artist to represent Australia in a solo capacity. Moffatt’s participation in the Biennale not only solidified her status as a leading contemporary artist but also highlighted the evolution of Indigenous narratives within the global art landscape. Her unique narrative style and visual storytelling both challenge and build on the dialogues established by earlier Indigenous artists, ensuring that the experiences and perspectives of Indigenous cultures remain prominent in contemporary art, irrespective of medium.

Over the years, Indigenous artists have increasingly emerged as a major force within the international art scene. Most recently, in 2024, Archie Moore (Kamilaroi/Bigambul) won the Golden Lion at the Venice Biennale for his major and immersive installation, Kith and Kin. Several Indigenous artists have gone on to become household names within the international contemporary art market. Figures such as the great Paddy Bedford (Gija), known to family, close friends, and kin by his traditional name Nyunkuny or his nickname Goowoomji/Kuwumji, and the Kaiadilt master of colour, Mirdidingkingathi Juwarnda Sally Gabori, who also recently was honoured with a solo exhibition at Fondation Cartier in Paris.

Indigenous Art is the heartbeat of Australia.

It echoes ancestral times, narrating stories of the present. It functions as a language, a history book, an encyclopedia, and a form of visual music. It charts the formations of our lands and waterways, the creation of life itself, and the ongoing histories of Indigenous resistance and sovereignty. It also acts as a record of political challenges to settler norms, telling stories of strength and truth-telling against the backdrop of colonisation.
For many Indigenous communities, art exists as a continuum where ancestral knowledge converges with contemporary perspectives. Indigenous art reflects the complex narratives of one’s identity and history and holds a mirror to the lived experiences of marginalised communities globally. As a collective movement, it embodies the ongoing struggles of Indigenous peoples in their quest for sovereign recognition and rights. Through various creative expressions, artists continually challenge colonial narratives, confronting systemic injustices and advocating for the reclamation of cultures and Country.

Resistance highlights resilience.

Indigenous peoples maintain an enduring connection to place despite widespread colonial dispossession. For many, art serves as a living archive, preserving the cultural wealth of Ancestral Knowledge accumulated over millennia. The arrival of European settlers changed everything, marking a significant disruption to artistic practices through colonisation. It’s important to understand colonisation as an ongoing process rather than a singular event. This ongoing struggle continues each year, with Treaty, Reconciliation, and Truth Telling representing persistent battles for Indigenous rights. The history of Indigenous art is characterised by resilience and adaptation, with Indigenous artists, following British arrival, blending traditional techniques with contemporary mediums.

As Indigenous art continues to evolve, it challenges preconceived notions and invites viewers to engage with the stories and histories embedded within it. Contemporary Indigenous artists employ various mediums—ranging from traditional ochre paintings to digital installations, weavings, and neon art—reflecting the rich diversity of practices that represent our people.

It is important to recognise the significance of these works and the cultural narratives they embody, ensuring they remain connected to the communities from which they originate. Ultimately, Indigenous art is a vibrant and evolving expression of culture and identity. By engaging with and supporting Indigenous art, we acknowledge its significance and contribute to a broader understanding of the rich cultural heritage it represents.

This focused presentation of recent historical masterpieces is an opportunity for audiences to appreciate Indigenous art and its evolution as a living cultural expression. The works in this presentation not only reflect the rich histories and experiences of Indigenous peoples but also highlight ongoing dialogues around identity, sovereignty, and resilience. Engaging with these significant pieces emphasises the importance of looking both back and forward, recognising how the past shapes contemporary life and how art has fostered appreciation for Indigenous culture.

Each work in this display provides insight into the masterful creativity of Indigenous Art, allowing us to appreciate the diverse ways of being that constitute culture. They also offer an opportunity to reflect on the historical contexts that have influenced art and scholarship over time, connecting the past with the present, and serving as important reflections on the artistic legacies of such influential figures.

Indigenous art continues to emerge as one of the most significant art movements of the twenty-first century. In viewing this snapshot of masterpieces, we can better support Indigenous communities’ relationship to time and place, and we are able to consider more deeply the cultural heritage that is represented in 65,000 years of continuing custodianship on Country.

Myles Russell-Cook
Artistic Director and CEO, The Australian Centre for Contemporary Art