Manydjarri Ganambarr in Everywhen: The Eternal Present in Indigenous Art from Australia at Harvard’s Fogg Museum

Djambarrpuyngu Marna, 1996

earth pigments on bark

This work depicts the story of Marna, the ancestral shark. When the shark was speared, it crashed into the coast as it died, merging with the landscape. In the lower portion of the painting, the shark is shown in the moments after it is speared. In the upper portion, the shark merges with the geometric background as it transforms into the landscape. The geometric patterned background is created by a dense cross-hatching technique in alternating colors.

Wayne Eagleboy (Onondaga)
We The People, 1971

Acrylic paint & barbed wire on buffalo hide.

American Wayne Eagleboy’s version of the flag of the United States depicts a portrait of two Indigenous men behind a screen of barbed-wire. The frame of the painting is made from Buffalo Hide.




Photography by Jimmy Nelson

Nelson’s work will be on view at Bryce Wolkowitz Gallery in NYC from February 26 - April 18, 2015, with an opening reception on Feb. 26 from 6-8 pm.

Since 2010, Jimmy Nelson has embarked on thirteen journeys to photograph the world’s least known and most imperiled tribal peoples - from the Hoaorani villages deep in the Amazon rainforest, to the Huli and Kalam of New Guinea, to the Tsaatan and Kazaakh of Mongolia and to the Mursi people in the remote highlands of southern Ethiopia. (Text Source & Image Source)

In light of celebrating Indigenous Peoples’ Day everyday, here’s Demian DinéYazhi’s poem once more //
— Literary Hub (@lithub)


By request, R.I.S.E. is now selling their posters in an online store on The posters are still free for digital download at, but not everyone has access to a printer. The price covers the cost of printing, shipping & handling, & helps support Contemporary Indigenous Art. Share and repost!


Survivance &




Emily Kame Kngwarreye

Kngwarreye was an Australian Aboriginal artist from the Utopia community in the Northern Territory. She is one of the most prominent and successful artists in the history of contemporary Indigenous Australian art.

Kngwarreye attained artistic maturity as a woman in her seventies, not long converted to the techniques of painting on canvas, but with decades of painting in a ceremonial context and activity with the Utopia Women’s Batik Group behind her – as well as life as a camel handler and stockhand. In an extraordinarily prolific eight years of professional painting, she produced magnificent canvases in which she appears to have aimed for essentialist visions of the multiplicities and connectedness of her country, as imaged in terms of its organic energies. Kngwarreye’s vital traceries both conform to, and seem to expand beyond, her clan codes, in abstractions of ceremonial markings and imagery of her country’s flora and fauna.

During the early 1990s, Kngwarreye developed a painting technique that literally embodied her sense of the explosive, yet ordered, rhythms of the natural world: she energetically worked her canvas with fluid dots or blobs of colour that formed a pulsing layer over the ‘mapped-out’ underpinnings of her paintings. Later, she embraced the austerities of stripe compositions in works such as ‘Untitled (Awely)’, 1994, and in seething, linear ‘yam Dreaming’ paintings, before she created the remarkable blocky gestural abstractions of 1996, the final year of her life.

Deborah Edwards in ‘Tradition today: Indigenous art in Australia’, Art Gallery of New South Wales, Sydney, 2004

*I’ve included some images from the landscape from the Australian Territories to give a sense of the colours and context in which these paintings were created (or ‘dreamed’)