Namatjira descendants revisiting Hahndorf - 52 years on  

March 18 - July 27, 2020

This exhibition of works by Western Arrarnta watercolourists associated with Ntaria (Hermannsburg) pays tribute to the enduring legacy of famed artist Albert Namatjira. For Western culture, the language of land tends to be based in commerce and resources, but for First Nations peoples around the globe, the basis of land language is emotive, connective and generational. This exhibition presented by Iltja Ntarra (Many Hands) Art Centre from Mparntwe (Alice Springs) at the Hahndorf Academy evokes a strong message of - our Family, our Country, our Legacy - as well as generational connection. Here is the heart story of land language from the Western Arrarnta people and in particular the descendants and kin of Albert Namatjira.   Iltja Ntarra (Many Hands) Art Centre is the home of The Hermannsburg Watercolour Art School. This Art School is proud to exhibit at the Hahndorf Academy in 2020, for the second time in history. Dudley Burns, who lived and worked in Alice Springs during the second World War compiled lists of many Hermannsburg Watercolour Art Exhibitions and noted a mixed exhibition held at Hahndorf Gallery in 1968. This exhibition was organised independently by a gentleman by the name of Mr Gordon Simpson, who worked at the Postmaster-General’s Department from 1939 for a period of 15 years.

It is believed that the 1968 Hahndorf exhibition was of Gordon Simpson’s collection, bought while he was a resident in Alice Springs. During those years, Rex Battarbee, Namatjira’s mentor and friend, used to place paintings by The Hermannsburg Watercolour Art School on display outside Griffiths House in Alice Springs on a Friday evening. Alice Springs was quite small then and interested people would enjoy viewing the paintings which were for sale. Gordon successfully bought some of the paintings at this time. Namatjira descendants revisiting Hahndorf - 52 years on is an exhibition drawn from artists of Iltja Ntjarra (Many Hands) Art Centre who continue this long-lasting painting tradition. The exhibition features 52 recent landscape watercolours by practicing artists from The Hermannsburg Watercolour Art School. It charts the innovation and ingenuity of artists across several generations, inspired by both their heritage but also creating work that reflects both their culture and contemporary life. We are proud our fathers were a part of the original Hermannsburg Watercolour Movement and now, generations on we are still painting together, carrying on this same tradition. – Gloria Pannka   Sources: parts of this text were generously provided by Gayle Quarmby and Ruth Ellis.

All artworks in this exhibition are for sale and during the COVID-19 pandemic we aim to support artists as much as possible during these difficult times and rather than seeing the exhibition in person you can see them on our website as an alternative. Please see our online shop for sales and contact Rachel if you would like to see more images of a particular work. rachel@hahndorfacademy.org.au

Gayle Quarmby

Language of Land

For western culture, the language of land tends to be based in commerce and resources, but for First Nations peoples around the globe, the basis of land language is emotive, connective and generational. The exhibition Iltja Ntarra Many Hands Art Centre of Alice Springs at the Hahndorf Academy brings the strong message of: Our Family, our Country, our Legacy, as well as generational connection.

Here is the heart story of land language from the Western Arrernte group and in particular the descendants and kin of Albert Namatjira.

My father Rex Battarbee, first travelled on a painting expedition to the Hermannsburg, Fink River Mission in 1932 and from then on, was connected to and befriended by the people of this district both Western Arrernte and Lutheran. The clear intense light of the Centralian landscape and the deep and ancient cultural connection to land that these First Nations custodians held close was as a beacon in times of severe drought and social / political upheaval.

Dad had been severely wounded in the trenches of the WW1 Western Front and had physical challenges as a result. I feel the silence of remote places helped to still his trauma. His own art practice was influenced by his injuries , his left hand had been shattered , left paralysed with diminished blood flow , so skin carcinoma’s meant he couldn’t use oil paints and turpentine. His right elbow had been injured as well as other issues, so he couldn’t drive a truck or do up his shoe lases … but his legs were great. So, as you do, he went out into the desert on camels to paint landscapes with watercolours.

The young, hardworking and entrepreneurial Albert (later named Namatjira) was having difficulty supporting his family in times of drought and food shortages. He was always looking for an opportunity to change his family and communities situation, as well as a need to keep his connection to Country strong. Albert was prevented culturally from two sides from replicating traditional symbology for financial outcomes, or indeed for cultural outcomes and obligations.

Albert told Dad that when he first saw Battarbee’s paintings, he felt ‘this man sees my country as I do’ .There was a growing number of painters from the cities visiting the outback, but their colour pallets were Victorian in essence.

Albert owned the choice, and instigated the to be long term friendship. Rex gladly gave his skills and mentorship and this relationship became the foundation of the current Aboriginal Art Industry. This active choice by Albert was not an easy road. Albert certainly gained economic outcomes and a ‘rock star ‘public status, at huge emotional cost. The western tradition landscape paintings were a’ screen ‘to keep links to culturally significant totemic sites and keep kinship ownership of these sites current. Actually a powerful choice in that era.

This letter, written by Albert in May 1939 and was after the meteoric success of the 1938 first solo Albert Namatjira exhibition – Fine Arts Society Melbourne. The next letter, in language, thanks Dad for the support in organizing the exhibition and the 140 pounds he had received from sales. An absolute fortune at this time.

In my files at home, I hold safe my Dad’s diaries, letters and paperwork. A highlight of these files are letters from Albert and other artists. Apart from the all-important art material shopping lists, Albert often states that his family is first in his mind and then the wellbeing and conditions on Country are important on a deeper level.

Dad, gave freely the last 40 years of his life as friend, teacher, mentor and promotor to this extraordinary group of artists. He was always grateful that he was able to work with and mentor 3 generations of artists of Hermannsburg and I know he would be chuffed to think that this tradition, based on friendship and resilience is still held strong by current and future generations.

I grew up in the knowledge that to ‘stand up ‘after tragedy, to take a journey and connect with people and the land can bring strength and change. My husband Mike Quarmby and I have lived this ethic for several decades, after the loss of a son. We travelled to remote places of my childhood and created the Outback Pride Project, bringing capacity to remote communities to enter the native foods industry.

While viewing these sparkling jewels of outback light, listen for the voice of eons, strengthening the generations of land custodians.

Gayle Quarmby BAVa BAEd

Vanessa Inkamala, Tjoritja / West MacDonnell Ranges

Hubert Pareroultja at work in the Iltja Ntjarra (Many Hands) Art Centre in Alice Springs