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L�nes �n the Sand BOTANY BAY STORIES fROm 1770

L�nes �n the Sand BOTANY BAY STORIES fROm 1770

KAMEYGAL

BIDJIGAL

GWEAGAL

Curated by Ace Bourke

Hazelhurst Reg�onal Gallery & Arts Centre29 march – 11 may 2008

Introduct�on

Lines in the Sand, curated by Ace Bourke, is the first exhibition produced by Hazelhurst Regional Gallery & Arts Centre which deals with the events of 1770, 1788 and beyond. Kurnell features prominently within the soul of the Sutherland Shire but more significantly in the lives, stories and experiences of Aboriginal people. There is no doubt that this account, about the meeting of “two entirely alien world views,” is an important one for Hazelhurst to present. This “counter narrative of resistance,” articulated by artists, aims to contribute towards the insertion of Aboriginal voices back into the Australian story.

Ace has had a long involvement with Aboriginal art, both as a curator and gallerist. In recent years he has also developed a keen interest in and knowledge of colonial art. Realising that his family’s own history was well documented (he is related to Philip Gidley King), it became apparent that little was known about the Aboriginal people who were dispossessed in the Sydney region after 1788. This resulted in the 2006 Mitchell Library exhibition EORA: Mapping Aboriginal Sydney 1788 – 1850 co-curated with Keith Vincent Smith.

I’ve known Ace professionally for a number of years and when he recently moved to live in Bundeena conversations inevitably led towards the development of exhibitions. We discussed the idea of a show that had at its core a contempo-rary response to colonial art from 1770/1788. This meshed with his intention to enrol for an MA at the University of Wollongong examining encounters between his family and Aboriginal people. With assistance from the NSW Government, through Arts NSW, Lines in the Sand was conceived as the first of three ideas for exhibitions themed around Botany Bay.

I take this opportunity to acknowledge the Dharawal People as the original custodians of this land and thank the Sutherland Shire Council for their ongoing support of Hazelhurst. In particular I thank Ace Bourke and the lenders for their involvement and contributions, and acknowledge the effort of gallery staff in presenting this significant exhibition.

Michael RolfeGallery Director and Manager Hazelhurst Regional Gallery & Arts Centre

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Contents

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Kamay

Djon Mundine 7

Voices on the Beach

Keith Vincent Smith 13

Lines in the Sand

Ace Bourke 23

The plates

1770 > 30 – 57

The plates

1788 > 58 – 89

List of Works 90 – 91

Artist Biographies 92 – 96

Acknowledgements 97

Cover image:Daniel BoydWe Call Them Pirates Out Here, 2006 (detail)Acrylic on canvas226 x 275 cmCollection: Museum of Contemporary Art, Sydney

Overleaf, left:‘Copy of the original plan of Sting-ray Bay on the East Coast of New Holland, by the Master of H.M.S. Endeavour, Captain James Cook 1770’, photograph, c. 1900, manuscript map by R. Pickersgill(Ref: M2 811.1801/1770/2)Collection: Mitchell Library, State Library of New South Wales

Overleaf, right:Satellite image of Botany Bay, 2008.Courtesy Google Earth

Scenic views postcard folder, Captain Cook’s landing place, Kurnell, date unknownCollection: Botany Bay National Park (Kurnell), NSW National Parks & Wildlife Service, Department of Environment and Climate Change

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KamaydjON muNdINE

Singing too-ra-li oo-ra-li ad-dy, Singing too-ra-li oo-ra-li ay, Singing too-ra-li oo-ra-li ad-dy, And I’ll see you in Botany Bay.

“Botany Bay” – Arranged by Rolf Harris (London: Black Swan Music, 1964)

ceans, bays, beaches and inlets present images of pulsating, bountiful life and begin-nings and endings in many cultures including present day Australia. Pre historians tell us that Aboriginal people’s forebears came from across the ocean by simple rafts and possibly canoes at least 40,000 years ago. Aboriginal creation beliefs around the

continent such as the Djang’kawu story describe original spirit beings who came to our shores from over the sea bringing life and order, observing and naming all the creatures and populating the land. A story from my own country, the Clarence River in New South Wales, tells of three original spirit beings who came by canoe to land at what is the mouth of the present river to shape and populate the land. The canoe is still there under the water in the form of a rock. Along the NSW coast are similar stories where canoes have sunk and turned to rock including Port Hacking and just off Wollongong. These stories and beliefs shouldn’t be seen as validating Cook as “God” and there’s no evidence that Aboriginal people reacted in this way. They reacted in several ways from defiance to total indifference.

Aboriginal views and mental maps of landforms are spatial, temporal and social. The Djambarrpuyngu language word for “bay or inlet” from north Australia, “Likan” refers to an area of sea enclosed by a inward-curving stretch of coastline but also to the turning point of a cul-de-sac; the turning or join point of two things. There is an irony in Botany Bay becoming the site of disaster for Aboriginal people, the point of meeting of two cultures and societies when Cook came to Kurnell in April 1770, the event on which our futures would hinge.

Captain Cook built his reputation on his mapping abilities in Canada earlier in his career and the point of his voyage was to map the unknown. Mapping is a crucial tool of colonialism and indicates implicit power relations in the naming. (See Gordon Bennett’s aptly named painting Possession Island). Kamay (the original name for Botany Bay) already had numerous names from religious associations and economic, mnemonic, and social needs. Who authors maps and for what reason? What exactly are they mapping? What power structure does this particular classification of space construct? We Aboriginal people would soon know what it means to be “un-homed” or “removed from the map”? Botany Bay was originally named “Stingray Bay” in Cook’s diary by a lower class seaman but was later changed to “Botany Bay” in deference to the actions of Sir Joseph Banks (a nobleman of social stature above Cook himself) in collecting innumerable specimens of plants from the site. The voices of Aboriginal people appeared to be irrelevant to them. Is there a salt/fresh water division at play with the seaman seeing the saltwater element (stingray) and the landed botanist (freshwater) seeing the dry land plants?

Although large groups of original inhabitants enjoyed life inland in areas such as around the Murray-Darling basin, Aboriginal people similar to the present Australians lived in greater num-bers close to the coast. If not living right on the sea-shore, then surviving to a large extent from its

Opposite:Daniel BoydUntitled, 2006 (detail)Sandpit (sand, wood), model ship (wood, felt, cord)300 x 300 cmCourtesy the artist and Mori Gallery, Sydney

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offshore resources, they visited and spent at least a significant time of the year in residence there. The Tharawal (Dharawal) people of the Botany Bay area are divided into “forest-inland” people (fresh water) and sea people (salt water) as other Aboriginal groups everywhere on the continent. They would most likely have moved back and forth in response to seasonal markers; to what is called “Yothu-Yindi” (mother and child) in northern Australia, where the appearance of one natural event such as the flowering of the wattles of Sydney would indicate another event in na-ture of a completely different type of organism and species; the coming of mullet fish. The word Likan, meaning bay, also means moon as in crescent moon – the crescent meaning the shallow indentation of many bays into the coast or possibly the shallow dish shape of the muddy bottom of Botany Bay. Further the time of the crescent moon most possibly was a seasonal, temporal marker in such a Yothu-Yindi arrangement.

The line “a town by the bay” could reference many places around Australia’s coastline and endless images conjured up from our personal memories. The region is a beautiful place – a place of mangrove mudflat coastlines broken by pristine white sand beaches, rocky headlands and estuaries of rivers and creeks that flowed all year round. It was an area rich in resources (not the least ample fresh water); even the mud flats brimmed with edible shellfish. It was a place where anyone could go hunting in the morning, go fishing in the afternoon and write poetry in the evening. Stingrays were plentiful in the shallow sloping mud-sand bay floor. It was, it seemed, a place of rest for migrating whales despite its shallowness. A large engraving of a whale with calf existed near La Perouse until a few years ago and in fact a whale beached itself there in 1963.

The Bay itself, stingray in shape, originally an estuary of what are now the Georges and Cooks Rivers, became flooded off and on from the end of the last ice age, before stabilising around 6,500 years ago. In the north of Australia Aboriginal people divide fish into cartilaginous fish (sharks and stingrays) and others (boney fish). There is a common saying that one shouldn’t eat seafood more than 30km from the sea. Sharks and stingrays actually travel well upstream in the tidal rivers at this site and the “bush oyster” mangrove worm is eaten well upstream. A story from the north relayed to me tells of a time when the tidal waters went far out and the shark was trapped in a tidal pool. The honey man found him there and used a stingray barb spear to kill him. (Aboriginal people of Kamay made similar spears with barbs from the large numbers of stingrays in the bay). Quickly he cut the shark up into pieces. The tide, however, returned in the form of a huge tidal wave which the sugar man just escaped as the waters surged up into the hills. The pieces of the shark with its spirit still contained within were carried along the coast and shaped the coastline. Wherever the flesh hit the coast it is named thus: the place of the head, the place of the fin, the place of the liver and so on.

“Debate is blood sport.”– Melvin B. Tolson (Denzel Washington), The Great Debaters, MGM, 2007.

Over the last decade a series of two major, bitter, academic debates have taken place called the “history wars” and the “culture wars.” These falsely led debates have argued against the value of “oral history” challenging the official written heroic colonial conservative views of history. Just because something is written does not mean it is true: lies can be written as well as spoken; history is initially written by the victors. New evidence from the “other side” has in some cases completely re-

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Photographer unknownJohnnie Malone, a descendant of a Botany Bay tribe of Aborigines, and an old Botany Bay identity, c. early 1900sPhotographCollection: Botany Bay National Park (Kurnell), NSW National Parks & Wildlife Service, Department of Environment and Climate Change

Paddy Fordham WainburrangaToo Many Captain Cooks, 1987Bark paintingPrivate Collection

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versed previous “official” histories (see for example Stolen Continents: The Indian Story (1992) by Ronald Wright concerning the colonial conquest of the Americas). Cook’s story, Cook’s tour, is a hotly contested and mythologised one on both sides of the catastrophe. The artist Paddy Fordham Wainburranga’s Too Many Captain Cooks is an almost allegorical telling of Cook as cataclysmic historical marker, a moral parable of the struggle between good and evil, and the failure of “our” concept of our free and egalitarian nation; the persistent stain of our national “original sin.”

“He lifted up his hands and eyes in silent agony for some time; at last he exclaimed ‘All dead! All dead!’ and then hung his head in mournful silence.”– David Collins, An Account of the English Colony in New South Wales, Vol. 1, (London, 1798. Reprint: Sydney: A H. & A. W. Reed, 1975) 496.

We should have faith that history teaches invaluable lessons. People take part in change and make history most often in times, places and circumstances not of their own choosing. A small pox plague decimated the Aboriginal population around the Sydney region soon after the colony was founded in 1788. There is some suspicion that its appearance was a deliberate infection. People died in large numbers and so fast there was no-one to bury the dead. For Aboriginal people, is this the way we evolve or dissolve? To say the population is gone, to see it, to witness it, is another. It is only then that we realise the magnitude of the destruction and what it could mean for Aboriginal continuance and for the history of the rest of the world as well as our own. Aboriginal art is created in the coming together of a number of related participants to sing, to dance, to create art and in fact most importantly, to reaffirm their relationships to each other,

djON muNdINE

to their society, to the environment, and to the spiritual cosmos. It is then that you understand the depth to which social institutions create realities and your own self-concept; survival is dif-ficult, if not impossible without social relations (when they are cut or destroyed in the colonising process). We have shifted from being the normal-widespread to become the lonely unique, the leftover, in a quiet landscape of eerie silence, like the Tasmanian Tiger verging on existing as only a myth. Are we now merely objects of saccharine sentimentality? Shame and stifled fury drive many to self-destruction.

Humans can be unkind, destructive and definitely have a lot to learn; but will this “event” teach anything or is it still undecided? With a disaster little may be recorded and not every sur-vivor is equipped or disposed to saving the world, even their own. Our lives are not necessarily meant to be the most profound in history but they still have value to us.

Over the last twenty years we, the nation, have been driven to really examine, scrutinise and debate our history and much has been found. We are now more truly aware. In fact we could be said to be awash with facts but facts are not wisdom – it is what we now do with all this informa-tion to make sense of the past in terms of being able to move into the future. There is a steadfast honesty – a triumph of the underdog, people who are not prepared to compromise their integrity on the path to complete their vision.

We fortunately live in interesting times. In many ways Botany Bay could be seen to be a meta-phor or analogy of the history of the country as a whole. Acclaimed initially as full of nature’s riches, it was then shunned as these resources were discovered to be less than expected or not of an appropriate type. Marginal land is used for industrial purposes with the attendant destruction of the natural environment and disastrous living standards for the migrant workers who can-not afford better housing. Finally after travelling full circle, today there are serious if somewhat forced recognitions of the natural beauty of the water and surrounds, and attempts to restore the environment; and connect and listen to Aboriginal people. What strategies can be enacted to reclaim the history, the place, and the social in saying sorry to the present day Aboriginal survivors so close at La Perouse on the northern shores of Botany Bay? Recently, when I made an Aboriginal operated boat tour of Botany Bay I pondered why no boat operated between La Perouse on the north and Kurnell on the southern shore; why they still remain unconnected.

So just one step closer, don’t throw me awayAnd carry me back to my town by the bay.When the darkness is falling at passing of days,Won’t you share your new future in my town by the bay?– “Town by the Bay,” music and lyrics by J. Chi, Bran Nu Dae Productions Inc, 1988, 1990.

Djon Mundine OAMIndigenous Curator – Contemporary ArtCampbelltown Arts Centre

Obelisk built near the landing rock for the centenary of Cook’s arrival in Botany Bay in 1870, 1910PhotographCollection: Botany Bay National Park (Kurnell), NSW National Parks & Wildlife Service, Department of Environment and Climate Change

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Vo�ces on the BeachKEITH VINCENT SmITH

Voices from the beach can be hard to hear. They can be snatched from the lips by the wind or drowned in the white noise of the waves. But there are beaches, too, on which voices are hard to hear because of the silence.– Greg Dening1

t the edge of the land, at the edge of the sea, is the beach, a liminal or transitional place where one culture encounters another. In such places strangers meet “natives.” They face each other and look each other in the eye, rarely with understanding. Beaches are places where cultures collide and fight, or where they dance together.

28 April 1770. A sailing ship approaches a bay where people are fishing in their canoes. History is about to happen at a stretch of sand called Kundull.

The people on the land were awed by the arrival of the strange monster from the sea. Years later, in 1833, a Botany Bay man related the story his father had often told him to the Reverend John Joseph McEncroe, a Catholic Priest at St. Mary’s in Sydney: “They thought at first that it was a big bird that came into the bay, and they saw something like opossums running up and down about the legs and wings of the bird; but on viewing them closer they thought them to be people something like themselves.”2 The watchers on the shore had mistaken the tarred pigtails of the English sailors scurrying up the ship’s masts to unfurl the sails for the long tails of possums. McEncroe’s informant was probably Boatswain Maroot, who gave a similar account in 1845 in evidence before a Legislative Assembly committee: “They thought they was the devil when they landed first, they did not know what to make of them.”3 His father, Maroot the elder, had been the clan head of the Kameygal (Spear Clan), located at Cooks River and Botany.

Over on the north shore of the bay a man named Yadyer was looking out from a high point near Kooriwall (now La Perouse). Yadyer went down to the camp at the edge of the beach to tell his friends, Bullmayne, Dolmike, Kurruk and two brothers, Blueitt and Potta, who followed him up the hill. As the strange object approached the heads of the bay, they all agreed that it was a large canoe with people on board, wrote the historian Samuel Bennett.4 Two boats crossed the water to the beach at Kooriwall. One of the men who got out had “something like a Bang-alle” on his head.5 Aboriginal baskets, called bangallee and shaped like tiny canoes, were made from fibrous bark, gathered and folded at one end and bound with string to use as a carrying handle. Inverted, a bark basket would resemble a cocked hat like the one worn by James Cook. Bennett obtained Yadyer’s oral account from a Sydney “gentleman” who had quizzed the old men.

Cruwee (Crewey or Krooi), who said he was at Kurnell, told Obed West he thought the vessels were “floating islands.” West wrote: “I have often conversed with Cruwee, who was an intel-ligent fellow … It was very amusing to hear him describe the first impression the blacks had of the vessels, and although very fearful, they were curious and would, with fear and trembling, get behind some tree and peep out at the monsters which had invaded their shores.”6

After eight days in Botany Bay, the “big bird,” sailed away and life for the Indigenous People returned to normal for eighteen years. As time passed, stories told around campfires about this first ship merged into memories about the arrival of the eleven ships of the First Fleet in 1788.

Opposite:George RaperThe Land about Botany Bay Part 2 of Van Diemans Land, New Holland; The Land about Botany Bay; Entrance of Port Jackson when close under the South Head, 1791 (Ref: nla.pic-an21511990-2) Collection: National Library of Australia

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VOICES ON THE BEACH

Confronting CookSydney Parkinson’s pencil sketch depicts one of two brave Aboriginal warriors who launched their spears at James Cook’s landing party from the discovery ship HM Bark Endeavour at Botany Bay in 1770. His name was Cooman or Goomun. He held a shield in his left hand and in his right hand a spear was poised in his spear thrower ready to defend his Country.

The two men belonged to the Gweagal (Fire Clan) at Kundull (Kurnell) on the south shore of Botany Bay. The image is a detail from one of several pencil sketches made by the young Scottish artist 238 years ago.

The artefacts – shield, spear and fishing spear – are three clues that prove this is the spearman. We can confirm this statement by linking them to written descriptions by Cook, Joseph Banks and the artist himself. Cook and Banks took these objects from the beach after the first skirmish between Australian Aborigines and voyagers, and they are now in British museums.

On the afternoon of 28 April 1770, when Lieutenant James Cook and an armed party of marines came ashore in their boats, two Gweagal men shook their spears and shouted their defiance. “Their countenance bespoke displeasure; they threatened us, and discovered hostile intentions, often crying to us, Warra warra wai,” wrote Parkinson.7 These words, meaning “go away” or “begone,” were the first ever spoken to Europeans by the Indigenous inhabitants of south-eastern Australia.

In Cook’s boat with Parkinson and Banks was the botanist Daniel Solander, midshipman Isaac Smith and Tupaia, a Polynesian who had acted as an interpreter with the hostile Maori in New Zealand.8 They attempted to land on the sandy beach at Kundull near a group of bark huts, which Banks described as a “small village.”9 At first, Cook thought the Aboriginal men were beckoning the English sailors to come ashore. He was mistaken:

“for as soon as We put the Boat in they again Came to oppose us upon which I fir’d a Musquet between the 2 which had no other effect than to make them retire back where bundles of their Darts lay & one of them took up a Stone & threw at us which caused my firing a Second Musquet load with small shott”10

After the first musket shot, the younger man dropped a bundle of spears, but quickly snatched them up again. The small shot struck and wounded the older man’s legs. He ran to a hut and, wrote Parkinson, “brought out a shield, of an oval figure, painted white in the middle, with two holes in it to see through.”11 Cook wrote in his journal: “Immediately after this we landed, which we had no Sooner done than they throw’d 2 darts at us this obliged me to fire a third Shott soon after which they both made off.”12

Parkinson was close enough to make a good likeness of the spearman, as one of the spears came so close, he wrote, that it “fell beneath my feet.”13

Cook and his men were free to cross the beach, where boot marks replaced footprints in the sand. This seminal moment was a turning point in the history of Australia. It would lead eventu-ally to the establishment of a British convict colony at Sydney Cove in 1788, and, in time, to the dispersal and dispossession of the Indigenous People of Australia.

The astronomer Charles Green, who, with Cook, had observed the Transit of Venus in Tahiti in 1769, explicitly described the spear launched at Cook’s landing party as a “4-pronged wooden fish-gig” or fishing spear.14 Cook and Banks threw a few strings of beads, some ribbons and

Sydney Parkinson (c.1745-1771) [Spearman] Detail from Australian Aborigines and artefacts, 1770 Pencil(Ref: BL Add. MSS 9345 f.14v) British Library, London

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pieces of cloth into a bark hut where four terrified children were hiding. They took away “forty or fifty” spears of various lengths, wrote Banks, adding “both those which were thrown at us and all we found except one had 4 prongs headed with very sharp fish bones.”15

The detail of Parkinson’s study clearly shows that the spearman is about to launch a fishgig with four prongs, just as stated by Green and Banks. Aboriginal men used their pronged spears to catch fish, which was their major food source. Fishing spears were usually hand-held and the woomerah was used only to launch single-pointed killing spears for small game. The Gweagal men had swiftly snatched up their fishing spears on the spur of the moment to defend themselves.

On his return to England, Cook gave some spears to his patron, John Montague, First Lord of the Admiralty, who donated them to Trinity College, Cambridge. They are now in the Cook Collection of the Museum of Archaeology and Anthropology at Cambridge University. Of the four surviving spears, all with bone points, two are three pronged fishing spears and one has four prongs. The fourth is a single shaft with a hardwood head.16

Parkinson’s field sketches include the first representation of a woomerah, which Banks de-scribed as “a short stick which he [the man with the shield] seemd to handle as if it was a ma-chine to throw the lance.”17 Professor Isabel McBryde has noted: “This type of spear-thrower, with a peg of wood or bone hafted at one end, and a shell at the other, for use as an adze, was described by several First Fleet historians, but few actual examples survive.” 18 One is in the Cambridge University collection.

In August 1770, Banks drew and described the “instrument” or “contrivance” used by the Aborigines to propel spears.19 The shield held by the Aboriginal spearman in Parkinson’s draw-ing was described by Banks as “a sheild [sic] of an oblong shape about 3 ft long and 1½ broad made of the bark of a tree: this he left behind when he ran away and we found upon taking it up that it plainly had been pierced through with a single pointed lance near the center.”20 The prob-able shield picked up by Banks is now in the British Museum, Department of Africa, Oceania and the Americas in London. It is described as a “Bark Shield [. . .] From Botany Bay, New South Wales, Australia [. . .] Collected on the first voyage of Captain James Cook (1768-71).”21

Archaeologist J. V. S. (Vincent) Megaw noted that the shield has a bent wooden handle and that “the hole which [Parkinson] shows in the centre of the shield matches precisely the position of that visible” on the British Museum example.22

Sydney Parkinson died at sea on 27 January 1771 from malaria after the Endeavour left Batavia (Jakarta). Charles Green died a few days later.

The spearmanAboriginal people at Botany Bay passed down the story of the spearman and his name for gen-erations. In the 1840s, Biddy Coolman (Cooman) gave this version of the encounter in 1770 to Richard Longfield, who passed it on to William Houston in 1905: “They all run away: two fellows stand; Cook shot them in the legs; and they run away too!” Biddy, “who often yarned with Mr. Longfield,” said the spearman’s name was Cooman and that he was the ancestor of her husband, also called Cooman, and often described as “the last of the Georges River Tribe.”23

In 1901, Mary Everitt, a Sydney schoolteacher and scholar of Aboriginal languages, referred to Biddy Cooman, who had remarried and was known as Granny or Biddy Giles, in a letter to

Bark Shield. Face of Shield.From Botany Bay, New South Wales, AustraliaBefore AD 1770Length: 97 cmCollected on the first voyage of Captain James CookTrustees of The British Museum

Bark Shield. Back of Shield.From Botany Bay, New South Wales, AustraliaBefore AD 1770Length: 97 cmCollected on the first voyage of Captain James CookTrustees of The British Museum

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A.G. Stephens, editor of The Bulletin: “Granny Giles’ husband – Old Cooman, or Goomung … He was a tiny child when Capt. Cook came.”24 Cooman, the grandson of the spearman, died at Liverpool, NSW, in 1856.25 In the vocabulary included in An Account of the English Colony in New South Wales, David Collins, Acting Judge Advocate of New South Wales, recorded Go-mang as “Grandfather,” which in Aboriginal usage might also mean “grandson.”26

Tupaia’s SketchbookIn the drawing above, two small brown figures paddle their canoe, while a bigger man in another canoe gazes into the water, poised to strike a dimly seen fish with his four-pronged spear. The artist who painted this scene at Kundull in 1770 was Tupaia, a high priest from the island of Raiatea, west of Tahiti in the central Pacific. A skilled navigator and geographer, Tupaia could speak some English and was also a tattooist, painter and dyer of tapa or bark-cloth.

Details in the painting show the wooden spacers and tied ends of the typical bark canoes used at the time in Botany Bay. The wide-eyed, intent expression on the faces of the three men painted by Tupaia seem to echo the thoughts Banks entered in his journal while observing a similar fishing party under the south headland as the Endeavour sailed into Botany Bay: “These people seem’d to be totally engag’d in what they were about. The ship passed within a quarter of a mile of them and yet they scarce lifted their eyes from their employment; I was almost inclind to think that attentive to their business and deafned by the noise of the surf they neither saw nor heard her go past them.”27

Tupaia, Otaheite [Australian Aborigines in bark canoes], 1770Pencil and watercolour(Ref: Add. MS 15508 f.10a)British Library, London

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At Kundull the mariners found three or four beached canoes like those they had seen in the bay. They were made from the bark of a tree, gathered up at either end and “stuck open with a few sticks for thwarts,” wrote Green.28

Banks had persuaded Tupaia and his boy servant Taiata to come back to England with him on board the Endeavour. “Thank heaven I have a sufficiency,” Banks remarked famously in his journal, “and I do not know why I may not keep him as a curiosity, as well as some of my neighbours do lions and tygers at a larger expence than he will ever put me to.”29

Until his biographer Harold Carter came across a letter in which Banks mentions Tupaia to his friend Dawson Turner in 1812, it was thought that Banks himself might be the “Artist of the Chief Mourner,” responsible for a suite of watercolour scenes in Tahiti and New Zealand. Banks wrote: “Tupaia the Indian who came with me from Otaheite Learnd to draw in a way not quite unintelligible.”30 This statement explains the caption “Otaheite” (Tahiti), written on the image by Banks.

Tupaia fell ill with scurvy after the ship left the Australian mainland, but refused medical treat-ment. He died in Batavia in November 1770, two days after Taiata. In Cook’s opinion Tupaia was “a Shrewd, Sensible, Ingenious Man, but proud and obstinate.”31

Forgotten wordsThree Englishmen from HM Bark Endeavour listened to the voices on the beach and collected the words they heard at Botany Bay in 1770. They were the first records of an Indigenous lan-guage in Australia.

At Botany Bay, Joseph Banks and Daniel Solander found themselves in a plant paradise from which, in eight days, they collected more than one hundred unrecorded species of Australian plants. Young Isaac Smith found time to gather twenty words from the Indigenous People, Lieutenant Zachary Hicks gave him a further nine words and Surgeon William Brougham Monkhouse collected thirty-one more. These sixty words survived in a manuscript (now lost) compiled by William Lanyon, Smith’s shipmate on Cook’s third voyage. Fortunately, the British linguist Dr. Peter Lanyon-Orgill (1924-2002), a descendent of William Lanyon, published the Endeavour wordlists with some eighty other vocabularies in 1979. William Lanyon served as a midshipman with James Cook on his second voyage in HMS Adventure and as master’s mate aboard HMS Resolution on Cook’s third voyage. The leather-bound work (MS Lanyon 8) he left contained vocabularies of South Sea (Pacific Island) languages that were sorted and numbered in the nineteenth century by another descendant, John Lanyon. Over time, Peter Lanyon-Orgill a distinguished linguist and graduate of Balliol College, Oxford, copied all the vocabularies and compared them with early records of the same languages. The whereabouts of William Lanyon’s original manuscript cannot now be traced.

The existence of these wordlists contradicts the accepted historical account that there were no friendly meetings between the Aboriginal people and Cook’s voyagers. The conclusion is simple enough: three wordlists imply three such encounters.

Twenty years would pass before words like moola (mulla) “man,” din (dyin) “woman,” wo-gool (wogul) “one,” daara (dara) “teeth,” dingoo (dingu) “dog,” paduo (badu) “water,” geepa (gibber) “stone or rock,” and peemal (bimal) “earth,” would be heard from Aboriginal inform-

Joseph Robertson Last of the Georges River Tribe, New South Wales, 1880 Photograph At rear: Jim Brown, Joe Brown, Joey or Tuckamool (Biddy Giles’s brother) Front: Biddy Giles with Jimmy Lowndes Collection: Sutherland Shire Libraries

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ants at Port Jackson. Monkhouse recorded the word for fire, gweè-un in the Sydney language, as gooyong and Hicks as gooiyong.32 Significantly, Gweagal (Fire People) was the name of the clan that inhabited the south shore of Botany Bay.

One non-Aboriginal word stands out in Monkhouse’s list – eeka (ika), meaning “fish” in both the Maori and Polynesian languages – and suggests that Monkhouse heard it from Tupaia. By comparison with vocabularies collected after 1790 by officers of the First Fleet at Port Jackson, every other word in the manuscript is consistent with the language spoken by the Eora of coastal Sydney.

Ancient sandsThe wide, shallow bay and sandy landscape around Botany Bay was shaped over millions of years by the sea, rivers and winds. About 160 million years ago, the northern part of the Kurnell Peninsula, on the south shore of Botany Bay, was an island, cut off by the sea, which entered between Kurnell and Cronulla. Geologists have traced the Hawkesbury sandstone underlay, bending under Botany Bay and reappearing at Cronulla.

Over time, the silts and sands brought down by the Georges and Cooks rivers and smaller streams formed layers over the sandstone, creating sandbars and dunes estimated to be 10,000 years old. Dr Tim Flannery writes in The Birth of Sydney that the sandstone base and cliffs of the Sydney area coast were formed from grains of sand that originated from rocks far to the south in Antarctica some 500 to 700 million years ago.33 Unlike Port Jackson and Broken Bay to the north, which were drowned river valleys, Botany Bay was created when a flat, low-lying plain was submerged by rising seas at the end of the last Ice Age, 20,000 to 30,000 years ago.

Whales in stoneYear after year, for countless thousands of years, pods of Humpback whales have migrated from the south in the winter months, following the eastern coastline of Australia to warmer northern waters. Large pods of whales swim past Cape Solander, where the Continental Shelf comes close to the shoreline. The record sighting is forty-eight whales in one day. In spring the whales return southwards with their calves to spend the summer feeding on krill in the icy Antarctic, but swim further out to sea.

Aboriginal people would gather to feast on the rich blubber whenever a whale was stranded or washed up on the shore. In Aboriginal Carvings of Port Jackson and Broken Bay, surveyor and geologist William Campbell recorded an engraving of a whale in Botany Bay on “a high part of the low rocky point at La Perouse,” close to Bare Island and the La Perouse monument in Botany Bay.34

When he questioned Aboriginal people at the La Perouse camp, “an old black woman” told Campbell the engraving represented a “Boora” whale, in other words it was associated with bora or initiation ceremonies.35 The whale engraving, though faint, still exists.

Governor Arthur Phillip first witnessed Aborigines feasting on a whale cast up on the shore during an expedition to Botany Bay in August 1788: “All that were seen at this time had large pieces of it, which appeared to have been laid upon the fire only long enough to scorch the out-side,” wrote Phillip.36

19

Endeavour word lists, recorded by Isaac Smith, in Captain Cook’s South Sea Island vocabularies, Peter A. Lanyon-Orgill (ed.) [Byfleet, Surrey], 1979, p. 34.(Ref: ML 499.2/127)Collection: Mitchell Library, State Library of New South Wales

VOICES ON THE BEACH

Despite the monuments, shipping container wharves and busy airport traffic, Botany Bay has a unique historic and cultural significance for all Australians. At Kundull or Kurnell, you can walk on the sandy beach where Cooman confronted Cook and reflect on our shared history at the place where it began.

Keith Vincent Smith is the author of King Bungaree (1992), Bennelong (2001) and Wallumedegal: An Aboriginal History of Ryde (2005). In 2006 he co-curated with Ace Bourke EORA: Mapping Aboriginal Sydney 1770-1850 at the Mitchell Library. He is a PhD candidate in the Department of Indigenous Studies at Macquarie University, Sydney.

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Endnotes

1 Beach Crossings: Voyaging Across Times, Cultures, and Self (Carlton: Miegunyah, 2004) 55.2 Rev. J. McEncroe, Sydney Morning Herald 27 Apr. 1863: 5.3 Boatswain Mahroot [Maroot], “Report from the Select Committee on the Condition of Aborigines,” New South

Wales Legislative Council Votes and Proceedings (Sydney, 1845): 5.4 Samuel Bennett, The History of Australian Discovery and Colonisation, Sydney, 1865: 83-4.5 Bennett, 83-4.6 Obed West, Sydney Morning Herald, 1882, in Edward West Marriott (ed.), The Memoirs of Obed West: A Portrait

of Early Sydney (Bowral: Barcom, 1988) 42-3.7 Sydney Parkinson, Journal of a Voyage to the South Seas, in His Majesty’s Ship, The Endeavour (London, 1784) 134.8 Keith Vincent Smith, “Tupaia’s Sketchbook,” The Electronic British Library Journal, eBLJ, Article 10, 2005, <http://

www.bl.uk/eblj/2005articles/article10.html>.9 Joseph Banks, The Endeavour Journal of Sir Joseph Banks, August 1768-July 1771. View the Botany Bay section

online at the Mitchell Library, State Library of New South Wales, Sydney: <http://image.sl.nsw.gov.au/cgi-bin/ebindshow.pl?doc=safe1_13/a1193;seq=374>; Joseph Banks, The Endeavour Journal of Joseph Banks: 1768-1771, ed. J. C. Beaglehole, Vol. 2 (Sydney: Trustees of the Public Library of NSW and Angus and Robertson, 1963) 54.

10 James Cook, The Journal of Captain James Cook on his Voyages of Discovery, ed. J. C. Beaglehole, (Sydney: Trustees of the Public Library of NSW and Angus and Robertson, 1962) 305.

11 134.12 305.13 134.14 Charles Green, A Journal of the Voyage in the Endeavour…1768-9, 28 April 1770, PRO Admin. 51/4545/151,

Public Record Office, London; Historical Records of New South Wales, Vol. 1, Part 1 (Sydney, 1893) 269-88.15 Vol. 2, 55.16 UCMAAD (1914) 1-4, Cook Collection, University of Cambridge Museum of Archaeology and Anthropology,

Cambridge. 17 Vol. 2, 54.18 “The contribution to Australian ethnography,” in H. T. Fry, J. M. Thomson, The Significance of Cook’s Endeavour

Voyage; Three Bicentennial Lectures (Townsville: James Cook University, 1970) 47.19 The Endeavour Journal of Sir Joseph Banks, August 1768-July 1771, 298-99. View online at the Mitchell Library,

State Library of New South Wales, Sydney: <http://image.sl.nsw.gov.au/cgi-bin/ebindshow.pl?doc=safe1_13/a1193;seq=450>.

20 Vol. 2, 55.21 More information is available online. “Bark Shield,” The British Museum, <http://www.britishmuseum.org/explore/

highlights/highlight_objects/aoa/b/bark_shield.aspx>.22 J. V. S. Megaw, “Something Old, Something New: Further Notes on the Aborigines of the Sydney District as

Represented by Their Surviving Artefacts, and as Depicted in Some Early European Representations,” Records of the Australian Museum, Supplement 17 (Sydney, 1993) 28.

23 Richard Longfield to W. Houston, 1905, Archives of Captain Cook’s Landing Place Trust, Box 12, Item 141, 2, 6. 24 Mary Everitt, Upper Picton, letter to A. G. Stephens, Sydney, 24 June 1901, 2/950a, Hayes Collection, University of

Queensland Library, Brisbane. 25 Births, Reg #4106, 1865, New South Wales Registrar-General, Sydney. 26 Appendix X11 – Language (London, 1798) 509.27 Vol. 2, 54.28 Vol. 1, Part 1, 269-88.29 312-13.30 Sir Joseph Banks, Letter to Dawson Turner FRS, 1812, MS 82, Banks Collection, Fitzwilliam Museum, Cambridge.31 Vol. 1, 442.32 Peter Lanyon-Orgill, MS Lanyon 8, Captain Cook’s South Sea Island Vocabularies (Byfleet, Surrey: author, 1979) 34-5.33 Tim Flannery (ed.), “The Sandstone City,” in The Birth of Sydney (Melbourne: Text, 1999) 8-10.34 Aboriginal Carvings of Port Jackson and Broken Bay: Measured and Described by W. D. Campbell (Sydney:

Government Printer, 1899) 6.35 6.36 Arthur Phillip, The Voyage of Governor Phillip to Botany Bay (London: Stockdale, 1789). Reprint, J. J. Auchmuty

(ed.) (Sydney: Angus and Robertson, 1970) 75.

21

Native carvings, Whale, La Perouse, 16/9/1893, pencil drawing, W.D. Campbell album.(Ref: PXD 223/no.5)Collection: Mitchell Library, State Library of New South Wales

L�nes �n the SandACE BOuRKE

first saw Botany Bay when I visited La Perouse one Sunday when I was 12 years old in the late 1950s. It was also my first introduction to Aborigines – there had been virtually no reference to them in the historical or contemporary narrative I was being taught at school. I remember being frightened of the other tourist exotica, the snakes that are still exhibited

there on weekends. The Aborigines were matter-of-factly carving, demonstrating and selling boomerangs to the tourists, and were living in this beautiful setting. I don’t really remember any particularly unusual strong feelings or impressions. What I have unexpectedly remembered, after all these years, is how gypsies fascinated and frightened me. At that time they could still occasionally be sighted on country New South Wales roads, their rather flashy but battered cars pulled over in groups. Cars were more prone to breaking down then and we feared stopping as gypsies had a reputation, among other prejudices, for being thieves. Interestingly, my family share no recollection of them, and the gypsies, peripheral at best, seem to have faded from the Australian narrative.

The Aborigines I saw that day at Botany Bay were probably from the Timbery family, from the south coast’s Five Islands and La Perouse. The family still live there today and some family members continue to make boomerangs. The Timbery family history is unusually well docu-mented, and in the Lines in the Sand exhibition, or in public collections, they are represented by various items including an 1885 photograph of Queen Emma Timbery, an 1819 pencil drawing of their ancestor Timbéré, and Joe Timbery’s 1930s boomerang illustrated with the arrival of Captain Cook.

I did not know then that my great great great great grandfather Philip Gidley King, Second Lieutenant to Captain Arthur Phillip had arrived in Botany Bay on HMS Supply 170 years before, landing at Yarra Bay a few hundred metres from this site. On 19 January 1788, both Phillip and King walked across the hot sand, in uniforms most unsuitable for the January heat. As they searched for water, they had the first encounters with Aborigines, possibly ancestors of the people I saw that day at La Perouse, or of people I have since met. King would document several of these first encounters over the next few days, and it is his account in his journal we read today, and see in the exhibition. The other better known journal writers such as Watkin Tench, David Collins and John Hunter were on the other First Fleet ships, days behind HMS Supply. King’s accounts (and his later account of the settlement of Norfolk Island) were subsumed into the published journals of other writers. John Hunter for example, included material from King’s diary without acknowledgement which made it impossible for him to be published himself. King felt cheated about this and his annoyance and difference of opinion is obvious in his annotations in his personal copy of Hunter’s journal. This remained in the family for several generations, was then purchased by a noted collector, and then auctioned in London several years ago.

My cousin Jonathan King devised and led the First Fleet Re-Enactment of 1988 to celebrate Australia’s bicentenary. Co-incidentally, the artist Tracey Moffatt and I were participating in an Arts Festival in Portsmouth, England when the re-enactment fleet left from there in 1987. Tracey protested against the cultural insensitivity of the fleet flying an Aboriginal flag and was escorted away by the police. When this First Fleet sailed into Botany Bay in 1988, Jonathan King wanted to re-enact the landing at Yarra Bay but was refused permission by the Aborigines.

I have been involved in Aboriginal art as a curator and gallerist for over twenty years. I was fortunate in the mid to late 1980s to meet or work with an extraordinary generation of emerg-

Opposite:Botany Bay, Sirius & convoy going in… 21/1/1788 (detail), watercolour drawing by William Bradley, from his journal ‘A Voyage to New South Wales’, 1802, opp. P. 56 (detail)(Ref: Safe 1/14)Collection: Mitchell Library, State Library of New South Wales

Above:William McLeodGovernor Philip Gidley King, c.1886Engraving

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of Bennelong and Bungaree, and I discovered that a few people knew a surprising amount about the Eora people and were doing extraordinary research, including reconstructing the language. This resulted in the 2006 Mitchell Library exhibition EORA: Mapping Aboriginal Sydney 1788 – 1850 co-curated by Keith Vincent Smith and myself, and based primarily on his research and the collections of the Mitchell Library. While it included extensive material, all existing vocabu-laries of Eora words, and many accounts, quotes and representation of Aboriginal people, their voice and perspective remained more elusive than I had hoped for.

To counter this, I wanted to try to personalise, where possible, specific relationships or encoun-ters between my family and Aboriginal people, as documentation does exist in some instances. I moved to Bundeena on Port Hacking, one bay south of Botany Bay, and enrolled for an MA at the University of Wollongong. My starting point was my ancestor Philip Gidley King in Botany Bay in 1788. This research has culminated in the exhibition Lines in the Sand: Botany Bay Stories from 1770, staged at the Hazelhurst Regional Gallery and Arts Centre in the Sutherland Shire, which extends to the southern side of Botany Bay. The exhibition, in which selected colonial, con-temporary and local artists respond to the events of 1770 and 1788, provides the opportunity to reflect on a pre 1770 Aboriginal existence and its subsequent loss, the meeting of two entirely alien world views, the Enlightenment’s search for knowledge about the diversity and connectedness of the world’s flora, fauna and people, and the weaving of foundational narratives, including a coun-ter narrative of resistance. Lines in the Sand illustrates how Aboriginal voices – and the artists have been the most articulate – are being inserted back into the Australian narrative.

As I look at Botany Bay today it is hard to imagine the hold it has exercised on the public imagination since 1770. This is reinforced by the seemingly ignored and, under the circumstanc-es, infrequently visited site at Kurnell, although much more imaginative proposals and plans are currently being considered. It is as if the site has been paralysed by the weight of its foundational history and contested nature, a metaphor for the impasse of settler/indigenous relations.

Botany Bay has been severely damaged, indeed vandalised environmentally over many years by sand mining, the pollution and development associated with its life as a port, the container terminals that handle one third of Australia’s container trade, the refineries and pipe lines. A new threat is the proposed desalination plant. While so many people set out for “Botany Bay” which was synonymous with “Australia,” no-one actually arrived there, although the ever expanding and noisy Sydney Airport is now the primary point of entry to Australia with over thirty million arrivals each year.

With only a thin strip of land barely separating the water and the sky, Botany Bay has been a beautiful, bland, blank canvas for the superimposition of expectations and aspirations, dreams and nightmares, disappointments, fears, and for some, redemptive possibilities. For the Aborigines it has meant dispossession and the destruction of their traditional lives. Botany Bay has a pleasing, comforting, almost perfect circularity to it, resembling a womb: the perfect loca-tion for the “birthplace” of Australia.

Botany Bay was a contested and paradoxical site from the beginning with the Aborigines call-ing out “warra warra wai” (“go away,” “begone”) which was interpreted as “welcome.” Both the leading explorer (Cook) and botanist (Banks) of the day were wrong about the suitability of the site to support a colony, but there was an urgent need to establish another site for convicts due to the American War of Independence, fierce strategic and economic competition with the

Brenda L. CroftMichael Watson, Long March of Freedom, Justice and Hope 26 January 1988Courtesy the artist and Stills Gallery, Sydney

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ing artists and curators including Gordon Bennett, Tracey Moffatt, Michael Riley, Brenda Croft, Hetti Perkins and Djon Mundine. I have always been especially interested in works that specifi-cally address indigenous/settler first encounters as they have provided an Aboriginal perspective which is markedly absent from historical accounts. The late Michael Riley once rather snappily said to me “ALL our work relates to that.” But in reality, artists such as Tracey Moffatt and Gordon Bennett have proceeded to make international reputations as “Australian” artists, ad-dressing a wide variety of concerns and interests.

In the lead up to the Bicentennial of 1988 there was an unprecedented interest and growing awareness of Aboriginal issues and sensitivities. Lines in the Sand includes several works that were produced at this time in response to the events being celebrated or boycotted. For exam-ple, in Tracey Moffatt’s short film Nice Coloured Girls (1987) colonial and contemporary con-texts are juxtaposed through the subversion of point of view and power as she inserts a female Aboriginal perspective into the official historical narrative: Aboriginal girls climb up onto the decks of the first ships, or score a “Captain” in Kings Cross. Gordon Bennett’s paintings of this period such as Australian Icon (Notes On Perception No. 1) (1989) and Study for Possession Island (1991) challenge the orthodox Australian histories, or investigate an Aboriginal identity within a post colonial framework, reinserting an Aboriginal presence in the Australian narra-tive in an act of reclamation. In Metaphysical Landscape II (1990) Bennett has appropriated a section of Joseph Lycett’s 1824 aquatint North View of Sidney, transforming (re-informing) the image from an Aboriginal perspective, complete with the visual pun of a Xanthorrhoea (or Black Boy), a plant of great use to Aborigines, of which Lycett was probably not aware. Brenda Croft’s photograph of 26 January 1988 reminds us of the unprecedented pan- Australian united Aboriginal opposition to 1988.

Although my colonial ancestors were involved in the dispossession of Aboriginal people, ironically it has been the genuine interest of friends like Tracey Moffatt, Michael Riley and Hetti Perkins in my own family history, which encouraged me to do further research and be less self-conscious about it. For Aboriginal people, family comes first and is central to existence to an ex-tent that non-indigenous people do not comprehend. The opportunity to begin comprehensively researching my family, and to curate a story about the historical role of certain members, devel-oped from an imaginative invitation to propose an exhibition for the Museum of Sydney. As the Museum is on the former site of the First Government House, the family connection is significant on both sides. My mother’s ancestor King, as Governor from 1800 – 1806, had lived there with his family, as had my father’s ancestor Governor Bourke from 1831 to 1837. This culminated in the exhibition Flesh & Blood: A Story of Sydney 1788-1998, at the Museum of Sydney in 1998, which explored the contribution of various family members to the origin and growth of Sydney. I had extraordinary public and private material to illustrate my thesis – journals, government records, paintings and personal memorabilia – mostly loaned from the Mitchell Library. The exhibition was designed to make people think about their own family contributions to where they live, and about how communities and cities develop.

It struck me forcefully at the time that while my own history was well documented and rela-tively easy to research, and I had many relatives, little seemed to be known about the Aboriginal people or their descendants, who were dispossessed, or died, so quickly in the Sydney region after 1788. I was fortunate to meet Keith Vincent Smith who had written the pioneering biographies

Emma Timbery‘Queen of La Perouse’, Aboriginal shell worker, 1900Photographic portrait by unknown photographer.(Ref: P1/Timbery BM)Collection: Mitchell Library, State Library of New South Wales

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he stood in need of.”4 In this and future contacts with the French, King’s relations appear to be a mixture of camaraderie, diplomacy and espionage. King was one of the last people to see them alive before they were shipwrecked in the Solomon Islands.

While Nathalie Hartog-Gautier uses botanical drawings as a metaphor, Joan Ross’s love and affinity for the natural world heightens her sense of what aboriginal people were separated from and lost, and she questions ideas of “civilisation” and “superiority.” Ross sees her work as a way of drawing attention to this loss, and, hopefully, as a reconciling agent. Her use of the iconic kangaroo fur is a deliberate and as powerful a political statement, as Boat-people.org’s Untitled (2005) photographs of people on the cliffs at Botany Bay “silenced, blinded and rendered deaf” by the Australian flags over their faces, and were eerily prescient of the Cronulla riots.5 Boat-people.org formed in 2001 as a response to the Howard Government’s expressions of national-ism and xenophobia, particularly in relation to refugees, although this work primarily addresses post 1770 legitimacy.

Fiona MacDonald’s woven photograph of the Sutherland Shire’s James Cook Island, and Gary Carsley’s Kurnell works of complex digital wooden inlay, address issues of colonisation and cultural transfers between the Old and New World, and the qualities of the handmade faced with the uniformity of globalisation. Carsley’s Botany Bay National Park, Sydney, references the botanical history of the site: “Parks are specific forms of place making; they are curated nature” and “can take on narrative qualities that portray significant cultural and historical strategies.”6

Michel Tuffery’s paintings remind us of the broader context of Cook’s explorations, and illus-trate a Pacific Islander’s perspective on Cook and colonisation. Guan Wei’s Echo (2005) contains nine appropriated images of Europeans exploring in the Pacific Ocean in the seventeenth and eighteenth centuries. Wei has “reconstructed” these images into a very well known Chinese intel-lectual landscape painting that illustrated the harmony between nature and humankind. He is commenting on how “otherness” came to be portrayed, and the painting is an attempt by Guan Wei to “introduce a fresh approach where historical analysis develops in a non-linear, trans-cul-tural and multilayered way,” a “reminder that we are living in an historical arena where cultures from many regions and races are much more integrated than in the past.”7

The convict story, despite being Australia’s raison d’être, is only hinted at in the exhibition. They did not disembark in Botany Bay, and very few accounts of their experience exist. I feel justified in including my own family narrative in Lines in the Sand as it is an attempt to person-alise some of the events that happened in Botany Bay. King did participate in and record in his journal several of the first encounters with indigenous people, and it is his accounts of them that have become the historical record. On the first day he and Phillip encountered Aborigines when they were looking for water, and over the next days he had his own encounters, showing himself to be as courageous if not as assured or successful as Phillip in the protocols both sides were acting out. It is fascinating how these protocols were useful, understood and misinterpreted. King wrote about the key encounter where he ordered for the marines to reveal their sex to the Aborigines. He also offered them alcohol, and although he resisted what he perceived to be the offering of women, he provocatively proffered a handkerchief to a naked young woman he had singled out.

King records encountering a large group of Aborigines up the George’s River, at a place he named “Lance Point” where spears were thrown at his party. This name did not subsequently

John LewinGiganta Lily, c 1806Watercolour(Ref: DG SV*/Bot/2)Collection: Dixson Gallery, State Library of New South Wales

LINES IN THE SANd

French, Spanish and Portuguese, and the need for a naval and supply base. Banks no doubt had his own agenda, and his influence over the colony extended until the appointment of Governor Macquarie in 1815.

Lines in the Sand contains iconic representations of the events in Botany Bay such as E. Phillips Fox’s Landing of Captain Cook at Botany Bay 1770 (1902), but also responses to the events and their representation by contemporary Aboriginal artists such as Daniel Boyd, Dianne Jones, Brenda Croft, Tony Albert and Clinton Nain. These artists often seek to redress the omissions or perspec-tives, viewing their work as educational and a long over-due correction of the historical records.

Daniel Boyd questions the romantic notions of colonisation, and as illustrated in his paint-ing Captain No Beard (2006), sees such behaviour as more akin to piracy. He says “it’s very important that Aboriginal and Torres Strait Islanders continue to create dialogue from their own perspective to challenge the subjective history that has been created.”1 Boyd and Dianne Jones were both provoked, shocked and like many Aboriginal people, insulted by the National Portrait Gallery’s purchase of the John Webber portrait of Captain Cook for $3.5 million in 2000, at a time when the Howard Government was refusing to say sorry to the Stolen Generation. The bark painting Too Many Captain Cooks by the late Paddy Fordham Wainburranga from the Northern Territory provides a unique opportunity to see how the story of Captain Cook has been incorporated into Aboriginal mythology, and how Aboriginal story telling and art differs conceptually from Western representational structures.

Peter McKenzie grew up in La Perouse, a member of the well known Simms family. In 1987 he was part of the Bicentennial project which culminated in the photographic book After 200 Years. His work provides an invaluable snapshot of the lives of Aboriginal people at La Perouse 20 years ago. As he said recently, “Things are changing so fast for Kooris, we need to take photos because things will be different tomorrow. Photography is particularly pertinent because in the Aboriginal household the most prized possession is the photos in the photo tin.”2 Elaine Russell wrote the book The Shack that Dad Built (2004) about her childhood in the 1940s living for a time near to the La Perouse mission, and gives an insight into what life was like for many Aboriginal families. Her experience was similar to many different families that had come to live there earlier, during the Depression.

The artist Nathalie Hartog-Gautier illustrates the diverse narratives attached to Botany Bay, and in the exhibition she superimposes botanical images over the hand written last pages of the diary of her countryman Laperouse. In a demonstration of how competitive it was at this time, in January 1788 he attempted to enter Botany Bay in unsuitable weather as Phillip rather uncharac-teristically and recklessly sailed out for Port Jackson. Jacques Arago’s portrait of Timbéré 1819 reminds us of other French visitors such as Louis de Freycinet. Much of Hartog-Gautier’s recent work references very sensitively and imaginatively, past explorations and migrations, paralleled by her own experiences and her own artistic journey.

Captain Phillip’s instructions from King George III were “by every means possible to open an intercourse with the natives and to conciliate their affections.”3 By contrast, after a recent encounter in Samoa where several men had been killed, Laperouse built and defended a stockade on his arrival. As he spoke French, Philip Gidley King was sent from Sydney Cove by Phillip to visit on board with Laperouse and he described how well equipped for scientific endeavour the La Boussole and L’Astrolabe were. In fact Laperouse said he “could not think of any article that

Peter McKenzie Maxine Ryan collecting shells on Yarra Bay, 1987Colour photographCourtesy the artist and IATSIS, Canberra

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Hill Walk Off that helped give birth to the Land Rights Movement.

On the very first evening in Port Jackson on the beach with Aborigines at Manly Cove, Phillip wrote: “As their curiosity made them very troublesome when we were preparing our Dinner, I made a circle round us; there was lit-tle difficulty in making them understand that they were not to come within it, and they then sat down very quiet.”10

It is not surprising that these events and en-counters have constructed different national psyches for Australia’s indigenous and non-in-digenous people. Perhaps as Australians we have now reached yet another line in the sand histori-cally – the Northern Territory Intervention and the apology from a new Federal Government, another opportunity to reconcile our shared histories and futures, and to acknowledge and understand just what happened that day on the beach in Botany Bay in 1770.

Ace BourkeCuratorLines in the Sand: Botany Bay Stories from 1770

Endnotes1 Artist’s Statement for Captain No Beard, National Indigenous ‘Art Triennial’ 07: Culture Warriors, National Gallery

of Australia, <http://nga.gov.au/Exhibition/NIAT07/Default.cfm?MnuID=2&GalID=33432>.2 Peter McKenzie, Spectrum, Sydney Morning Herald 2-3 Feb. 2008: 19.3 G. B. Barton, King George III Instructions to Captain Phillip, History of New South Wales from the Records, Vol. 1

(Sydney: Charles Potter, Government Printer, 1889), facsimile reprint (Sydney: Hale and Iremonger, 1980) 119. 4 Paul G. Fidlon and R. J. Ryan, eds, The Journal of Philip Gidley King: Lieutenant, R.N. 1787-1790

(Sydney: Australian Documents Library, 1980) 9.5 Conversation with Deborah Kelly on behalf of Boat-people.org, 11 Jan. 2008.6 Jo Holder, Introduction, Skirting the Issue, exhibition catalogue (Sydney: The Cross Art Projects, 2006).7 Guan Wei, Echo, exhibition catalogue, Sherman Galleries, Paddington, 19 Oct. – 4 Nov. 2006.8 W. Augustus Miles, “How did the Natives of Australia become Acquainted with the Demigods and Daemonia,

and with the Superstitions of the Ancient Races? And How Have Many Oriental Words been Incorporated in Their Dialects and Languages?,” Journal of the Ethnological Society of London (1848-1856) 3 (1854): 4-50.

9 Philip Gidley King, Journal of P.G.King, April 1790, bound manuscript, A narrative of the preparation and equipment of the First Fleet, the voyage to New South Wales in H.M.S. Sirius, events in N.S.W., and Norfolk Is., and the voyage to England in H.M.S. Supply, 1786 – December 1790, 392-393.

10 Cited in Keith Vincent Smith, Bennelong: The Coming In of the Eora (East Roseville: Kangaroo Press, 2001) 16.

Tracey MoffattThe Movie Star: David Gulpilil on Bondi Beach, 1985Type C colour photograph48 × 72 cm Courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

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appear on any maps, but later as Governor he did much naming and claiming. As did his son Phillip Parker King who was the first famous “Australian,” for completing much of Mathew Flinders’s charting and (re) naming of the north west of Australia. He was accompanied on the 1817-1818 journey by Bungaree who had been the first Australian to circumnavigate Australia in 1803 with Mathew Flinders. Exhausted by another trip in 1820, Phillip Parker King was very nearly shipwrecked on Point Banks at the entrance to Botany Bay, only days from home.

Later as Governor, Philip Gidley King placed a reward on the resistance leader Pemulwuy’s head, which he subsequently sent to Joseph Banks, and several artists reference this in the exhibi-tion. While obviously I find this horrific and inexcusable, this is not the place to discuss in detail the records of my ancestors in relation to Aboriginal subjects. Joseph Banks, who had been influential in the appointment of all the early governors, asked for heads to be sent to him. Both King and Bourke were in the colony at a time of expansion and land acquisition, and there was inevitable frontier conflict. Both men were products of their time, with daunting responsibilities, and despite overall good intentions, handled these issues no worse than anyone else. Indeed many of the issues remain as unresolved today.

In 1832 Governor Bourke gave the first lease to an Aborigine, the entrepreneurial Boatswain Mahroot who hired out boats and huts to fisherman at Bumborah Point along from Yarra Bay. Had he had any descendants the lease could have been handed down. Unfortunately, as Mahroot was later to say, “All gone! Only me left to walk about.”8

As my interest and appreciation of colonial art has grown over the last few years, I have col-lected a small selection of works that relate to my colonial history. Some of these are included in the exhibition as they give an indication of what grew from these first encounters and the resulting colonisation. Included are the first etchings of both Botany Bay and Sydney Cove in 1788, and 1824 aquatints of Sydney, Newcastle (Kings Town) and Hobart by Joseph Lycett, as King was involved in the foundation of all three towns. Back from Norfolk Island in April 1790, King recorded in his journal meeting Bennelong who he described as “very intelligent,” “a very good natured fellow, & has a great deal of humour.”9 King at this time copied David Collins’s compilation of Eora words, which he took to England and was the first vocabulary to arrive there. King’s daughter Maria, my great great great grandmother, married Hannibal Macarthur, John Macarthur’s nephew, and lived at The Vineyard, subsequently renamed Subiaco and seen in the Hardy Wilson print. Such connections illustrate the small and incestuous nature of early colonial society. Also exhibited are photographs I have taken, family memorabilia, copies of works I considered for inclusion, and relevant books I have especially admired.

The beach has been the prime location of most encounters in the Pacific and there are many lines in the sand in the exhibition and in our history – literal lines of sand and soil for over 5,000 years in the 1970s Kurnell midden, site specific environmental lines of protest relating to sand mining, the filming of 40,000 Horseman (Charles Chauvel, 1940) in the Kurnell dunes, the sand in Daniel Boyd’s Endeavour installation Untitled (2006), or David Gulpilil’s reclamation of the beach at Bondi in Tracey Moffatt’s The Movie Star (1985). The introduced straight line began mapping the coastline which led to surveying, naming, claiming and colonisation. In Tasmania there was the infamous 1830 Black Line designed to expunge the Aborigines. Mervyn Bishop’s 1975 photograph of then Prime Minister Gough Whitlam pouring soil into the hands of Vincent Lingiari reminds us of the earlier and prolonged courageous stand by Aborigines in the Wave

Artist unknownSir Richard Bourke, date unknownEtching

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1770

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We Call Them Pirates Out Here, 2006Acrylic on canvas226 x 275 cmCollection: Museum of Contemporary Art, Sydney

dANIEL BOYD

Landing of Captain Cook at Botany Bay 1770, 1902Oil on canvas192.2 x 265.4 cmCollection: National Gallery of Victoria, Melbourne. Gilbee Bequest, 1902

E. PHILLIPS FOX

Preceding pages:Gordon Bennett Possession Island, 1991 Oil and acrylic on two canvas panels 162 x 260 cm (overall) Collection: Museum of Sydney on the site of the first Government House, Historic Houses Trust of New South Wales Purchased with funds provided by the HHT Foundation Photography: Jenni Carter

Untitled, 2006Sandpit (sand, wood), model ship (wood, felt, cord)300 x 300 cmCourtesy the artist and Mori Gallery, Sydney

dANIEL BOYD

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‘Two Natives of New Holland Advancing to Combat,’ hand coloured engraving by Thomas Chambers after Sydney Parkinson, in his A Journal of a Voyage to the South Seas in His Majesty’s ship Endeavour, London, 1773, plate 27, opp. P. 134(Ref: DL Q78/10)Collection: Dixson Library, State Library of New South Wales

THOmAS CHAMBERS

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The documentary works by Sydney Parkinson and Tupaia, made at Botany Bay in 1770, are the first known representations of Indigenous Australians. Because they did not appear in print until the mid-twentieth century, this engraving by Thomas Chambers, which appeared in Sydney Parkinson’s Journal of a Voyage to the South Seas in HMS Endeavour (London, 1773), stood as the first representation of “New Hollanders.”So, reality was one step removed. Chambers, who was never at Botany Bay, produced a second-hand, inaccurate and dramatised version of Parkinson’s ‘on the spot’ reporting. It is obvious that he has reconstructed the confrontation at Kundal primarily from Parkinson’s written description, that the Gweagal men’s bodies were “painted white, having a streak round their thighs, two below their knees, one like a sash over their shoulders, which ran diagonally downwards, and another across their foreheads.” “Apart from the bone ornaments (nose pegs) and tattooing (body painting),” wrote Australian art historian Bernard Smith in Australian Painting 1788-1960 (Melbourne, 1962), “everything else; the shield, sword, dart, the pose of the figure and method of dressing the hair, owes far more to the engraver’s knowledge of classical sculpture than to his knowledge of the Australian aborigine.”– Keith Vincent Smith

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Captain No Beard, 2006Acrylic on canvas150 x 108 cmCollection: COLLECTORS

dANIEL BOYD

LHOOQ ERE!, 2001Inkjet on canvas114 x 91 cmCollection: National Gallery of Australia, CanberraPurchased 2002

dIANNE JONES

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As I was listening to a talk about the National Portrait Gallery in Canberra I was a little surprised when it was revealed that they had just recently purchased the John Webber portrait of Captain Cook for an incredible price of $3.5m. What was particularly disturbing was what this actually represented. Captain Cook, who is considered one of the greatest maritime explorers in history, claimed New South Wales for Britain in 1770. Cook spoke highly of the indigenous of New South Wales as “noble savages” living in harmony with the earth and sea. When the British arrived in 1788 they assumed power without negotiation. According to Captain Cook and the First Fleet’s estimation Australia was “terra nullius,” land that had not been possessed effectively by the current inhabitants.At the time of the purchase, John Howard was under extreme pressure to say sorry to the Stolen Generation. He continued to ignore any pain that his actions may have caused to the Stolen Generation and anyone affected by it. I felt that this purchase was either particularly insensitive or an insult to the indigenous people of Australia, as it marks the beginning of the arrival of the white people of Australia and the devastating effect that has been felt ever since by the original inhabitants. I understand that white Australia needs to feel some sense of belonging and pride but if the truth is not acknowledged then the reconciliation process will take longer. Actions of this kind will not create favorable impressions. I have referenced Duchamp’s L.H.O.O.Q. which sounds like “look” in English and added the word “ERE!” which is slang for “here,” because often the words “look ere!” are used by indigenous people to draw attention to something in particular. – Dianne Jones

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Study for Possession Island, 1991Oil, acrylic and gouache on illustration board 65 x 100 cm Collection: Wavell State High School, Brisbane

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Australian Icon (Notes on Perception No. 1), 1989Oil and acrylic on canvas76 x 57 cmPrivate Collection

GORdON BENNETT

mICHEL TUFFERY

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Left:Cookies Transit to Ausetalia, 2008Acrylic on canvas25.5 x 25.5 cm Courtesy the artist

Right:Cookie Pounamu, 2008Acrylic on canvas25.5 x 25.5 cm Courtesy the artist

Tuffery’s interest in the history of Polynesia and the colonial encounters of its people have been a rich source for his drawings, prints, paintings, sculptures and time based installations. In his recent body of work, First Contact (2007) Tuffery re-interprets these narratives by illustrating factual and imagined storyboards of Captain James Cook’s explorations. There’s small irony at play in the selected artworks for this exhibition, Lines in the Sand, Tuffery has grafted various guises on headshots of Cook, maybe as a device to register metaphorically the impact of the explorer’s encounters or as a nod to his own identity. The titles of Tuffery’s works, Cookie Pounamu and Cookies Transit to Ausetalia are an ambiguous word play. On one hand they reference in short Cook’s name as if he was a personal friend. On the other, “cookie” is a throwaway nickname for a Cook Islander. There is an appropriation of a remote and iconic figurehead, through the lens of familiarity and closeness. The same familiarity reflects to the viewer, Tuffery’s own imaginings and intimate landscapes.– Jim Vivieaere (artist/curator)

Joseph BanksEngraving based on the painting by Thomas Phillips, c 181521 x 14.7 cm(R.A.W. Holl Fisher Son, London 1829)Collection: Botany Bay National Park (Kurnell), NSW National Parks & Wildlife Service, Department of Environment and Climate Change

AfTER THOmAS PHILLIPS

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Each time I look in European and Australian history books for the colonial period of the seventeenth and eighteenth centuries, I am struck by the portrayal of European captains and soldiers fighting against sea storms, monsters and fierce natives in their attempts to explore and expand their nation’s territories. When we learn of Columbus, Magellan or Captain Cook, their bravery and heroism is impressed upon us. The notion of ‘otherness’ is emphasised throughout European colonial history. Historical museums, no matter whether in Europe, the United States or Australia, employ categorised representations of ‘African,’ ‘Arab,’ ‘Aboriginal’ or other non-European races, based on anthropological knowledge acquired and developed by Europeans through colonial expansion. These representations focus on differences, which are defined from the viewpoint of the European. In fact, ‘otherness’ led to primitive models that served as a reference system to help Europeans discover and revisit their own history. ‘Otherness’ somehow became identified as wild and uneducated, in comparison to the grace, education and virtue of the Europeans. It is difficult for us to find the truth about colonial history because we cannot reconstruct it objectively. Typically we have only narratives, most of the time twisted explanations, about past events. In my painting, Echo, 2005, I appropriated nine images of Europeans exploring the Pacific Ocean in the seventeenth and eighteenth centuries, including Captain Cook’s landing in Australia. I reconstructed these related images and grafted them onto a famous, ancient Chinese ‘intellectual’ landscape painting. This painting by Wang Yuanqi (1642-1715), a great scholar and artist of the early Qing Dynasty, represents the highest aesthetic achievement of seventeenth- and eighteenth-century China. The aesthetic value of such a famous Chinese intellectual painting is the harmony between nature and humankind, as well as the abstract expression of the individual’s spiritual pursuits. However, when Captain Cook and his soldiers emerge from the wild seascape into such harmony, their courage and ambitious heroism is immediately swallowed and diminished. In fact, in such a scene, these historical European heroes become more like a group of brutal bandits. Traditional historical analysis develops in a linear and continuous manner. However, I would like to introduce a fresh approach where historical analysis develops in a non-linear, trans-cultural and multilayered way. Taking Echo as an example, by transposing historical images in a different aesthetic relationship and cultural context, the painting becomes more complicated and supernatural; it recharges our history with sublime and poetic characters. Furthermore, the high-tech symbols that I have inserted into the painting indicate a possible link to our current era and convey a strong symbolic meaning. Echo is not about Australia’s history being revived in an ancient Chinese intellectual painting. Rather, it is a reminder that we are living in an historical arena where cultures from many regions and races are much more integrated than in the past. We need to improve our communication and understanding across cultures to review and transcend ‘otherness’ and search for a new universal value in human life.– Guan Wei

Echo, 2005 Synthetic polymer paint on canvas 42 panels: 273 x 722 cm (overall) Purchased 2006. The Queensland Government’s Gallery of Modern Art Acquisitions Fund Collection: Queensland Art Gallery

GuAN WEI

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PAddY FORDHAM WAINBURRANGA

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This painting is Captain Cook’s song the way the Rembarrnga people know it from a long time ago. Captain Cook was around during the time of Satan. Everybody knows Captain Cook. Old people, not young people. You’ve got to have a lot of learning to know Captain Cook. More culture. I can sing it now for this bark painting. This is the way his song goes. Captain Cook came from Mosquito Island, which is east of New Guinea. He came with his two wives, a donkey and a nanny goat. He was a really hard man, he had a hard job to do when he came to Sydney Harbour. He had his business building his Burrupa – his boat. In more recent times when boats came, it came from Murldi-Macassans in white man’s language. But the first boat came from Captain Cook. From the earliest days Satan lived there too. We call Satan Ngayang. It’s the same as a devil. He lived on the other side of the harbour on Sydney Island. The other side of the harbour is called Wanambal. Satan has feet like a bullock’s. He’s got horns see? He had long nails on his fingers. He also had a devil bone to fight with. Captain Cook worked by himself on his boat, he used to always be working on his boat. He would always come back and have his dinner after working on his boat, then he would go to sleep. But he didn’t know that the Ngayang was always sneaking up behind his back while he was working. The devil had been talking to his two wives. One day Satan came behind his back to the wives and said “I’m going to kill Captain Cook and take the two of you over to that other island. See, over there. You two have to come over with me.” Satan said to them “You dig a well and cover me up with dirt. When he comes back to eat his food I’ll come out behind him, out of the ground.” When Captain Cook came back to eat his supper, he didn’t know, and then Satan, Ngayang, came out and poked Captain Cook in the back with his bone. Captain Cook said “I know you. You’re Satan behind my back. I’ll turn around and look at you Satan.” Satan said “I’ll fight you and kill you and take your two wives.” “All right, we’ll fight,” said Captain Cook. Satan said “Have you got power (magic)? If you want to fight me you have to be a clever man!” “No I haven’t got power.” Captain Cook only had a stone axe. “You put that bone down, and I’ll put down the axe. We’ll wrestle, hand to hand.” So they fought. At first Satan was winning. He threw Captain Cook against the boat he had built. But then Captain Cook grabbed the devil by his throat, he wrapped his arm around his neck and broke it. The Ngayang couldn’t move. He was dead. Captain Cook then grabbed the devil by the scruff of his neck and through his legs and chucked him into the ground – into a hole – as a punishment. The devil was in the hole in the ground. The hole in the ground is this side of the water. Here. And motor cars go through there now and come out on the other side of the Harbour at Wanambal.After the fight, Captain Cook went back to his own country, to Mosquito Island. We don’t know what happened there. Maybe all his family were jealous. But they attacked him with a spear. That’s the spear in the painting – his own people attacked him. Captain Cook came back to Sydney Harbour then, and he died from the spear wounds. The old man was sick and he sat down with everything he had and died. And then he was buried there in Sydney Harbour. Underneath, on the island.I’ve finished with the story of the old Captain Cook. I’m talking now about the new Captain Cook. When the old people died, other people started thinking they could make Captain Cook another way. New people. Maybe all his sons. Too many Captain Cooks. They started shooting people then. New Captain Cook people. Those are the people that made war when Captain Cook died because they didn’t care, they didn’t know, all those young people. They are the ones who have been stealing all the women and killing people. They have made war. Warmakers, those new Captain Cooks. They fought all the wars. Warmakers. They fought.The olden time Captain Cook is dead but all the new people have made trouble. The old Captain Cook died a long time ago, but new Captain Cook shot people. They killed the women, these new people. They called themselves “New Captain Cooks.” I’ve got to tell about the warmaking people. The ones who made war. The new ones. They just went after women. All the new Captain Cook fought the people. They shot people. Not old Captain Cook, he didn’t interfere or make a war. That last war and the second war. They fought us. And then they made a new thing called “warfare.” All the new Captain Cook came and called themselves “warfare mob.” They wanted to take all of Australia. They wanted it, they wanted the whole lot of this country. All the new people wanted anything they could get. They could shoot people. New Captain Cook mob! But now we’ve got our culture back. That’s all. That’s the story now.

– Paddy Fordham Wainburranga

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Too Many Captain Cooks, 1987Bark paintingPrivate Collection

Contact/warra warra from fever (you give me) series, 2000Fuji crystal archive print on lexan52 x 75 cmCourtesy the artist and Stills Gallery, Sydney

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Tranquility from fever (you give me) series, 2000Fuji crystal archive print on lexan52 x 75 cmPrivate Collection

BRENdA L. CROFT

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From what I have said of the Natives of New-Holland they may appear to some to be the most wretched people upon Earth, but in reality they are far more happier than we Europeans; Being wholly unacquainted not only with the superfluous but the necessary Conveniences so sought after in Europe, they are happy in not knowing the use of them. They live in a Tranquility which is not disturbed by the Inequality of Condition: the earth and Sea their own accord furnishes them with all things necessary for life, they Covert not Magnificent Houses, Household-stuff &c, they live in a warm and fine Climate and enjoy very wholesome Air, so that they have little need of Clothing and this they seem to be fully sencible of, for many to whome we gave Cloth &c to, left it carelessly upon the Sea beach and in the woods as a thing they had no manner of use for. In short they seemed to set no Value upon any thing we gave them, nor would they ever part with any thing of their own for any one article we could offer them; this in my opinion argues that they think themselves provided with all the necessarys of Life and that they have no superfluities.– Cook’s Journal, The Captain Summarises H.M.Bark Endeavour Ray Parkin (Melbourne: Miegunyah Press, 2003) 453-454.

These works were from the series fever (you give me) created from a four month residency at the Australia Council Greene Street Studio in New York, over 1996-97. I was conscious of place, being in a strange country, on an island, that had been traded for beads, blankets, mirrors and trinkets nearly 300 years before. The land of the Six Nations of the Iroquois Confederacy. New York City being the largest city in the USA, similar to that which I had left back in Australia – Sydney. Similar experiences of first contact between the traditional custodians and the colonisers – unequal exchange, sickness, death, loss of land, language and cultural practices. Only the names remained as memento mori, superficial reminders of what had once been. Tranquility: Underlying image of a slaughtered man from Blue Mud Bay on Morgan Island, north-west of Groote Eyelandt, off Arnhem Land, NT. Underneath the image of Bungaree and Matora is an image of the breastplate of Matora, marked “Gooseberry, Queen of Sydney to South Head.” Images used include Aboriginal people repelling the invaders, forcing sailors back from landing on shore. (See Cook’s quote opposite about the Aborigines, “They live in a Tranquility”).Contact/warra warra: Warra Warra – “go away,” but when initially heard by the First Fleeters was

misinterpreted as “welcome.” One of the first victims of small pox was a Native American / First Nations sailor on board the First Fleet transport ship, Supply, who was buried somewhere in what is now Sydney – perhaps the Botanical Gardens site, Wuganmagulya – far from home and his countrymen. Cheyenne/Arapaho artist Edgar Heap of Birds represents his ancestor who was struck down by white man’s disease. Heap of Birds had undertaken cultural exchanges with Aboriginal artists in Australia when he worked with Boomalli Aboriginal Artists Co-operative, Sydney, in 1994. Most of the earliest colonial images of Indigenous people from the Sydney region portray warriors portrayed in combat, defending country, with dignity, not as caricatures. Bungaree’s image, from a portrait by an unknown colonial artist, has been inverted: he stands on the shoreline – renowned for welcoming new arrivals and carrying himself with dignity as an ambassador for his people. The viewer is left wondering: is he welcoming or directing the visitors to leave/go away? Other works in this series include Wuganmagulya (the original name for Farm Cove) and Bannalon/Bennelong/Wangal. – Brenda L. Croft

Welcome to Australia – Three White Men, 2005Acrylic and texta pen on canvas61 x 50 cmPrivate Collection

TONY ALBERT

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Welcome to Australia explores Captain Cook’s arrival in Australia, responding to the absurdity and problematic nature of the story and the imagery which have become a great Australian myth. This image is part of a larger series of images appropriated from a children’s colouring book entitled G’day, Welcome to Australia, published in 1988 – the year of the Australian Bicentennial. By referencing these images I am commenting on the education system and the way images and text are used to portray colonisation and Indigenous Peoples. The images and text reflect the way in which Australia’s history has been documented – by White people, for White people. By only colouring the images and not changing them, I am challenging the viewer to look at the images for what they are, and to look at them as I see them. These books were never meant to be coloured in by Aboriginal people. By reversing this and getting people to look at them as something that is coloured, created or appropriated by an Aboriginal person, people are being confronted and forced to look at the images, and the history they represent, from an alternative viewpoint.– Tony Albert

Captain Cook Con Man, 1991Acrylic on cardboard82 x 117 cmCourtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

H. j. WEDGE

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Ever since life started, everybody had their place where they were born or were living. People were doing their own thing, some of them were farmers or peasants and a lot of people knew the value of gold and money. Some people didn’t use money, they traded with other things to different tribes. In different countries people wear different types of clothing and some saw themselves as gentlemen and ladies. In the different countries they spoke different languages and some of the people learned other people’s language so that they could communicate, so that they wouldn’t be ripped off or conned up through ignorance in land deals, etc. Other countries sent ships out to thieve new land because the natives didn’t understand their language. If they took some time to understand and to learn from each other I’ll bet that they would not have signed that paper for a box of beads or other worthless items.This painting shows Captain Cook standing so proud that he has stolen a new land for the British empire. The British empire should be ashamed of itself for sending a con-man like Captain Cook out to swindle the natives of their homeland. It shows Captain Cook and his men saluting the Union Jack as the soldiers fire their rifles off and frighten two Aborigines at the box of the useless items, as they were looking at the men in their monkey suits, the leader was standing there holding a young man’s hands and as Captain Cook started to sing, the natives ran away with their fingers in their ears because they couldn’t stand the sound of his voice, god save the charlatan.– H. J. Wedge

D.69 Kurnell Nocturne (Botany Bay National Park), Sydney, 2007Lambda monoprint on 4 ml Alpolic panel120 x 120 cmCourtesy the artist and BREENSPACE, Sydney

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D.38 Kurnell (Botany Bay National Park) Sydney, 2005Lambda monoprint on two 4ml Alpolic panels230 x 230 cm Private Collection

GARY CARSLEY

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Untitled (At Botany Bay), 2005Digital photographDimensions variableCourtesy the artists

BOAT-PEOPLE.ORG

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Log Cabin – JCI, 2005 Woven archival digital prints 63 x 80 cm (edition 3/5)Source image: Richard Woldendorp, Housing Development on the Artificial James Cook Island, Sylvania Waters, New South Wales, 1996 Collection: National Library of Australia. Courtesy the artist and Mori Gallery, Sydney

fIONA MACDONALD

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Log Cabin – JCI, 2005 is woven from a photograph of James Cook Island in Sylvania Waters, taken by Richard Woldendorp while waiting to land Alan Bond’s hot air balloon at Sydney airport. Ricky Subritzky came across the image in the National Library Collection while he was researching material on James Cook. It was a happy discovery for at the time Ricky and I were working together to develop an exhibition about the strange cyclical nature of world events and searching for ways to express the idea that someone’s comfort usually leads to someone else’s terror – the leitmotif of the exhibition Strangely Familiar. Ricky spoke to Richard Woldendorp about how he came to take the photograph and also discovered that when it was first published it was rotated so the neck was at the top of the image. It appears on the NLC website rotated so the neck is at the base – this way it looked insistent and strangely familiar. Long gone James Cook who is invoked in the naming of this artificial island is overshadowed by a very powerful presence seemingly bearing witness to the ravages of colonialism. The weaving of the image back on itself using an Amish quilting pattern called log cabin (quintessentially about home and hearth, a haven from the outside world) underscores the defensive circle of security properties on an island with only one bridge back to the mainland.– Fiona MacDonald

The location of these artworks is the Botany Bay National Park. It was chosen as the first recorded contact point between indigenous Australians and the English colonists. The photographs draw attention to problems of identity and assimilation through the historical significance of this site. In the portraits themselves we see images of people whose ethnicity has been homogenised by the flag, they now stand guard on our borders. Their backs face the open sea. Are they protecting us? Or preventing us from leaving?– Boat-people.org

Midden latex peel excavated from Kurnell, 1970s184.0 x 91.7 x 18.5 cm (framed)Collection: The Division of Environmental and Life Sciences, Macquarie UniversityPhotography: Effy Alexakis

The Kurnell midden suggests continuous Aboriginal habitation — and countless ‘dinnertime’ feasts — over a period of 5000 years. It is close to the Watering Place, where Lieutenant James Cook ordered pits to be dug in the sand to ensure a good supply. ‘Upon digging we found vast quantities of oyster-shell which seems to have been underground a great while’, wrote Richard Pickersgill, master’s mate on HM Bark Endeavour, in his journal for 5 May 1770. In 1905 Richard Longfield recalled ‘a black’s camp on the rise just above the shore’ and a shell bank or midden on the beach at Kurnell in 1841. He said the shell bank was caused by ‘the natives throwing there the shells of the oysters and other shellfish they gathered for food, fish bones, and the bones of any animals they killed. It would represent the accumulations of many years.’Digging on the foreshore at Kurnell in 1968-70, archaeologist JVS (Vincent) Megaw unearthed stone axes, scores of shell fishhooks and bone points like those bound to the fishing spears removed by Banks and Cook. The tightly packed shell midden, two metres deep, contained mainly mussels and the rare mud oyster (Ostrea angasi), now extinct at Botany Bay. Megaw also found a square section of a handmade iron nail, an 18th century bone button mould and fragments of a glass bottle. Such bone buttons were produced as a cottage industry in the west of England. While at Botany Bay, Cook and his crew left strings of beads, iron nails, cloth, looking glasses and combs as ‘exchange’ for the artefacts they removed.This latex peel is a vertical section through the midden deposit. You can see the following features:0-12 cm Modern topsoil and grass roots of the picnic ground.12-22cm A layer of yellow shelly sand fill which was placed to level the picnic grounds.22-30 cm A dark brown natural sandy soil, which must have formed on the midden after about 1840 when it was no longer, used by the Gweagal people and before the site was landscaped.30-135cm A thick shell midden representing virtually continuous occupation as a shoreline campsite. Only a few radiocarbon dates have been obtained but we can estimate that the 1770 surface is in the top10-15cm of the shells and the oldest date at the base of the shells is 5000 years BP (before present).Beneath the shells is another dark brown natural soil formed on dune sand. It contains no Aboriginal material.Shells from both a rocky shore and the muddy shallows of the bay dominate the midden and all represent food remains. Several varieties of limpet are present, along with mussels, large mud oysters, whelks, and several species of snails. Amongst those are the large Turban shells (Ninella torquate) from which fishhooks were made. Partly completed hooks and stone fishhook files were found in the midden. Bones are common and include: fish, snapper jaw plates, mutton-birds, a dingo and rib bones of a fur seal (left above the pumice).The large pumice fragment is of unknown provenance but it is very similar in appearance to pumice from the Lake Taupo eruption in New Zealand 1800 year ago. Similar material is found elsewhere on the Kurnell Peninsula in a strand line about 1 to 1.5m above high modern water.

KURNELL MIDDEN

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BOTANY BAY NATIONAL PARK (KURNELL) COLLECTION

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Top left: Leg irons, date unknown

Above: Aerial view of Captain Cook’s Landing Place, 1950sColour photograph

Right: Celebration of Federation at Captain Cook’s Landing Place reserve, Kurnell, 1901 Three photographs

Collection: Botany Bay National Park (Kurnell), NSW National Parks & Wildlife Service, Department of Environment and Climate Change

Displayed here and on pages 56-57 are fragments which alert us to some of the special history of Botany Bay National Park. More difficult to display, though no less important, is the history in people’s memories, the stories passed down through the generations and the enduring landscape you can still see if you visit the park today. In recognition of this nationally important place in 2008 a major works program will revitalise the Botany Bay National Park at Kurnell and bring its history to life.

BOTANY BAY NATIONAL PARK (KURNELL) COLLECTION

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BOTANY BAY NATIONAL PARK COLLECTION

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OPPOSITE PAGETop: Captain Cook’s Landing Place Reserve, c 1900Photograph of the ‘small stream’ from which Captain Cook filled the water casks of the ‘Endeavour’ in 1770Opposite, bottom left: Sextant, provenance unknownOpposite, bottom right: Rev. W.H.H. Yarrington, The Landing of Captain James Cook, Botany Bay, 1770, 1909 , Essay

Top: Captain Cook Bridge, 1950sPhotographLeft: Stamps issued for Captain Cook Bicentenary, mounted on paper with first day cover, 1970Centre: Bound book titled Dedication of Captain Cook’s Landing Place, Kurnell, Botany Bay, 1899, EssayRight: Bicentenary re-enactment of the landing at Captain Cook’s Landing Place during the visit of the Queen, 1970Three photographs

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1788

PHILIP GIdLEY KING

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Preceding pages:Charles GoreBotany Bay, 1788 New South Wales, 1788Watercolour(Ref: DG V1A/8)Collection: Dixson Gallery, State Library of New South Wales

First contacts in Botany Bay: April 1790: Philip Gidley King, p. 113, ‘Remarks and Journal kept on the Expedition to form a colony: 1786 – December 1790’: fair copy, compiled 1790.(Ref: MLMSS C115/ Safe 1/246)Collection: Mitchell Library, State Library of New South Wales

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CLINTON NAIN

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Above:Two Natives Dancing, 1998Photograph (diptych)45 x 64 cmCollection: Ace Bourke Courtesy the artist and Nellie Castan Gallery, Melbourne

Left:‘A description of a wonderful large wild man, or monstrous giant, brought from Botany Bay,’ c.1790, printed broadsheet.(Ref: SV/44)Collection: Mitchell Library, State Library of New South Wales

mark making (Phillip), 2007 Beads, pins, epoxy filler, canvas 12 x 18 x 5 cm Courtesy the artist and Gallery Barry Keldoulis, Sydney.

jONATHAN JONES

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“Every Britisher thought their superiority manifest in their possessions, especially their manufactured goods – clothing, guns, tools – but also what Tench calls ‘toys’: the baubles brought to charm and disarm the natives. All of the officers and some of the men had brought stocks of such objects to barter for native artefacts, which were enjoying a vogue at home since the voyages of the great, good, and martyred Captain Cook.” – Inga Clendinnen, Dancing with Strangers (Melbourne: Text, 2003) 31.

“The Indians, though timorous, showed no signs of resentment at the Governor’s going on shore; an interview commenced, in which the conduct of both parties pleased each other so much, that the strangers returned to their ships with a much better opinion of the natives than they had landed with; and the latter seemed so highly entertained with their new acquaintance, from which they condescended to accept of a looking glass, some beads and other toys.”– Watkin Tench, 1788, ed. Tim Flannery, (Melbourne: Text, 1996) 41.

An exact portrait of A Savage of Botany Bay, 1795Hand coloured aquatint(Ref: P2/415)Collection: Mitchell Library, State Library of New South Wales

jOHN CHAPMAN

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Natives of Botany Bay, in Arthur Phillip, The Voyage of Governor Phillip to Botany Bay, London, John Stockland, 1789, plate 6, opp. p. 82(Ref: DL Q78/26)Collection: Dixson Library,State Library of New South Wales

THOmAS MEDLAND AfTER RICHARd CLEVELEY

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Botany Bay, 1788 New South Wales, 1788Watercolour(Ref: DG V1A/8)Collection: Dixson Gallery, State Library of New South Wales

CHARLES GORE

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Botany Bay, New South Wales, 1824Hand coloured engraving with aquatint17.6 x 27.8 cm Courtesy Josef Lebovic Gallery, Sydney

jOSEPH LYCETT

�7

‘Pimbloy: Native of New Holland in a canoe of that country,’ in James Grant, Narrative of a voyage of discovery performed in His Majesty’s vessel the Lady Nelson… London, C. Roworth, 1803, bet. pp. 170-171.(Ref: DL Q80/18)Collection: Dixson Library, State Library of New South Wales

SAmuEL NEELE

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Tortoise and the Hare (Pemulwuy), 2006 Crayon on fur and frame 62 x 46 cm Courtesy the artist and Gallery Barry Keldoulis, Sydney

jOAN ROSS

�9

Joan Ross is drawn to meeting points between what could appear to be opposites: the natural and the civilised. She exposes the lines we draw between them as perceptions, assumptions. Ross’s work in Lines in the Sand looks back to ‘first contact’ and imagines it as a collision, strewing wreckage. Here though, it is trapped neatly, sometimes ingeniously, and arranged with the lunatic precision of science. In rereading stories of Pemulwuy, Ross traces the hands that ordered his murder and dismemberment, and wonders at the cataclysmic ignorance that was ‘of the time’ but still resonates through domesticated Australia, now. In her portrait of Pemulwuy the surface of kangaroo fur both resists and directs her lines. We are reminded that they are bound to something that was once living, our view now mediated by the curved glass which in Pemulwuy’s lifetime signified western progress and status. It is at these haunted intersections that Ross grapples with the bias of the history stories by which we live. By her hand iconic, maybe sacred stereotypes are amputated, peeled away and captured, offering a perverse, ironic and saddened view. Ross’s work is not easy, it crosses lines. She invites us to step into a moral dilemma, where her media, carefully chosen for political timbre, tips at the edges of the past and what should or should not be said, even felt.- Lisa Armitage

Self-Portrait, 1788-2006, 2006Oil on canvas84 x 51 cmCourtesy Amanda Love Art

dANIEL BOYD

70

Natives of New South Wales: Biddy Salamander of the Broken Bay Tribe, Bulkabra Chief of Botany, Gooseberry Queen of Bungaree, c.1830 Watercolour drawing(Ref: PXA 615/6)Collection: Mitchell Library, State Library of New South Wales

CHARLES RODIUS

71

Timbéré, 1819Pencil drawing(Ref: PXB 283/2)Collection: Mitchell Library, State Library of New South Wales

jACquES ARAGO

72

Model, shellwork, Sydney Harbour Bridge, Australia, 1950-1955Collection: Powerhouse MuseumPurchased 1987

LA PEROuSE

7�

Maxine Ryan collecting shells on Yarra Bay, 1987Colour photograph45.5 x 30.5 cmCourtesy the artist and IATSIS, Canberra

7�

A selection of photographs taken in 1987 in the La Perouse community for the IATSIS project After 200 Years, 1988Courtesy the artist and IATSIS, Canberra

PETER MCKENzIE

7�

The Shack That Dad Built, 2004Painting30 x 76 cmCourtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

ELAINE RUSSELL

77

Heads Will Roll, 2008Acrylic on canvas90 x 240 cmCourtesy the artist and Arc One Gallery, Melbourne

AdAm HILL

7�

Re-enactment of the landing of Captain Cock – Pemulwuy style. Pemulwuy always was deemed as a terrorist, consistently burning to the ground the first towns of the west, killing randomly in defense of his beliefs. This artwork is a modern day tribute; not to Cock, but to the greatest resistance fighter ever known to these lands. A name that should be as “household” as Bradman (Donald), Kylie (Minogue), Fittler (Brad), Kelly (Ned) and of course, the recently voted “quintessential Australian” – DAWN FRASER. Yet how many of YOUR colleagues and their respective children know of this incredible individual? Well it’s about time the nation of ignorance woke up! Be gone ye rednecks, who fail to accept / acknowledge the “SORRY” apology... for as soon as the “natives” of this wide land receive what is duly owed, we shall begin to see correctly represented in bronze, iconic individuals like Pemulwuy.– Adam Hill

When I was about five we moved to Sydney because my father, Clem, had found a job.We went to live in La Perouse.Some of Dad’s cousins already lived there, and so did lots of other Aborigines – some in the mission, some in shacks. Dad didn’t want to live in the mission, though.He preferred to be independent.Dad decided to build a shack for us.He chose a spot close to the beach with a beautiful view across the bay.The shack was made of bits of tin from rubbish tips and had a dirt floor.It was hot in summer and cold in winter, but to us it was great.– Elaine Russell The Shack that Dad Built (Surry Hills: Little Hare Books, 2004)

NATHALIE HARTOG-GAUTIER

78

Opposite: Banksia (Banksia serrata), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

This page:Grass-tree (Xanthorrhaea australis), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

Eucalyptus genus, 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

She-oak (Casuarina), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

79

Botanical subjects are metaphors for past and recent history. They are references to mythology, symbolism and ideas of man’s relationship within the natural and man-made landscape. During my research into Laperouse’s voyage, a few aspects fascinated me:the objects taken on board as gifts; the instructions for the collection of botanical specimens; the historical context of the 18th century; and the voyage’s rediscovery of nature and the natural landscape. Many books of that time testify to the search for an Arcadia. In the process of making the artworks, I was thinking that nothing changed very much. We are still travelling to discover other cultures, we still collect, we still trade. Through my series of artworks, I looked at my personal journey to Australia, a new language, new landscape, and new cultural and historical backgrounds. At the same time, it was the discovery of a country with its own duality. Botany became a metaphor to explore distant and recent history. Like man, nature also travels, colonises and kills. What is collectable in one culture becomes a parasite in another. The garden has become globalised: we don’t know where the majority of plants come from.During his stay at Botany Bay, Laperouse would have collected botanical specimens. But Laperouse’s two frigates disappeared and with them the botanical collection. I am left to speculate: what would Laperouse have collected? As a migrant to Australia, I became the explorer and wandered in the fascinating and strange Australian landscape: the unique blue of the Eucalyptus leaves’ camouflage for the multicoloured lorikeets; the Banksia so gracious in its ruggedness; the Grass Tree with pieces of its trunk looking like the shell of an insect; the Casuarina so feminine when it flowers. Like a botanist I studied the plants. Frottage and a magnifying glass were my “gardening” tools as well as the use of modern technology to enlarge botanical specimens. I used a very fine 8 gsm kozo paper over each image, a very transparent paper allowing me to connect ancient and recent history. The texts over each specimen are the last four pages of Laperouse’s diary of his arrival at Botany Bay. His last words were “.in the next chapter”.. I am re-writing that last chapter.– Nathalie Hartog-Gautier

The Kangaroo. Drawn from the Animal in the Possession of Mr Stockdale, Piccadilly, 1790Etching(Ref: SSV/44)Collection: Mitchell Library, State Library of New South Wales

PETER MAzELL

80

Last of the Georges River Tribe, New South Wales, 1880 Photograph At rear: Jim Brown, Joe Brown, Joey or Tuckamool (Biddy Giles’s brother) Front: Biddy Giles with Jimmy Lowndes (Ref: PXA773/Box 6) Collection: Sutherland Shire Libraries

jOSEPH ROBERTSON

81

Nice Coloured Girls, 198716mm experimental film, 16 min.Courtesy Ronin FilmsStill taken from Catherine Summerhayes, The Moving Images of Tracey Moffatt (Milan: Charta, 2007)

TRACEY MOFFATT

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The History Wars, 2006DVD, 51 sec.Courtesy the artist and Gallery Barry Keldoulis, Sydney

dEBORAH KELLY

82

Participation in the ABC TV 50 years project (during which The History Wars was made) was to be offered a golden key.....I was looking for the antecedents of the struggle over history that characterise our time, for the shadows those struggles cast backward, into the fragile archives.– Deborah Kelly

Stills from Eora, 1995 Directed by Michael Riley with Blackfella Films Collection: Museum of Sydney on the site of the First Government House, Historic Houses Trust of New South Wales Courtesy Michael Riley Foundation

mICHAEL RILEY

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Metaphysical Landscape II, 1990 Oil on canvas 6 panels: 35 x 35 cm each On loan from Jan Batten Collection: Art Gallery of New South Wales

GORdON BENNETT

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Prime Minister Gough Whitlam Pours Soil into the Hand of Vincent Lingiari in 1975 at Wattie Creek, NTType C photograph50.5 x 40 cmCourtesy the artist

mERVYN BISHOP

87

Boongaree, 2001Acrylic, red ochre and plastic120 x 100 cmCourtesy the artist and Brigitte Braun Gallery, Melbourne

juLIE DOWLING

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BOuRKE EPHEmERA

89

ACE BOURKE COLLECTION

88

Robert DightonThe King Family in 1799 – Mrs King (Anna Josepha), Elizabeth, Anna Maria, Phillip, Philip Gidley KingReproduction

Joseph LycettNorth View of Sidney, New South Wales, 1824Hand coloured aquatint, 17.5 x 27.5 cm

Barthelemy Roger after Nicholas-Martin PetitNouvelle-Hollande, Y-erran-gou-la-ga, c1808Hand coloured engraving , 31.8 x 24.7 cm

Artist unknownPortrait of Bennilong, a native of New Holland, who after experiencing for two years the Luxuries of England, returned to his own Country and resumed all his Savage Habits Hand coloured engraving , 19.8 x 15.1 cm

Barthelemy Roger after Nicholas-Martin PetitNouvelle-Hollande, Cour-rou-bari-gal, c1808Hand coloured engraving , 32.5 x 25.3 cm

First Fleet List, date unknownPoster, 98 x 66 cm

W. Blake from a sketch by Governor King A Family of New South Wales, 1792Engraving, 25 x 20.3 cm

Thomas Medland after Richard CleveleyA View of Botany Bay, 1789Engraving, 20 x 26.5 cm

Hardy WilsonSubiaco, Rydalmere NSW, 1923Collotype print, 33.7 x 25 cm

LIST OF EXHIBITED WORKS

E. Phillips FoxLanding of Captain Cook at Botany Bay 1770, 1902Oil on canvas192.2 x 265.4 cmCollection: National Gallery of Victoria,Melbourne. Gilbee Bequest, 1902

Daniel BoydWe Call Them Pirates Out Here, 2006Acrylic on canvas226 x 275 cmCollection: Museum of Contemporary Art, Sydney

Daniel BoydUntitled, 2006Sandpit (sand, wood), model ship (wood, felt, cord)300 x 300 cmCourtesy the artist and Mori Gallery, Sydney

Daniel BoydCaptain No Beard, 2006Acrylic on canvas150 x 108 cmCollection: COLLECTORS

Daniel BoydSelf-Portrait, 1788-2006, 2006Oil on canvas84 x 51 cmCourtesy Amanda Love Art

Thomas Chambers‘Two Natives of New Holland Advancing to Combat,’ hand coloured engraving by Thomas Chambers after Sydney Parkinson, in his A Journal of a Voyage to the South Seas in His Majesty’s ship Endeavour, London, 1773, plate 27, opp. P. 134(Ref: DL Q78/10)Collection: Dixson Library, State Library of New South Wales

Dianne JonesLHOOQ ERE!, 2001Inkjet on canvas114 x 91 cmCollection: National Gallery of Australia, CanberraPurchased 2002

Gordon BennettAustralian Icon (Notes on Perception No. 1), 1989Oil and acrylic on canvas76 x 57 cmPrivate Collection

Gordon BennettStudy for Possession Island, 1991Oil, acrylic and gouache on illustration board65 x 100 cmCollection: Wavell State High School, Brisbane

Gordon BennettMetaphysical Landscape II, 1990Oil on canvas6 panels: 35 x 35 cm eachOn loan from Jan BattenCollection: Art Gallery of New South Wales

Michel TufferyCookies Transit to Ausetalia, 2008Acrylic on canvas25.5 x 25.5 cmCourtesy the artist

Michel TufferyCookie Pounamu, 2008Acrylic on canvas25.5 x 25.5 cmCourtesy the artist

Guan WeiEcho, 2005Synthetic polymer paint on canvas42 panels: 273 x 722 cm (overall)Purchased 2006. The Queensland Government’s Gallery of Modern Art Acquisitions FundCollection: Queensland Art Gallery

Paddy Fordham WainburrangaToo Many Captain Cooks, 1987Bark paintingPrivate Collection

Brenda L. CroftTranquility from fever (you give me) series, 2000Fuji crystal archive print on lexan52 x 75 cmPrivate Collection

Brenda L. CroftContact/warra warra from fever (you give me) series, 2000Fuji crystal archive print on lexan52 x 75 cmCourtesy the artist and Stills Gallery, Sydney

H.J. WedgeCaptain Cook Con Man, 1991Acrylic on cardboard82 x 117 cm framedCourtesy the artist and Boomalli Aboriginal Artists Co-operative

Tony AlbertWelcome to Australia – Three White Men, 2005Acrylic and texta pen on canvas61 x 50 cmPrivate Collection

Gary CarsleyD.38 Kurnell (Botany Bay National Park) Sydney, 2005Lambda monoprint on two 4ml Alpolic panels230 x 230 cmPrivate Collection

Gary CarsleyD.69 Kurnell Nocturne (Botany Bay National Park), Sydney, 2007Lambda monoprint on 4 ml Alpolic panel120 x 120 cmCourtesy the artist and BREENSPACE, Sydney

Fiona MacDonaldLog Cabin – JCI, 2005Woven archival digital prints63 x 80 cm (edition 3/5)Source image: Richard Woldendorp, Housing Development on the Artificial James Cook Island, Sylvania Waters, New South Wales, 1996Collection: National Library of Australia.Courtesy the artist and Mori Gallery, Sydney

Boat-people.orgUntitled (At Botany Bay), 2005Three digital photographsDimensions variableCourtesy the artists

Boat-people.orgUntitled, from 2005Metal flag pole, dye sublimation print on synthetic fabric120 x 60 cm (flag size)Courtesy the artists

Midden latex peel excavated from Kurnell, 1970s184.0 x 91.7 x 18.5 cm (framed)Collection: The Division of Environmental and Life Sciences, Macquarie University

First contacts in Botany Bay: April 1790: Philip Gidley King, p. 113, ‘Remarks and Journal kept onthe Expedition to form a colony: 1786 – December 1790’: fair copy, compiled 1790.(Ref: MLMSS C115/ Safe 1/246)Collection: Mitchell Library, State Library of New South Wales

Jonathan Jonesmark making (A View of Botany Bay), 2008Installation (Beads, pins, epoxy filler, canvas)Dimensions variableCourtesy the artist and Gallery Barry Keldoulis, Sydney

Clinton NainTwo Natives Dancing, 1998Photograph (diptych)45 x 64 cmCollection: Ace BourkeCourtesy the artist and Nellie Castan Gallery, Melbourne

‘A description of a wonderful large wild man, or monstrous giant, brought from Botany Bay,’ c.1790, printed broadsheet. (Ref: SV/44)Collection: Mitchell Library, State Library of New South Wales

Thomas Medland after Richard Cleveley‘Natives of Botany Bay’, in Arthur Phillip, The Voyage of Governor Phillip to Botany Bay, London, John Stockland, 1789, plate 6, opp. p. 82(Ref: DL Q78/26)Collection: Dixson Library, State Library of New South Wales

John ChapmanAn exact portrait of A Savage of Botany Bay, 1795Hand coloured aquatint(Ref: P2/415)Collection: Mitchell Library, State Library of New South Wales

Charles GoreBotany Bay, 1788 New South Wales, 1788Watercolour(Ref: DG V1A/8)Collection: Dixson Gallery, State Library of New South Wales

Joseph LycettBotany Bay, New South Wales, 1824Hand-coloured engraving with aquatint17.6 x 27.8 cmCourtesy Josef Lebovic Gallery, Sydney

Samuel Neele‘Pimbloy: Native of New Holland in a canoe of that country,’ in James Grant, Narrative of a voyage of discovery performed in His Majesty’s vessel the Lady Nelson… London, C. Roworth, 1803, bet. pp. 170-171.(Ref: DL Q80/18)Collection: Dixson Library, State Library of New South Wales

Joan RossTortoise and the Hare (Pemulwuy), 2006Crayon on fur and frame62 x 46 cmCourtesy the artist and Gallery Barry Keldoulis, Sydney

Joan RossEugene, 2006Mixed mediaDimensions variableCourtesy the artist and Gallery Barry Keldoulis, Sydney

Joan RossMad dogs and Englishmen, 2008Crayon on kangaroo fur200 x 90 cm irregularCourtesy the artist and Gallery Barry Keldoulis, Sydney

Joan RossBy hook or by crook, 2008Hair and permanent marker on lino200 x 150 cmCourtesy the artist and Gallery Barry Keldoulis, Sydney

Joan RossIn nature, 2008130 x 80 cm irregularHair and crayon on linoCourtesy the artist and Gallery Barry Keldoulis, Sydney

Charles RodiusNatives of New South Wales: Biddy Salamander of the Broken Bay Tribe, Bulkabra Chief of Botany, Gooseberry Queen of Bungaree, c.1830Watercolour drawing(Ref: PXA 615/6)Collection: Mitchell Library, State Library of New South Wales

Jacques AragoTimbéré, 1819Pencil drawing(Ref: PXB 283/2)Collection: Mitchell Library, State Library of New South Wales

Artist unknown (La Perouse)Model, shellwork, Sydney Harbour Bridge, Australia, 1950-1955Collection: Powerhouse MuseumPurchased 1987

Mavis Longbottom and Lola RyanLa Perouse, New South Wales, Australia, 1986Slippers, shells / fabricCollection: Powerhouse MuseumPurchased 1986

Mavis Longbottom and Lola RyanLa Perouse, New South Wales, Australia, 1986Box, shells / fabric / cardboardCollection: Powerhouse MuseumPurchased 1986

Peter McKenzieMaxine Ryan collecting shells on Yarra Bay, 1987Colour photograph42 x 29.7 cm Courtesy the artist and IATSIS, Canberra

Peter McKenzieA selection of photographs taken in 1987 in the La Perouse community for the IATSIS project After 200 Years, 1988Courtesy the artist and IATSIS, Canberra

Adam HillHeads Will Roll, 2008Acrylic on canvas90 x 240 cmCourtesy the artist and Arc One Gallery, Melbourne

90 91

Elaine RussellThe Shack That Dad Built, 2004Painting30 x 76 cmCourtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

Elaine RussellBush Tucker (Moreton Bay Figs), 2004Painting30 x 33.5 cmCourtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

Elaine RussellBush Tucker (Warrigal Greens), 2004Painting30 x 33.5 cm Courtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

Nathalie Hartog-GautierBanksia (Banksia serrata), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

Nathalie Hartog-GautierGrass-tree (Xanthorrhaea australis), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

Nathalie Hartog-GautierEucalyptus genus, 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

Nathalie Hartog-GautierShe-oak (Casuarina), 2005Inkjet print112 x 80 x 6.5 cm FramedCourtesy the artist

Peter MazellThe Kangaroo. Drawn from the Animal in the Possession of Mr Stockdale, Piccadilly, 1790Etching(Ref: SSV/44)Collection: Mitchell Library, State Library of New South Wales

Joseph RobertsonLast of the Georges River Tribe, New South Wales, 1880Photograph At rear: Jim Brown, Joe Brown, Joey or Tuckamool (Biddy Giles’s brother)Front: Biddy Giles with Jimmy Lowndes(Ref: PXA773/Box 6) Collection: Mitchell Library, State Library of New South Wales

Deborah KellyThe History Wars, 2006DVD, 51 sec.Courtesy the artist and Gallery Barry Keldoulis, Sydney

Tracey MoffattNice Coloured Girls, 198716mm experimental film, 16 min.Courtesy Ronin Films

Michael Riley with Blackfella FilmsEora, 1995Collection: Museum of Sydney on the site of the First Government House, Historic Houses Trust of New South Wales. Courtesy Michael Riley Foundation

Julie DowlingBoongaree, 2001Acrylic, red ochre and plastic120x100 cmCourtesy the artist and Brigitte Braun Gallery, Melbourne

Mervyn BishopPrime Minister Gough Whitlam Pours Soil into the Hand of Vincent Lingiari in 1975 at Wattie Creek, NT, 1975Type C photograph50.5 x 40 cmCourtesy the artist

R. Pickersgill Copy of the original plan of Sting-ray Bay on the East Coast of New Holland, by the Master of H.M.S. Endeavour, Captain James Cook 1770, c. 1900Photograph of manuscript map (Ref: M2 811.1801/1770/2)Collection: Mitchell Library, State Library of New South Wales

Endeavour word lists, recorded by Isaac Smith, in Captain Cook’s South Sea Island vocabularies, PeterA. Lanyon-Orgill (ed.) [Byfleet, Surrey], 1979, p. 34.(Ref: ML 499.2/127)Collection: Mitchell Library, State Library of New South Wales

Richard BourkeGovernor’s Minute no. 1839 [re. Bosun Maroot], 17 April 1832Manuscript(Ref: CGS909, 4/996)Collection: State Records New South Wales

Thomas Balcombe (1810–1861)Sketch shewing the situation of Huts in the Parish of Botany belonging to Boatswain MarootFrom Surveyor General’s Sketch Book, vol. 1. 245Manuscript, ink (Ref: CG13886, X751 F76) Collection: State Records New South Wales

Testimony by Mahroot alias the Boatswain, called in and examined. In Minutes of Evidence Taken Before the Select Committee on the Aborigines.From Votes and proceedings of the Legislative Council during the session … / New South Wales Legislative Assembly. 943–47Sydney, Govt. Printer. 1845Bequest of David Scott Mitchell, 1907(Ref: MDQ 328.9106/4)Collection: Mitchell Library, State Library of New South Wales

Captain Cook proclaiming New South Wales a British possession, Botany Bay, 1770. Adapted from the painting presented to the Philosophical Institute of Victoria, by T.A. Gilfillan.Hand coloured engraving/proclamation NSW for British/1770/Pb.Pictorial Atlas c.1880. First centenary Collection: Mascot Library and Museum

Don FeatherstoneBabakiueria, 1986Film, 29 min.Courtesy Australian Broadcasting Commission

Penny McDonaldToo Many Captain Cooks, 1989Documentary, 18 min.Courtesy Ronin Films

Copy of promotional lobby card for 40,000 Horsemen, directed by Charles Chauvel, 1940Courtesy National Film and Sound Archives, Australia

William BradleyCopy of Botany Bay, Sirius & convoy going in… 21/1/1788, 1802Watercolour drawing from his journal A Voyage to New South Wales, opp. p. 56(Ref: Safe 1/14)Collection: Mitchell Library, State Library of New South Wales

COLLECTION: ACE BOURKE

Artist unknownSir Richard Bourke, date unknownEtching20 x 16 cm

Thomas Medland after Richard CleveleyA View of Botany Bay, 1789Engraving 20 x 26.5 cm

First Fleet List, date unknownPoster98 x 66 cm

W. Blake from a sketch by Governor King A Family of New South Wales, 1792Engraving 25 x 20.3 cm

Joseph LycettNorth View of Sidney, New South Wales, 1824Hand coloured aquatint17.5 x 27.5 cm

William McLeodGovernor Philip Gidley King, c.1886Engraving 14.5 x 11 cm

Barthelemy Roger after Nicolas-Martin PetitNouvelle-Hollande, Cour-rou-bari-gal, c1808Hand coloured engraving 32.5 x 25.3 cm

Barthelemy Roger after Nicholas-Martin PetitNouvelle-Hollande, Y-erran-gou-la-ga, c1808Hand coloured engraving 31.8 x 24.7 cm

Portrait of Bennilong, a native of New Holland, who after experiencing for two years the Luxuries of England, returned to his own Country and resumed all his Savage Habits Hand coloured engraving 19.8 x 15.1 cm

Hardy WilsonSubiaco, Rydalmere NSW, 1923Collotype print33.7 x 25 cm

COLLECTION: BOTANY BAY NATIONAL PARK (KURNELL) NSW National Parks & Wildlife Service, Department of Environment and Climate Change

Dedication of Captain Cook’s Landing Place, Kurnell, Botany Bay, 1899Book

Rev. W.H.H. Yarrington, The Landing of Captain James Cook, Botany Bay, 1770, 1909Essay

Royal visits to Captain Cook’s Landing Place/Kurnell/Botany Bay/New South Wales/1881-1946. Published 1948

Commemoration invitations, programs and postcards produced by the Captain Cook’s Landing Place Trust (13 items).

Sir Joseph BanksEngraving based on the painting by Thomas Phillips, c 1815. 21 x 14.7 cm(R.A W Holl. Fisher Son

London, 1829)Leg irons, date unknown

Sextant, provenance unknown

Replica of Captain James Cook’s sword, 1970.

Captain Cook’s Landing Place Reserve, c 1900Photograph of the ‘small stream’ from which Captain Cook filled the water casks of the ‘Endeavour’ in 1770

Celebration of Federation at Captain Cook’s Landing Place reserve, Kurnell, 1901 Three photographs

A view of the Captain Cook’s Landing Place reserve, 1905Three photographs

Obelisk built near the landing rock for the centenary of Cook’s arrival in Botany Bay in 1870, 1910Photograph

Commemoration of the landing of Lieutenant James Cook at Botany Bay, 1959Photograph

Bicentenary re-enactment of the landing at Captain Cook’s Landing Place during the visit of the Queen, 1970Nine photographs

Johnnie Malone, a descendant of a Botany Bay tribe of Aborigines, and an old BotanyBay identity, c. early 1900sPhotograph

Captain Cook Bridge, 1950sPhotograph

Captain Cook’s Monument, 1922Photograph

Aerial view of Captain Cook’s Landing Place, 1950sColour photograph

Commemorative stamps, various dates

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SELECTED SOLO EXHIBITIONS2007: Scenic Root, Art Gallery of NSW, Sydney2006: Looking at Works of Art in the Light of Other Works of Art, Artspace, Sydney2005: Chemical Blonde, Torch, Amsterdam 2005: Making The 3rd Cup Of Tea From One Tea Bag, Galerie Sabine Schmidt, Cologne.

SELECTED GROUP EXHIBITIONS2008: Intrude: Art & Life 366, Zendai Museum for Modern Art, Shanghai2007: Perfect for Every Occasion: Photography Now, Heide Museum of Modern Art,

Melbourne2006: Ten(d)ancy, Elizabeth Bay House, Sydney2005: Counternance, WurttembergischerKunstverein Stuttgart. 2005: Surfaces Paradise, Museum voor Moderne Kunst, Arnhem

SELECTED PUBLICATIONS2007: Phillip Brophy, “Corrupted by Death,” Scenic Root Exhibition Catalogue, AGNSW 2007: Gary Carsley Draguerreotypes, Darling Publications, Cologne2006: Peter McNeil, “Looking at Works of Art in the Light of Other Works of Art,”

Artspace Projects2005: Russell Storer, “Gary Carsley’s Draguerreotypes,” Eyeline 57

Brenda L. Croft Born 1964 in Perth, Western Australia People: Gurindji / Mutpurra (NT) / Anglo-AustralianLives and works in CanberraRepresented by Stills Gallery, Sydney

SELECTED SOLO EXHIBITIONS2006: Brenda L Croft: Peripheral Vision, Niagra Galleries, Melbourne2003-04: Man about town, Niagara Galleries, Melbourne, Stills Gallery, Sydney2002: Terra/terror australis, Stills South, Satellite Exhibition Biennale of Sydney2000: Fever (you give me), Stills Gallery1998-2000: In My Mother’s Garden, John Curtin Gallery, Curtin University of Technology,

Perth, Gallery Gabrielle Pizzi, Melbourne1998-2000: In My Father’s House, Australian Centre for Photography, Sydney1994: Strange Fruit, The Performance Space, Sydney1993: The Big Deal is Black, Australian Centre for Photography

SELECTED GROUP EXHIBITIONS 2006: Light Sensitive, National Gallery of Victoria, Melbourne2004: Witness, MCA, Sydney2004: In Focus: 5 contemporary women photo-artists, Campbelltown City Bicentennial 2003: Australiens, Perth Institute of Contemporary Art2002-03: Imagining identity and place, Grafton Regional Gallery, NSW 1998–2000: Retake: Contemporary Aboriginal and Torres Strait Islander Photography,

National Gallery of Australia1998-2003: 15th, 16th, 18th, 19th, 20th Telstra National Aboriginal and Torres Strait

Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin1996-97: Native Titled Now, Tandanya National Aboriginal Cultural Institute, Adelaide1995-96: True Colours, Boomalli, The Performance Space, Sydney1994: Urban Focus, National Gallery of Australia

SELECTED PUBLICATIONS2004: “Images that Help in the Healing,” Daily Telegraph 15 March: 472002: “Beyond Capricornia: I am not sorry,” Art Monthly October: 5–92002: “No Need Looking,” Photofile 66: 24-91993: “Blak Lik Mi,” Art & Australia 31.1: 63-71990: Artlink Boomalli Special Double Issue 10.1-2: 108

Julie Dowling Born 1969 in Perth. Badimaya. Lives and works in Maddington, WA Represented by Brigitte Braun Gallery, Melbourne

SELECTED SOLO EXHIBITIONS 2007: Strange Fruit, Testimony and Memory in Julie Dowling’s Portraits, Ian Potter

Museum of Art, Melbourne 2006: Dreaming their Way, National Museum of Women in the Arts, Washington USA 2005: Marban Unna, Galerie Seippel, Koeln, Germany 1996-2006: Solo Exhibitions, Artplace, Perth, and Brigitte Braun, Melbourne

SELECTED GROUP EXHIBITIONS2007: Culture Warriors, inaugural National Indigenous Art Triennial, NGA, Canberra2006: Prism: Contemporary Australian Art, Bridgestone Museum of Art, Tokyo, Japan 2006: Land Marks, National Gallery of Victoria 2005: Australië, het land en de mensen, Rijkesmuseum voor 2005: Volkerkunde, Leiden, Holland \2005: The Human Image by Indigenous and non-Indigenous Artists, Kluge-Ruhe

Collection, University of Virginia, USA 2004: Colour Power, National Gallery of Victoria, Melbourne 2003: ART AUSTRALIA – Zeitgenössische Kunst, travelling exhibition, Germany 2002: it’s a beautiful day: New Painting in Australia 2, Ian Potter Museum of Art,

Melbourne, and Art Gallery of NSW, Sydney

2000: Beyond the Pale, Adelaide Biennale, AGSA

SELECTED PUBLICATIONS 2007: Jeannette Hoorn, Strange Fruit, Testimony and Memory in Julie Dowling’s Portraits,

Exhibition Catalogue2006: Carol Dowling, ‘Bal goort gootun gunyuing (Her heart has broken),’ in Widi

Boornoo (Wild Message), Exhibition Catalogue2005: Jeannette Hoorn, ‘Julie Dowling’s Strange Fruit: Testimony and the Uncanny in

Contemporary Australian Painting,’ Third Text,19.3: 283-96

Paddy Fordham Wainburranga1941 – 2006. Rembarnga, NT

SELECTED GROUP EXHIBITIONS2006-07: Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art

Gallery of NSW, Sydney2003: The Dreamtime, Contemporary Aboriginal Art, Arts d’Australie and Stephane Jacob2003: 20th Telstra National Aboriginal and Torres Strait Islander Art Award, Museum and

Art Gallery of the Northern Territory, Darwin1994: Tyerabarrbowaryaou 2, I Shall Never Become a Whiteman, 5th Havana Biennial,

Cuba and Museum of Contemporary Art, Sydney1992: Tyerabarrbowaryaou, I Shall Never Become a Whiteman, Museum of Contemporary

Art, Sydney1991: Flash Pictures, National Gallery of Australia1991: Australian Perspecta, Art Gallery of NSW1990: Contemporary Aboriginal Art from the Robert Holmes à Court Collection, Harvard

University, University of Minnesota, Lake Oswego Center for the Arts, USA

SELECTED PUBLICATIONS1994: Tyerabarrbowaryaou 2, I Shall Never Become a Whiteman, Exhibition Catalogue,

Museum of Contemporary Art, Sydney1993: L. Diggins (ed.), Aboriginal Arts, Thames and Hudson, London1992: Tyerabarrbowaryaou, I Shall Never Become a Whiteman, Exhibition Catalogue,

Museum of Contemporary Art, Sydney1992-93: “The Two Women Looked Back Over Their Shoulders and Lamented Leaving Their

Country: Detached Comment (Recent Urban) and Symbolic Narrative (Traditional),” Aboriginal Art in the Public Eye, Art Monthly, Australia Supplement: 7-9

1992: Djon Mundine, “If My Ancestors Could See Me Now,” in Tyerabarrbowaryaou, I Shall Never Become a Whiteman, Exhibition Catalogue, Museum of Contemporary Art, Sydney

1988: Penny McDonald, dir., Too Many Captain Cooks, Ronin Films, Australia

Nathalie Hartog-GautierBorn 1954 in FranceLives and works in Sydney

SELECTED SOLO EXHIBITIONS2007: From Hornsby to Paris, guest artist Hornsby college of TAFE2006: Passage, Cité Internationale des Arts, Paris, France2005-06: Encounter, Laperouse Museum2005: Footprint on the water, Wollongong City Gallery, (2artists) 2005: Any news of Laperouse?, State Library of NSW, Sydney (2artists) 2004: Private Language, Public Imagery, COFA Exhibition & Performance spaces, Sydney 2001: Of Global Appearance, Manly Art Gallery and Museum, NSW2000: Polygraphy, First Draft, Sydney

SELECTED GROUP EXHIBITIONS2007: Hutchins Art Prize, Hobart, Tasmania2007: Marche de la Poésie, Place St Sulpice, Paris, France.2007: Exploration, Macquarie University Gallery, NSW2007: Sydney Printmakers, NSW and Canberra2005: Blake Prize, Sir Herman Black Gallery, University of Sydney2005: Fremantle Art Prize, (group work)2004: Masters of COFA, Ivan Dougherty Gallery, Paddington2003: Gallery International Print Biennale, Varna, Bulgaria2002: Framework, Manly Regional Gallery and Museum, NSW 2001: Hazelhurst Art on Paper Award, Hazelhurst Regional Gallery and Arts Centre, Gymea2001: Sculpture by the Sea, Bondi Beach, NSW2000: Mosman Art Prize, Mosman, NSW 2000: Viet, Casula Powerhouse Arts Centre, Liverpool

SELECTED PUBLICATIONS2007: Andrea Stretton, “Ex-ile,” catalogue essay2005: Dr J. Thompson, Footprint on the Water, Exhibition Catalogue2005: J. Poncet, Encounter, Exhibition Catalogue2005: S. Meacham, Any news of Laperouse? Sydney Morning Herald2004: A. van Ogtrop, Private Language, Public Imagery, Exhibition Catalogue 2001: P. Bell, Of Global Appearance, Exhibition Catalogue 2002: S. Williams, Of Global Appearance, Imprint 2001: J. Huxley, Of Global Appearance, Sydney Morning Herald 2000: A. Carruthers, Viet Exhibition, being part of the Landscape, Exhibition Catalogue

ARTIST BIOGRAPHIES

Tony AlbertBorn 1981 Lives and works in Brisbane Represented by Jan Manton Art Gallery, Brisbane and Gallery Smith, Melbourne

SOLO EXHIBITIONS 2007: i’m bring’n sexy BLAK, Jan Manton Art, South Brisbane2004: Go Away, The Farm 358 George St, Brisbane

SELECTED GROUP EXHIBITIONS2007: The Visitors, Penrith Regional Gallery and the Lewers Bequest 2007: Artworkers Award 2007, Portside Wharf, Brisbane2007: Arc Biennial Exhibition, QUT Art Museum2007-08: The Revenge of Genres, Les Brasseurs in Liege, Belgium, and Cité Internationale

des Arts, Paris 2007: Sunshine Coast Art Prize (winner), Caloundra Regional Art Gallery 2006-07: 23rd and 24th Telstra National Aboriginal & Torres Strait Islander Art Award,

Museum and Art Gallery of the Northern Territory, Darwin2006: Celebrating Aboriginal Rights?, Macquarie University Art Gallery, Sydney, 2006: Winners are Grinners, The Persth Institute of Contemporary Arts (PICA),

Northbridge 2006: Tell ‘em ya dreaming, The Dreaming – Australia’s International Indigenous Festival

Woodford2005: Dumb Luck, The Dreaming – Australia’s International Indigenous Festival,

Woodford 2005: Bring it, Judith Wright Centre of Contemporary Art, Fortitude Valley, Brisbane 2005: Thick and Fast, Brisbane Powerhouse, New Farm Brisbane 2004: Nice Coloured Dolls, 24HrArt, Darwin 2004: Binnung Woolah dahgo, Queensland University of Technology, Kelvin Grove, Brisbane2004: New Flames – Voices Stories Regional Tour, Regional Galleries Association of

Queensland and Campfire Group Projects2003: It’s about difference, Project Gallery, Queensland College of Art, Griffith University,

South Bank, Brisbane

Gordon BennettBorn 1955 in Monto, QLDLives and works in Brisbane, QLD Represented by Milani Gallery, Brisbane.

SELECTED SOLO EXHIBITIONS2007-08: Gordon Bennett, National Gallery of Victoria, Melbourne and touring 2007: Gordon Bennett, Bellas Milani Gallery, Brisbane2006: New prints, Bellas Milani Gallery, Brisbane 2005: New work, Bellas Milani Gallery, Brisbane 2004: Out of Print: Gordon Bennett: A survey of prints to printouts 1987-2004 Dell Gallery, Queensland College of Art, Brisbane 2003: Stripe Paintings: New works on paper, Bellas Gallery, Brisbane 1999-2000: History and Memory in the Art of Gordon Bennett, Brisbane City Hall Gallery, Ikon Gallery, Birmingham, U.K., Arnolfini, Bristol U.K. & Heine-Onstad, Kunstsenter, Oslo, Norway

SELECTED GROUP EXHIBITIONS2006: Queensland Live! Queensland Art Gallery touring exhibition2004-05: Three Colours: Gordon Bennett & Peter Robinson, Heide Museum of Modern Art, Melbourne and touring2000: 12th Biennale of Sydney, Museum of Contemporary Art, Sydney1997: In Place (Out of Time), Museum of Modern Art, Oxford, UK1995: Antipodean Currents, John F Kennedy Centre, Washington D.C. and Guggenheim Museum, New York 1991: Moet & Chandon Art Prize, touring exhibition

SELECTED PUBLICATIONS2007: K. Gellatly, Gordon Bennett, Exhibition Catalogue, National Gallery of Victoria,

Melbourne2005: S. Wright, ‘Into the Printout’, Out of Print, Exhibition Catalogue, Griffith Artworks,

Brisbane1996: G. Bennett and I. McLean, The Art of Gordon Bennett, Craftsman House, Sydney

Mervyn Bishop Born 1945 in Brewarrina, NSWLives and works in Sydney

1971: Press Photographer of the Year 2001: Stills photographer, Rabbit Proof Fence

SOLO EXHIBITIONS2008: More Than My Skin, Campbelltown Arts Centre, Sydney2006: Access All Areas, Customs House, Sydney2004: Flash Blak, Mervyn Bishop in words, music and photographs, directed by William

Yang, Sydney Opera House1991: In Dreams: Mervyn Bishop Thirty Years of Photography: 1960-1990, Australian

Centre for Photography, Sydney

SELECTED GROUP EXHIBITIONS2006: In Living Memory: Surviving Photographs from the Records of the NSW Aborigines

Welfare Board, 1919-1966, 2003: New View: Indigenous Photographic Perspectives, Monash Gallery of Art, Wheelers

Hill, Vic1998: Retake: Contemporary Aboriginal and Torres Strait Islander Photography, National

Gallery of Australia, Canberra1994: Urban Focus: Aboriginal and Torres Strait Islander Art from the Urban Areas of

Australia, National Gallery of Australia, Canberra1993: Aratjara: Art of the First Australians, National Gallery of Australia, Canberra and

touring1991: Images of Black Sport, Powerhouse Museum, Sydney1991: Her Story: Images of Domestic Labour in Australian Art, S.H. Ervin Gallery, Sydney 1989: Eora and Tranby at the Tin Sheds: New Images in Australian History, Tin Sheds

Gallery, University of Sydney1986: NADOC ’86 Exhibition of Aboriginal and Islander Photographers, Aboriginal Artists

Gallery, Sydney

SELECTED PUBLICATIONS2003: Michael Winkler, ‘Life in Black and White,’ The Age, 8 July, http://www.theage.com.

au/articles/2003/07/07/1057430133075.html1991: Tracey Moffatt, Editor/Curator, In Dreams: Mervyn Bishop: Thirty Years of

Photography 1960-1990, Exhibition Catalogue

Boat-people.org Founded 2001 in Sydney

SELECTED SOLO EXHIBITIONS – Events, Campaigns and Actions 2007: Australia Day Commissioned Tram Performance: history quiz and prize giving ceremony, Melbourne2007: Our Media Conference: commissioned beer drinking ceremony and history quiz, University of Technology, Sydney2006: Black GST – Poster collection and newspaper produced by Breakdown Press2006: Martin Place Action – Giant group chalk drawing for Tampa Day2004: Federal Election Campaign including Dirty Laundry Action, Pitt Street Mall, Sydney (Howard’s dirty laundry was hung out to dry: video/sound projection with

rat tailed interlocutors, extremely large pair of underpants) and Balloon Events (helium balloons featuring the PM with his pants on fire were handed to delighted children by large rats on Thursday evenings in shopping centres)

2003: First Fleet Projection, Main screen, Federation Square, Melbourne2002: Siev-X Mourning Projection, Art of Dissent, Melbourne Festival2001: Boat-People Day – 3000 hand-folded paper boats staged an invasion of the

Immigration Department in Sydney, followed by an evening of projections from a harbour ferry.

2001: Sydney Opera House Projection, inaugural boat-people.org event

SELECTED GROUP EXHIBITIONS2006: Untitled, Botany Bay, toured to The Independence Project Galleri Peteronas, Kuala

Lumpur, Malaysia, Exhibition, artist talks and workshops; Transit Lounge, Berlin; Motherland Project, Amsterdam, Kunstvlaai6 Festival night time city square

projections; Year Of the Dog, Chinatown Public Art Project, curated by Half Dozen2005: The Sedition Show, Casula Powerhouse Arts Centre2004: 2004: Australian Culture Now, National Gallery of Victoria and the Australian

Centre for the Moving Image, Melbourne2002: Borderpanic, Performance Space, Sydney

Daniel Boyd Born 1982 in CairnsKudjla/Gangalu peoples, Far North Queensland Lives and works in Sydney, NSWRepresented by Mori Gallery, Sydney

SELECTED SOLO EXHIBITIONS2006: The Righteous will Reign, Mori Gallery2005: Polly Don’t Want No Cracker Neither, Mori Gallery2005: Untitled, Mori Gallery

SELECTED GROUP EXHIBITIONS2007: Culture Warriors: National Indigenous Art Triennial 07, National Gallery of

Australia, Canberra2006: Right Here, Right Now: Recent Aboriginal and Torres Strait Islander Art

Acquisitions, National Gallery of Australia2006: From the Edge, Wagga Wagga Regional Gallery; Ivan Doherty Gallery, UNSW, Sydney2005: What The World Needs Now, Phatspace, Sydney2005: Superspective, Canberra Contemporary Art Space 2005: No War Fundraiser, Mori Gallery2005: Checkpoint, Mori Gallery

Gary CarsleyBorn 1957 in BrisbaneLives and works in Amsterdam and SydneyRepresented by Breenspace, Sydney; Torch, Amsterdam; Galerie Sabine Schmidt, Cologne; Margaret Thatcher Projects, New York

92

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Peter McKenzieBorn 1944 in La Perouse Anaiwan/Eora

SELECTED GROUP EXHIBITIONS2008: More than My Skin, Campbelltown Arts Centre, Sydney1997: What is Aboriginal Art?, curator, Ivan Dougherty Gallery, Sydney (part of the

Festival of Dreaming, 2000 Olympic Arts Festival)1994: Urban Focus – Aboriginal & Torres Strait Islander Art from urban areas of Australia,

National Gallery of Australia, Canberra1989: Magiciens de la Terre, curator, Australian Aboriginal component, Centre George

Pompidou, Paris, France 1987: After 200 Years, La Perouse

SELECTED PUBLICATIONS1988: After 200 Years, IATSIS, Canberra

Tracey MoffattBorn 1960 in BrisbaneLives and works in New York, USARepresented by Roslyn Oxley9 Gallery

SELECTED SOLO EXHIBITIONS2006: Tracey Moffatt Between Dreams and Reality, Spazio Oberdan, Milan, Italy 2004: Tracey Moffatt, Hasselblad Centre, Göteborg, Sweden2003: Tracey Moffatt, Museum of Contemporary Art, Sydney2002: Tracey Moffatt, City Gallery, Wellington1997: Tracey Moffatt: Free Falling, Dia Centre for the Arts, New York

SELECTED GROUP EXHIBITIONS2005: Sharjah International Biennial 7, Sharjah, Dubai, United Arab Emirates1998: Roteriro, Bienal de São Paulo, São Paulo, Brazil1997: Aperto, Venice Biennale, Venice, Italy1995: Kwangju Biennale, Kwangju, Korea

SELECTED PUBLICATIONS2007: The Moving Images of Tracey Moffatt, Charta Artbooks, Italy2006: Fillipo Maggia (ed.), Tracey Moffatt Between Dreams and Reality, Skira2002: Paula Savage and Lara Strongman, Tracey Moffatt, Exhibition Catalogue, City

Gallery Wellington, New Zealand 1999: Michael Snelling (ed.), Tracey Moffatt, IMA/Asialink, Brisbane 1998: Tracey Moffatt Free-Falling, Lynne Cooke and Karen Kelly (Eds.) Dia Centre for the

Arts, NY1995: Gael Newton and Tracey Moffatt, Tracey Moffatt Fever Pitch, Piper Press, Australia

Clinton NainBorn 1971 Carlton, Victoria Merium Mer – Erub, Torres Strait; Ku Ku – Sand People, Northern Queensland Lives and works in MelbourneRepresented by Nellie Castan Gallery

SELECTED SOLO EXHIBITIONS2006: A E I O U, Nellie Castan Gallery2005: The Dirty Deal Ain’t Clean, Sherman Galleries2003: Living Under the Bridge, Sherman Galleries 2001: Whitens, Removes Stains, Kills Germs, Sherman Galleries 2000: White King Blak Queen, Brisbane Powerhouse, Live Arts 2000: The Bleach is Blak, Flinders University Art Museum 2000: Heritage Colours, 200 Gertrude Street Gallery

SELECTED GROUP EXHIBITIONS2007: Power and Beauty, Heide Museum of Modern Art 2006: Landmarks, National Gallery of Victoria2006: Dancelines: Contemporary Indigenous Art Inspired by Bangarra Dance Theatre, The

Arts Centre, Melbourne 2005: L’art urbain du Pacifique, Saint-Auvent Castle, Limosin, France 2004: Masters of COFA, Ivan Dougherty Gallery, COFA, UNSW, Sydney 2004: Our Place: Indigenous Australia Now, Benaki Museum, Athens, Greece 2002: Bennett Nain Parr Tillers, Sherman Galleries2000: Beyond the Pale: Contemporary Indigenous Art, curator Brenda Croft, 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide

SELECTED PUBLICATIONS2007: Sonia Payes, Untitled: Portraits of Australian Artists2006: Laura Murray Cree (ed.), Twenty: Sherman Galleries 1986-20062005: Samantha Comte, A Short Ride in a Fast Machine: A Recent History of

Contemporary Art 2004: Andrew Frost, ‘50 of Australia’s Most Collectable Artists,’ Australian Art Collector,

January-March: 85-6 2004: Joanna Mendelssohn, ‘Clinton Nain: Living under the bridge’, Artlink, March: 85-6 2000: Brenda Croft (ed.), Beyond the Pale 2000: Doreen Mellor, Beyond the Pale Review, Art & Australia, September- November

Michael RileyBorn 1960 in Dubbo, NSW. Wiradjuri/Gamiloroi.Died 2004, Sydney, NSWRepresented by Stills Gallery in collaboration with The Michael Riley Foundation

SELECTED SOLO EXHIBITIONS2006-2007: Michael Riley: Sights Unseen, National Gallery of Australia, Canberra and Art

Gallery of NSW, Sydney2005: cloud, Museum of Sydney and Stills Gallery, Paddington, Sydney2005: Sacrifice, Stills Gallery, Paddington, Sydney2000: cloud and Empire, Australian Centre for Photography, Sydney1998: flyblown and Empire, Gallery Gabrielle Pizzi, Melbourne1995: They call me niigarr, Hogarth Galleries, Sydney1994: Fence sitting, Hogarth Galleries, Sydney 1992: Sacrifice, Hogarth Galleries, Sydney1991: A Common Place: Portraits of Moree Murries, Rebecca Hossack Gallery, London and

Hogarth Galleries, Sydney.1990: Portraits by a Window, Hogarth Galleries, Sydney

SELECTED GROUP EXHIBITIONS2007: Reveries: Photography & Mortality, National Portrait Gallery, Canberra2006: Musee du Quai Branly, Paris2006: WAVEfront, Tokyo Wondersite, Japan.2004: Holy, Holy, Holy, Flinders University City Gallery, Adelaide 2003: Poetic Justice, 8th International Istanbul Biennale, Turkey2003: 11th Asian Art Biennale, Bangladesh 2002: Photographica Australis, Sala de Exposiciones del Canal de Isabel II, Madrid, Spain 2000: Beyond the Pale: Contemporary Indigenous Art, Adelaide Biennial of Australian

Art, Art Gallery of South Australia 1998: Re-take: Contemporary Aboriginal and Torres Strait Islander photography, National

Gallery of Australia touring exhibition.1998: Flesh and Blood: A Sydney Story 1788-1998, Museum of Sydney1994: Urban Focus: Aboriginal and Torres Strait Islander Art from Urban Areas of

Australia, National Gallery of Australia, Canberra1993: ARATJARA: Art of the First Australians, Dusseldorf, Germany 1991: After 200 Years: Photographs of Aboriginal and Islander Australia today, National

Gallery of Australia, Canberra.1990: Tagari Lia: My Family Contemporary Aboriginal Art from Australia, Glasgow,

Scotland 1986: NADOC ’86 Exhibition of Aboriginal and Islander photographers, Aboriginal Artists

Gallery, Sydney1986: Urban Koories, Willougby Art Workshop, Sydney

Joan RossBorn 1961 in Glasgow, ScotlandLives and works in Blackheath, Blue Mountains, NSWRepresented by Gallery Barry Keldoulis

SELECTED SOLO EXHIBITIONS2007: The Knitted Brow, Gallery Barry Keldoulis, Sydney2006: Fur For Instance, Tin Sheds Gallery, University of Sydney2005: Pelt, Campbelltown Arts Centre 2005: Afraid Not, Penrith Regional Gallery & The Lewers Bequest2005: Like Pulling Hair from Butter, Gallery Barry Keldoulis, Sydney2004: OH MY GOD, Out of Gallery, Nepean Hospital, Kingswood 1998: WANTING, Plastic and Fur pictures, Gitte Weise Gallery1996: Performance protest & exhibition-on-self, S.H. Ervin Gallery, Sydney1989: Solo Exhibition, Roslyn Oxley 9 Gallery

SELECTED GROUP EXHIBITIONS2007: 2007: The Year in Art, S.H.Ervin Gallery, Sydney2007: Blood Lines: Art and the Horse, Hawkesbury Regional Gallery2007: The Coloured Digger, Damien Minton Gallery, Sydney2007: L’Australia Immaginata, Monash University Prato Centre, Prato, Italy2007: Drawing Together, National Archives of Australia, Canberra2007: Living Elvis, RMIT Gallery, Melbourne2006: The Idea of the Animal, RMIT Gallery, Melbourne International Festival 2006: The Great Dividing Range, Canberra Contemporary Art Space2005: Art on Paper Award, Hazelhurst Regional Gallery (winner)2005: Regarding Retro, Blacktown Arts Centre, Sydney 2003: Home Sweet Home, The Peter Fay Collection, National Gallery of Australia,

Canberra

SELECTED PUBLICATIONS2006: Sophia Kouyoumdjian, Work in Progress: Contemporary Drawing from Western

Sydney, Exhibition Catalogue, Blacktown Arts Centre2005: John McDonald, ‘Fey Way’, Sydney Morning Herald 13-14 March2005: Jacqueline Millner, Pelt: Joan Ross, Exhibition Catalogue, Campbelltown Arts Centre1998: John McDonald, ‘Painting Dead? The Future’s Not So Bleak’, Sydney Morning

Herald 18 July

ARTIST BIOGRAPHIES

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Adam HillBorn 1970 in Blacktown, NSWLives and works in Redfern, SydneyRepresented by Boomalli Aboriginal Artists Co-operative Ltd, Sydney

SELECTED SOLO EXHIBITIONS2007: Arc One Gallery, Melbourne2006-05: Mori Gallery, Sydney2005: Walkabout (Birrung) Gallery, Leichhardt, Sydney2004: Wash House Gallery, Rozelle, Sydney2004: Canberra Grammar School Gallery2003: Tap Gallery, Darlinghurst2002: Message Sticks, Sydney Opera House2001: Boomalli, Annandale, Sydney1999: Joan Sutherland Performing Arts Centre, Penrith1998: Industrial complex, Penrith

SELECTED GROUP EXHIBITIONS2007: Xstrata Coal Emerging Indigenous Art Award, Queensland Art Gallery 2007: The Coloured Digger, Damien Minton Gallery, Sydney 2005-06: Finalist, NSW Parliament House Indigenous Award2002/2004/2006: Mil-Pra Indigenous art award, Casula Power House2001/2003/2004: Finalist, Telstra National Indigenous Arts Award, Darwin2000: The Studio Foyer and Eorascapes with Aunty Esme Timbery, Message Sticks, Sydney

Opera House

Dianne JonesBorn 1966 in PerthLives and works in PerthRepresented by Niagara Galleries, Melbourne

SELECTED GROUP EXHIBITIONS2008: Half Light: Portraits from Black Australia, Art Gallery of Western Australia, Perth2007: Mine Own Executioner, Mundaring Arts Centre, Western Australia2007: Raised by Wolves, Art Gallery of New South Wales, Sydney2005: Black on White, Centre for Contemporary Photography, Melbourne2005: Where Are They Now? Unsigned Artists Revisited, Niagara Galleries, Melbourne2004: If You Only Knew…, City Gallery, Melbourne Town Hall, Victoria2004: Images, Aboriginal Art Museum, Utrecht, The Netherlands2003: Australiens, Perth Institute of Contemporary Arts, Western Australia2003: New View: Indigenous Photographic Perspectives, Monash Gallery of Art,

Melbourne2002: Crossing: New Art from Australia, Galleria Lume and Gallery Atski, Finland2002: Unsigned Artists 2002, Niagara Galleries, Melbourne2002: High Tide: Contemporary Indigenous Photography, Linden – St Kilda Centre for Contemporary Arts, Melbourne2002: Just Married, Monash Gallery of Art, Melbourne2001: Girls On Film, Art Gallery of Western Australia, Perth

SELECTED PUBLICATIONS 2007: City of Perth Art Award, Exhibition Catalogue, City of Perth2007: Raised by Wolves, Exhibition Catalogue, Art Gallery of Western Australia, Perth

2005: Black on White, Centre for Contemporary Photography, June 2004: Christian Bumbarra Thompson, ‘The Entrapped Tigress,’ City of Melbourne, January2004: Annette van Ham, Images, Aboriginal Art Museum Utrecht, The Netherlands2003: Brenda L. Croft, ‘Picture This,’ New View: Indigenous Photographic Perspectives,

Monash Gallery of Art, April 2002: Peter Westwood, ‘Point used as diacritical: Dianne Jones,’ Crossing: New art from

Australia, RMIT University, Melbourne

Jonathan JonesBorn 1978 in Sydney Lives and works in SydneyRepresented by Gallery Barry Keldoulis

SOLO EXHIBITIONS2007: trade mark, Gallery Barry Keldoulis, Sydney2007: Jonathan Jones, Newcastle Region Art Gallery2005: white lines, Gallery Barry Keldoulis, Sydney2004: blue poles, Gallery Barry Keldoulis, Sydney2003: lumination, Gallery Barry Keldoulis, Sydney2002: Served Chilled, Artbox, Sherman Galleries, Sydney

SELECTED GROUP EXHIBITIONS2007: Nguurramban: From Where We Are At, Linden Centre for Contemporary Art,

Melbourne2007: Celebrating Aboriginal Rights?, Macquarie University Art Gallery2006: Adventures with Form in Space, Art Gallery of New South Wales2006: Ten[d]ancy, Elizabeth Bay House, Sydney2006: Good Company, Flash Lights, Bath Street Gallery, Auckland2004: Terra Alterius, Ivan Dougherty Gallery2004: Traveling Light: Collaborative Projects by Pacific Artists, Performance Space and

Museum of Sydney, Sydney2003: Primavera 2003, Museum of Contemporary Art, Sydney2003: Il Palazzo Delle Libertà, Palazzo Della Papesse Centro Arte Contemporanea, Italy2002: conVerge: where art and science meet, 2002 Adelaide Biennial of Australian Art2001: Colour is the Battle Between Light and Dark, Ivan Dougherty Gallery2000: Art of Place, Old Parliament House Canberra 2000: Federation – Contemporary Views of Australia, Camden Museum, Sydney

SELECTED PUBLICATIONS2007: Ashley Crawford, “Jonathan Jones,” Australian Art Collector Jan.-March: 138-392007: Andrew Frost, “Afraid of the Dark,” Australian Art Collector Oct.-Dec.: 132-412006: Katrina Schwartz, “Jonathan Jones,” Art & Australia 43.2: 3202006: Carolina Totterman, “Jonathan Jones: The Thrill of Discovery,” College Of Fine Art

Magazine 15: 14–152005-06: Jeremy Eccles, “Jonathan Jones: Lights Up,” Australian Art Review: 58-62

Deborah KellyBorn 1962 in MelbourneRepresented by Gallery Barry Keldoulis

SELECTED EXHIBITIONS AND PROJECTS2007: The Big Easy, Galerie ACC Weimar, and Halle 14, Leipzig, Germany2007: Artist’s billboard, Abercrombie St, Chippendale

2007: Knickerknot, Gallery Barry Keldoulis, Sydney2006: Yours, Mine & Ours: 50 Years of ABCTV, Campbelltown Arts Centre2006: In Transition, Lanitis Arts Centre, Limassol, Cyprus2006: Multiplicity, Museum of Contemporary Art, Sydney (and touring)2006: Hey hetero! Public art throughout city subways, Glasgay Festival, Glasgow2005: Beware of the God – 30-second animation screened in CBD train stations;

40,000 free sticker/postcards; projections onto clouds, website. Commissioned for Interesting Times: focus on Australian contemporary art, MCA, Sydney

2004: Artist in residence, Performance Space, Sydney: with Gordon Hookey2003: Collaborating artist, Martha Rosler & FLEAS, Utopia Station, Venice Biennale2002: RIGHT2FIGHT, Sarah Lawrence University Gallery, New York, USA2002: Veiled woman (hijab furore) artwork/riposte, artist/distributor2001: Hey, hetero! public artwork series, artist/writer/producer (with Tina Fiveash)2001: Escaped Refugees Welcome Here downloadable civil disobedience window poster,

artist/distributor 2001: Instigator, collaborator, boat-people.org art gang1998: New Q, National Gallery of Victoria, Melbourne1998: Concept, artwork, design, performance protest event, Noah’s Bagel Workers cam-

paign, San Francisco, USA1997: Stick with Wik Aboriginal land rights armband/postcard campaign, artist/co-conve-

ner (with Liz Conor)1995: Lovely Mothers, lesbian visibility billboards art project, Sydney1991: Artists against War, Melbourne, founder and artist

Fiona MacDonaldBorn 1956 in RockhamptonLives and works in SydneyRepresented by Mori Gallery

SELECTED SOLO EXHIBITIONS2007: Mass Movement, Mori Gallery, Sydney2007: Lobby, Fold Collaborations with Ricky Subritzky, Michael Schimmel Performing Arts

Center and Peter Fingestin Gallery, Pace University, Lower Manhattan, NY, USA2007: Spin, Collaboration with Ricky Subritzky, Daneyal Mahmood Gallery, Chelsea, NY,

USA2006: The Island, Caloundra City Gallery, Caloundra, Queensland2005: PatchWork, Mori Gallery, Sydney 2001: Threshold, Mori Gallery, Sydney

SELECTED GROUP EXHIBITIONS2006: Dream Home, Curator Ricky Subritzky, Gfineart, Washington DC, USA2005: Strangely Familiar, Curator Ricky Subritzky, UTS Gallery, University of Technology,

Sydney2004: Conceptual Crochet, Curator Christopher Dean, Cross Arts Projects, Kings Cross,

Sydney 2003: One Square Mile, Curators Michelle Helmrich and Richard Bell, Museum of Brisbane2001: Federation Festival, the Australia Projects, Curator Juliana Engberg, RMIT Gallery, Melbourne

SELECTED PUBLICATIONS2006: Jessica Dawson, Washington Post, 22 July: CO2.2006: Rachel Kent, Object Magazine, April: 48.2006: http://www.hss.uts.edu.au/dreamhome/ 2006: http://www.daneyalmahmood.com/macdonaldsubritzky_image.html?img=152005: http://oj.hss.uts.edu.au/strangelyfamiliar/strangelyfamiliar.pdf2005: Sunanda Creagh, Sydney Morning Herald, 31 October: 14.2005: Tracey Clement, Sydney Morning Herald, Metro, 11 November: 27.2004: Alison Kubler, Art Monthly, May: 31.2003: Jo Holder, Art & Australia, 40.4: 610.

ACKNOWLEDGEMENTS

Lines in the Sand: Botany Bay Stories from 1770Published by Hazelhurst Regional Gallery & Arts CentreISBN 978 1 921437 03 8

Hazelhurst Regional Gallery & Arts Centre782 Kingsway, Gymea NSW 2227 AustraliaT: 02 8536 5700 E: hazelhurst@ssc.nsw.gov.auwww.hazelhurst.com.auDirector: Michael Rolfe

Lines in the Sand: Botany Bay Stories from 1770Hazelhurst Regional Gallery & Arts Centre29 March – 11 May 2008

Curator: Ace BourkeExhibition Coordinator: Daniel Mudie CunninghamCatalogue Editor: Marise WilliamsCatalogue Essays: Djon Mundine, Keith Vincent Smith, Ace BourkeCatalogue Design: dna creativePhotography: Silversalt Photography (pages 2, 8, 9, 10, 23, 28, 40, 45, 49, 55, 56, 57, 67, 76, 77, 88, 89) Printing: Planet PressPaper stock: this catalogue is printed on Dalton Paper’s Revive Silk, manufactured in Australia from recycled and renewable sources conforming to the internationally recognised ISO 14001 environmental certification. It has saved 17,436 litres of water, 8 trees, 2.4 litres of oil, 2,200 kilowatts of power (= approximately 2 tonnes of C02 emissions) and 2 cubic metre of landfill. It has also added $1,496 to the Australian Gross Domestic Product.

Ace Bourke would like to thank Michael Rolfe, Daniel Mudie Cunningham, Kate Milner, Andrea Merlak, Grahame Kime and Tim Beniuk at Hazelhurst Regional Gallery & Arts Centre, Keith Vincent Smith, Djon Mundine, Marise Williams, David Corbet and Olivia Schmid at dna creative, Jennifer Leahy at Silversalt Photography, Diana Wood Conroy and Amanda Lawson at University of Wollongong, Gordon and Leanne Bennett, National Museum of Australia, Katrina Schlunke, Jan Idle, Daphne Salt, John O’Brien, Richard Neville, Margot Riley, Louise Anemaat and the staff at the State Library of NSW (Mitchell Library), Georgina Eldershaw and the staff at Botany Bay National Park, NSW National Parks and Wildlife Services, Katrina Hogan and James Wilson-Miller at the Powerhouse Museum, Inara Walden at The Historic Houses Trust, Jennifer Cornwall at Mascot Library and Museum, Peter Mitchell, Rhonda Davis at the Macquarie University, IATSIS, Amanda Love Art, Antique Print Room, Arc One Gallery, Boomalli Aboriginal Artists Co-operative, Brigitte Braun Gallery, Gallery Barry Keldoulis, Jan Manton Art, Josef Lebovic Gallery, Milani Gallery, Mori Gallery, Nellie Castan Gallery, Niagara Galleries, Roslyn Oxley9 Gallery, Stills Gallery, John Wregg and COLLECTORS, Bruce and Pam Lanham, Gillian Theodosiou, Brenda L Croft, Tim Croft, David McMahon, Les Bursill, Hetti Perkins, Jonathan Jones, Jo Holder, Ruark Lewis, Andrew Booth, Penny McDonald, Jayne Tuffery, Jim Vivieaere, Lisa Armitage and most importantly the contributing artists and lenders.

All images courtesy the artists and lenders© Hazelhurst Regional Gallery & Arts Centre, 2008

It is customary for some Indigenous communities not to mention names or reproduce images associated with the recently deceased. Members of these communities are respectfully advised that a number of people mentioned in writing or depicted in images in the following pages have passed away.Users are warned that there may be words and descriptions that might be culturally sensitive and not normally used in certain public or community contexts. In some circumstances, terms and annotations of the period in which a text was written may be considered inappropriate today.

A note on the textThe spelling of Aboriginal words in historical documents is inconsistent, depending on how they were heard, interpreted and recorded by Europeans. Original spelling has been retained in quoted texts, while names and place names have been standardised, based on the most common contemporary usage.

ARTIST BIOGRAPHIES

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Elaine RussellBorn 1941 in Tingha, NSWLives and works in SydneyRepresented by Boomalli Aboriginal Artists Co-operative Ltd, Sydney

SELECT SOLO EXHIBITIONS2002: Marbles: Koori Style, artist in residence, National Museum of Australia, Canberra1995: Elaine Russell, Aboriginal and South Pacific Gallery, Sydney1994: Elaine Russell, Gallery Gabrielle Pizzi, Melbourne

SELECT GROUP EXHIBITIONS2007: Culture Warriors: National Indigenous Art Triennial 07, National Gallery of

Australia, Canberra2006: Redlands Westpac Art Prize, Hyatt Regency, Sydney2002-05: Native Title Business: Contemporary Indigenous Art Prize, national travelling

exhibition, organised by Gurang Land Council Aboriginal Corporation, Bundaberg, toured by the Regional Galleries Association of Queensland.

2002: Bringing it Home Nure Style, Boomalli Aboriginal Artists Co-operative Ltd, Sydney1996: Faces of Hope, Amnesty International, Art Gallery of New South Wales1996: Chip on the Shoulder, Boomalli Aboriginal Artists Co-operative Ltd, Sydney1995: 12th National Aboriginal Art Award, Museum and Art Gallery of the Northern

Territory, Darwin1995: On a Mission, Boomalli Aboriginal Artists Co-operative Ltd, Sydney1994: 11th National Aboriginal Art Award, Museum and Art Gallery of the Northern

Territory, Darwin1994: Narratives: Kerry Giles, Peta Lonsdale, Panjiti Mary McLean, Elaine Russell, Boomalli

Aboriginal Artists Co-operative Ltd, Sydney1993: Sayin’ Something: Aboriginal Art in New South Wales: 10 Years of Land Rights in

New South Wales, Boomalli Aboriginal Artists Co-operative Ltd, Sydney

Michel TufferyBorn 1966 in Wellington, New ZealandLives and works in Wellington, New Zealand

SELECTED SOLO EXHIBITIONS2007: Ngaro – Blowfly, The Urban Botanist, Lane Gallery, NZ2007: First Contact, Pataka Museum and Art Gallery, Porirua, NZ2006: Tangaroa Sanctuary, Salamander Gallery, Christchurch, NZ2005: E Taingauru Ma Rima Etu, Beachcomber Gallery, Cook Islands2005: O le Povi Pusa Ma’ataua, Dunedin Public Art Gallery, NZ2005: Cookies Portraits, The Artists Room, Dunedin, NZ2004: Moana Malosi, Asia Society, New York, USA2003: Animated Effigy, Mackay Art Gallery, North Queensland, Australia2002: Mata Mata, Auckland City Art Gallery, Auckland, NZ

SELECTED GROUP EXHIBITIONS2007: Across Oceans and Time, Kaohsiung Museum of Fine Arts, Taiwan2007: Tangata o le Moana, Museum of New Zealand: Te Papa Tongarewa, NZ2007: Dateline, Neuer Berliner Kunstverein, Germany2007: News From Islands, Campbelltown Arts Centre, Australia2006: Pasifika Styles, Cambridge University, England2005: Landscapes and Beyond, Contemporary Gallery, Hong Kong2004: Paradise Now, Asia Society, New York, USA2002: Islands in the Sun, Adams Art Gallery, Victoria University, Wellington, NZ

SELECTED PUBLICATIONS 2000: S. Mallon and P. F. Pereira, Pacific Art Niu Sila, Te Papa Press2000: S. Mallon, Samoan Art and Artists, Craig Potton Publishers

H.J. Wedge Born 1957, Erambie Mission, Cowra, NSWWiradjuri peopleLives and works ErambieRepresented by Boomalli Aboriginal Artists Co-operative Ltd, Sydney and Gallery Gabrielle Pizzi

SELECTED SOLO EXHIBITIONS2006: Harry J Wedge, Gallery Gabrielle Pizzi, Melbourne1994: Brainwash, Gallery Gabrielle Pizzi, Melbourne1993-94: Wiradjuri Spirit Man, Boomalli Aboriginal Artists Co-operative Ltd, Sydney;

Tandanya National Aboriginal Culture Institute, Adelaide

SELECTED GROUP EXHIBITIONS2007: Culture Warriors: National Indigenous Art Triennial 07, National Gallery of

Australia, Canberra 2004: Colour Power: Aboriginal Art Post 1984, National Gallery of Victoria, Melbourne1994-96: True Colours: Aboriginal and Torres Strait Islander Artists Raise the Flag, Boomalli

Aboriginal Artists Co-operative Ltd, Sydney, with Institute of International Visual Art, toured UK and Australia

1994: Wiyana/Perisferia (Periphery), a satellite event of the Biennale of Sydney, Boomalli Aboriginal Artists Co-operative Ltd at The Performance Space, Sydney

1994: Power of the Land: Masterpieces of Aboriginal Art, National Gallery of Victoria, Melbourne

1994: Don’t Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra

1993: Australian Perspecta 1993, Art Gallery of New South Wales, Sydney1993: Dream Time (alomido), Vigado Galeria and Boomalli Aboriginal Artists Co-operative,

Budapest, Hungary1993: Sayin’ Something: Aboriginal Art in New South Wales, Boomalli Aboriginal Artists

Co-operative Ltd and NSW Aboriginal Land Council, Sydney1991: Ian Abdulla (Njarrindjeri) and Harry Wedge (Wiradjuri), Boomalli Aboriginal Artists

Co-operative, Sydney

Guan WeiBorn 1957 in Beijing, ChinaLives in Sydney

SELECTED SOLO EXHIBITIONS2007: Day After Tomorrow, Red Gate Gallery, Beijing2006: Other Histories: Guan Wei’s Fable for a Contemporary World, Powerhouse

Museum, Sydney2006: A Distant Land, Contemporary Art Centre of South Australia, Adelaide2004: Looking for Enemies, Sherman Galleries, Sydney1999: Nesting or the Art of Idleness, Museum of Contemporary Art, Sydney

SELECTED GROUP EXHIBITIONS2006: Between River and Lake, Jack Tilton Gallery, New York2006: 15th Anniversary Exhibition, Red Gate Gallery, Beijing2006: Yours, Mine & Ours: 50 Years of ABCTV, Campbelltown Arts Centre, Sydney2005: The Nature Machine: Contemporary Art, Nature and Technology, Queensland Art

Gallery, Brisbane2005: Wynne Prize Exhibition, Art Gallery of New South Wales, Sydney 2005: Sulman Prize Exhibition, Art Gallery of New South Wales, Sydney 2004: ARTV 2004, Australian Centre for the Moving Image, Melbourne2004: The Plot Thickens: Narratives in Australian Art, Heide Museum of Modern Art,

Melbourne2003-04: Face Up: Contemporary Art from Australia, Hamburger Bahnhof, Berlin

PRINCIPAL PARTNER PRINCIPAL PARTNER

A facility of Sutherland Shire Council

MAJOR PARTNER

Hazelhurst Reg�onal Gallery & Arts Centre

ISBN 978 1 921437 03 8