For a long time, the dot painting has been synonymous with Aboriginal art. Emerging out of the remote Northern Territory community of Papunya in the early 1970s, the first dot paintings were produced when art teacher Geoffrey Bardon encouraged his Indigenous students to paint their stories in murals on the school wall.
But long before that, circles and dots were used in ceremonies in the form of body paint or marks on the ground. The Papunya people drew on this knowledge in their art, painting stories, ceremonies and rituals, first on walls and then on canvas and board.
dot, dot, dot […], a new exhibition at Sydney College of the Arts, tackles some of the issues around the use of Papunya dots in paintings, but also looks at why so many artists – Indigenous and non-Indigenous – are attracted to using dots in their work.
Curator Janelle Evans, a lecturer at Sydney University, a Wingara Mura fellow and Dharug artist, told Guardian Australia that the exhibition had its genesis in 2006, when she conducted an interview with Australian artist and political activist, Richard Bell. “He was talking about Aboriginal art as something constructed by the art market. So dot paintings are associated with Aboriginal art in the eyes of the global art market and it locks out people not doing dot painting.”
The ubiquity of the dot painting was so powerful that Indigenous artists working in different mediums had trouble attracting the interest of the international art market. At the same time, the market became flooded with cheap fakes and rip offs, alongside mass-produced tack such as tea towels made overseas and sold to tourists. read more