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Aboriginal and Torres Strait Islander art

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Title

Map of the massacres of blacks on the Macleay Valley


Artist

Robert Campbell Jnr

Australia

15 Aug 1944 - 15 Jul 1993

Language group

South-east region


About

Robert Campbell Jnr's father was a boomerang-maker, and would take off with his young son into the bush around the Macleay River searching for suitable cuts of wattle or mangrove for his work. Together they would then decorate the boomerangs with birds and animals. After leaving Burnt Bridge Mission school at 14, Campbell continued to develop his artistic skills by painting local landscapes in gloss paint on cardboard, and selling them to passing tourists. After labouring at menial jobs away from home, Campbell returned to Kempsey and to painting.

Taking up canvas and artist boards for the first time, he developed his idiosyncratic approach: a bold, cartoon style in vivid colours, with all the cover-the-earth energy of a Keith Haring. Fusing sophisticated compositions with a raw, naive vision, Robert Campbell, Jnr began to record the stories that he remembered from his childhood, as well as the brutal history of racism and colonialism, and the apartheid of twentieth-century Australia. 'Map of the massacres of blacks on the Macleay Valley', 1990, depicts the past rapes, murders and poisoning of waterholes. Campbell also painted Arcadian scenes of camp life, of food gathering and of Paradise lost, as in 'Sunset over the Macleay overlooking Euroka', 1990.

In all his works, the picture surface is animated by vivid decoration that recalls possum-skin cloaks and the fine engravings on Aboriginal shields, clubs and boomerangs of south-eastern Australia. The oesophagus-like red tie that appears on many of Campbell's protagonists expresses ongoing relationships with the natural and supernatural worlds, and recalls the X-ray technique of Arnhem Land rock painting. Many works form sequential narratives, such as Campbell's commemoration of the Aboriginal Tent Embassy set up in 1972 on the grounds of (then) Parliament House in Canberra.

Campbell's pictures always exude confidence and frankness, and he managed to reconcile his personal experience with public expression, despite the former typically being a realm of inarticulate pain and the latter being in danger of sloganeering. Campbell's bold imagery is a deliberate, incisive affront, but one that is also full of compassion and irrepressible humour. There is something essential in his work: a feeling of jubilation in our humanity, which might seem strange arising out of such an oppressive social order. Very few practitioners in world art encompass joy and suffering so effortlessly as Robert Campbell Jnr.

George Alexander in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004

© Art Gallery of New South Wales


Details


Other Titles

Massacres of blacks on the Macleay Valley

Macleay massacres of Blacks on the Macleay Valley


Place where the work was made

New South Wales Australia


Date

1991


Media category

Painting


Materials used

synthetic polymer paint on canvas


Dimensions

79 x 114.5 x 2.0 cm stretcher


Signature & date

Signed and dated l.r. corner, white synthetic polymer paint "ROBERT CAMPBELL"/ 1.5.1990/ NGAKU".


Credit

Purchased 1994


Location

Not on display


Accession number

559.1994


Artist information

Robert Campbell Jnr

Artist profile

Works in the collection

4


Place

Where the work was made
New South Wales

Shown in 3 exhibitions

Exhibition history


Referenced in 3 publications

Bibliography


George Alexander, Tradition today: Indigenous art in Australia, 'Robert Campbell Jnr', pg. 38, Sydney, 2004, 38 (colour illus.), 39 (colour illus., detail).

Karen Mills, One sun one moon: Aboriginal art in Australia, ‘The politics of painting: Community, culture, country’, pg. 295-303, Sydney, 2007, 303 (colour illus.).

Cara Pinchbeck, Deutscher and Hackett fine art auction: Melbourne 29 August 2012, ‘Home: focus on the new Yiribana hang’, pg. 30-31, Melbourne, 2012, 30.