D’Lan Contemporary: Experiencing Aboriginal Art In New York

Mick Namarari Tjapaltjarri (b.1926-d.1998), Bill Whiskey Tjapaltjarri (b.1920-d.2008), Uta Uta Tjangala (b.1926-d.1990), John Mawurndjul (b.1951), Makinti Napanangka (b.1930-d.2011), Prince of Wales (b.1937-d.2002), and Gordon Bennett (b.1955-d.2014) may be unfamiliar names to even the most discerning New York art collector, but that is about to change. 

D’Lan Contemporary, one of Melbourne, Australia’s well-established presenters of indigenous aboriginal artists, both living and dead, has now opened a second space in New York City at 25 East 73rd Street. 

The gallery was founded by D’Lan Davidson, a respected dealer of Australian First Nations Art, the country’s most dynamic art movement. Davidson is largely credited for bringing aboriginal art out of the glass cases of natural history museums and into the mainstream of the art marketplace.

There is exceptional diversity and complexity in contemporary aboriginal art. It is visual storytelling based on a shared view of the natural world, filtered through individual experience. Its rich tapestry of symbols, stories, and traditions is believed to be the oldest unbroken history of art making in the world, with rock painting dating back an estimated 40,000 years. 

These signs and symbols can represent various elements like people, waterholes, or celestial bodies, and they may narrate ancestral tales— known as “Dreamtime” stories. 

The “dot” was perhaps the first form associated with Australian aboriginal markings in the global art market. Bark paintings, rock carvings, and body art, along with sculptural objects including ceremonial poles and carvings, are also early representations of aboriginal art making.

Traditional aboriginal art was made using natural materials procured locally. Ochre, found in clay, is a commonly used primary pigment with earthy colors ranging from red and yellow to white, brown, and black. However, a recent sold-out show at D’Lan Contemporary, made up of 10 vividly-colored paintings by Yulparitja/Mangala artist Daniel Walbidi, exemplifies an embrace of a much bolder, broader color palette.

These artworks often serve as maps, detailing the locations of waterholes, landmarks, and animal habitats. They seem abstract, but convey essential geographical information. In his solo show at D’Lan Contemporary’s new space, Walbidi comments on his attachment to the land, “Even though people see my art as contemporary, the subject matter always remains— it is country and water.”

This is a direct reference to traditional life on the land and the marking of directions in the earth. Only in recent years have these designs been transferred to modern materials made to be shown to outsiders, rather than being used in a community-based experience. 

Art initiatives in aboriginal communities, especially in remote regions, have become significant economic drivers, empowering artists and revitalizing local economies. D’Lan Contemporary has taken an exceptional stand in their support of the entire indigenous art ecosystem by returning 30% of their net profits back to the aboriginal communities where this extraordinary artwork has flourished.

Due to its huge cultural significance, there are strict protocols and rights concerning the reproduction and exhibition of Australian aboriginal artworks. D’Lan New York gallery manager Lucy Foster is experienced in abiding by these protocols, having worked in the area of ethical handling of First Nations art, learned on the ground in Australia.

We spoke with her in the context of the inaugural exhibition at D’Lan Contemporary’s new space and she explained, “We work directly and collaboratively with artists in the communities to foster a more sustainable marketplace…These close relationships ensure an impeccable provenance. This protects both the artists and the buyers.” 

By returning a significant amount of the gallery’s profits back to the people in their rural communities, it fosters a sense of mission and adds a special note to the gallery’s growing success and expansion. Foster restated a favorite quote of Davidson’s, “We believe in the power of goodwill.”

In comparing New York collectors with her experience in Australia, Foster observed, “New York collectors are very serious. They want to be educated. They express true curiosity, and by seeing the art out of its political context, they respond to it aesthetically, which for me is a breath of fresh air.”

The gallery encourages questioning and learning by providing an extensive library of books on aboriginal art and a comfortable space to relax, read, and look.

While some in Australia have wanted to keep their creators of aboriginal art close to home, Foster states, “We have kept these artists as ‘local treasures’ far too long. The opening in New York was a natural progression for us, elevating the work on the international stage.”  

The new D’Lan Contemporary at 25 East 73rd Street compliments an existing space at 4 East 81st that is open by appointment only and deals exclusively with the secondary market for aboriginal art. 

Published 11 July 2024. Cynthia Close, Art & Object.