Katie Kemarre,Galeria Aniela the world’s local fine art gallery

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Established in 1994 Galeria Aniela won the trust of some of the most important Australian artists including Arthur Boyd, Jamie Boyd, Andrew Sibley, Alan Somerville, Bogdan Fialkowski, Charles Blackman, Celia Perceval, Col Henry, Danielle Legge, David Boyd, Dino Rogliani, Garry Shead, Gaye Spencer, Janusz Kuzbicki, John Olsen, John de Burgh Perceval, Kinga Rypinska, Lenore Boyd, Michael Vaynman, Nathaniel Boyd, Pamela Griffith, Pin Hsun Hsiang, Peter Smith, Robin Holliday, Ray Crooke, Regina Noakes, Susan Weaver, Tessa Perceval and many Aboriginal artists. Galeria Aniela specializes in selling to a world wide buyer base high-quality art by renowned artists. We combine art and financial expertise, to deliver to collectors, investors and institutions unique art investments. We recognize the importance of a buyer confidence in purchasing an authentic original work of art, we sell items only of impeccable provenance and quality. Our people focused approach ensures an enjoyable and a rewarding experience.

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Katie Kemarre (b.1943) paintings

Biography Katie Kemarre work is powerful and *high demand, represented throughout the world.* *Katie paintings have* the physical presence of much contemporary work of art. She pays particular attention to details, her intricate subtle shades of colour moves with the viewer’s eyes giving multi dimensional appearance.
Katie Kemarre born 1943 Kurrajong Seed MB033231 Medium: Acrylic on Linen Framed Size: 105 x 45 cm Buy Now *Price: $990***	Katie Kemarre born 1943 Women Ceremony MB031682 Acrylic on Linen on board Framed Size: 135 x 45 cm Buy Now *Price: $1,100*	Katie Kemarre born 1943 Women Ceremony MB031413 Acrylic on Linen *Framed Size: 135 x 60 cm* Buy Now *Price: $2,500*
price may change without prior notice	Buy Now	*contact us*
Katie Kemarre born 1943 Kurrajong Seed MB034249 Acrylic on Linen *Framed Size: 135 x 60 cm* Buy Now *Price: $3,800*	Katie Kemarre born 1943 Kurrajong Seed MB034248 Acrylic on Linen *Framed Size: 135 x 60 cm* **Price: SOLD**	Katie Kemarre born 1943 Kurrajong Seed MB034250 Acrylic on Linen *Framed Size: 135 x 60 cm* **Price: SOLD**
*Katie Kemarre* *Biography* *RETURN TOP* *Katie Kemarre was born around 1943.* Katie participated in the Utopia A Picture Story Exhibition, silk batik by 88 Utopian artists, which toured internationally. Other involvements are the Summer Project, painting from Utopia in 1988-89. Katie has also been involved in wood figures carvings. *COLLECTIONS* *Richard Kelton Foundation, Santa Monica, USA* *Flinders University, Adelaide, South Australia* *National Gallery of Australia, Canberra* *Art Gallery of Western Australia* *National Gallery of Victoria* *Museum Victoria, Melbourne* *Art Gallery of South Australia* *Homes a Court Collection, Perth* *1988-89 Exhibition Catalogue Heytesbury Holdings, Brody* *Homes a Court Gallery Collection Perth* *1990, Utopia: Picture Story;* *Homes a Court Gallery Collection, Pert* *Art Bank, Sydney* *World Vision* *Art Gallery of New South Wales* *1994 Yiribana Exhibition Catalogue* *Art Gallery of New South Wales, Sydney* *1991, Aboriginal Women’s Exhibition Catalogue* *Art Gallery of New South Wales, Sydney* Mbantua Museum Gallery Permanent Collection, Alice Springs NT *private collections around the world* Bibliography: Brody, A, 1989, Utopia Women’s Paintings: the First Work on Canvas, A Summer Project 1988-89., cat., Heytesbury Holdings, Perth Brody, A., 1990, Utopia: a Picture Story, 88 Silk Batiks from the Robert Holmes a Court Collection, Heytesbury Holdings Ltd, Perth; 1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhibition Cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. Neatle, M., 1994, Yiribana, exhib.cat., Art Gallery of New South Wales, Sydney 1991, Aboriginal Women’s Exhibition, exhibition Cat. Art Gallery of New South Wales, Sydney, NATSIVAD Data Base; *1994, Yiribana Exhibition catalogue, Art Gallery of New South Wales, Sydney; 1991, Aboriginal Women’s Exhibition Cat.* Art Gallery of NSW, Sydney; *Brody, A, 1989, Utopia Women’s Paintings: First Work on Canvas, A Summer Project; 1988-89., cat., Heytesbury Holdings,* *Homes a Court Collection* *Perth Brody, A.; 1990, Utopia: Picture Story;* *Holmes a Court Collection* EXHIBITIONS 1989 Utopia Women’s Paintings, the First Works On Canvas, A Summer Project, 1988-89, S.H. Ervin Gallery, Sydney 1990 Utopia- A Picture Story, an exhibition of 88 works on silk from the Robert Holmes a Court Collection by Utopian Artists which toured Eire and Scotland. 1991 The Eighth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin 1991 Aboriginal Women’s Exhibition, Art Gallery of New South Wales, Sydney 1993 The Tenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin 1994 Yiribana, Art Gallery of New South Wales, Sydney 2002 Group Exhibition, Mbantua Gallery, Alice Springs NT 2002 Mbantua Gallery - Art and Soul Gallery, Nashville, Tennessee, U.S.A 2002 Mbantua Gallery - 'The Cove Gallery' Portland, Oregon U.S.A (Benefit - OHSU Heart Research Centre) 2002 Mbantua Gallery - Urban Wine Works, Portland, Oregon U.S.A (Benefit – OHSU Heart Research Centre) 2002 Mbantua Gallery - Mary's Woods, Portland, Oregon U.S.A (Benefit – OHSU Heart Research Centre) 2003 Mbantua Gallery - New City Merchants, Knoxville, Tennessee U.S.A 2003 Mbantua Gallery - Art and Soul Gallery, Nashville, Tennessee U.S.A 2003 Mbantua Gallery - 'The Cove Gallery' Portland, Oregon U.S.A (Benefit - OHSU Heart Research Centre) 2003 Mbantua Gallery - Contemporary Aboriginal Art Event, Umpqua Bank, Portland, Oregon U.S.A (Benefit - OHSU Heart Research Centre) 2003 Mbantua Gallery - Mary's Woods, Portland Oregon U.S.A (Benefit - OHSU Heart Research Centre) 2003 Mbantua Gallery - Art From The Dreamtime, Portland Art Museum, Portland Oregon U.S.A (Benefit - OHSU Heart Research Centre) Feb 2004 ‘Last of the 20th Century’, Mbantua Gallery, Alice Springs Aug-Sep 2004 Mbantua Gallery USA exhibition; Portland, Nashville, Knoxville, Greenwich and New York *Katie* *Kemarre Language is Alyawarr* *Katie* *Kemarre Skin Name: Kemarre (pronounced Ke-mah-ra, also spelled Akemarr)* *Katie* *Kemarre Language Group: Alyawarr Country: Antarrengeny, Utopia Region, N E of Alice Springs* *Katie* Kemarre Medium: Silk Batik, Acrylic on Canvas, Sculpture Subject(s): Antarrengeny Country, Camp Scenes, Apeng (Kurrajong) Dreaming, Awely (Women’s Ceremony and body paint designs) *Source* & FURTHER REFERENCES: "Aboriginal Artists of the Western Desert - A Biographical Dictionary" by Vivien Johnson, published by Craftsman House 1994, "The Oxford Companion to Aboriginal Art and Culture" edited by Sylvia Kleinert and Margo Neale published by OUP 2000, “Australian Aboriginal Artist Encyclopedia” – dictionary of biographies” Kreczmanski, Janusz B & Birnberg, Margo (eds.): Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert & Kimberley Region (JB Publishing Australia, Marleston, 2004). Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project, 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody, A. 1990 Utopia, a picture Story, 88 Silk Batiks from the Robert Homes a Court Gallery and gallery Collection, *Heytesbury Holdings LTD Perth NATSIVAD database.* *RETURN TOP*

Women Ceremony *MB031682* *Katie Kemarre born 1943* *Image Size: 125 x 35 cm* *Framed Size: 135 x 45 cm* RETURN TOP *DETAIL*

Kurrajong Seed Dreaming MB033231 *Katie Kemarre born 1943* *Image Size: 95 x 35 cm* *Framed Size: 105 x 45 cm* RETURN TOP DETAIL

*Women Ceremony MB031413* *Katie Kemarre born 1943* *Image Size: 125 x 50 cm* *Framed Size: 135 x 60 cm* *Acrylic on Linen on board* RETURN TOP DETAIL

Kurrajong Seed Dreaming MB034249 *Katie Kemarre born 1943* *Image Size: 125 x 50 cm* *Framed Size: 135 x 60 cm* *Acrylic on Linen on board* RETURN TOP DETAIL

Kurrajong Seed Dreaming MB034248 *Katie Kemarre born 1943* *Image Size: 125 x 50 cm* *Framed Size: 135 x 60 cm* *Acrylic on Linen on board* RETURN TOP DETAIL

Kurrajong Seed Dreaming MB034250 *Katie Kemarre born 1943* *Image Size: 125 x 50 cm* *Framed Size: 135 x 60 cm* *Acrylic on Linen on board* RETURN TOP DETAIL

*Kurrajong Seed Dreaming* RETURN TOP *Kurrajong Seed Dreaming is* the amern ngkweyang story of the seed from the aping desert kurrajong tree. There is an ancient Dreamtime story belonging to the ngkweyang (the aping seed) witch lies in the heart of Alyawarr land (Katie’s country) Antarrengeny north east of Alice Spring. Ngkweyang is an important and nutritious food source the Aboriginal people would collect these seeds, burn them to remove small hairs, and grind them into a paste for making damper (bread) this practice is not so habitual now. In *Katie’s language* *Armen* *means* food Ngkweyang is the *aping seed* *The green designs in the paintings are inspired by the leaf of the aping plant. The background designs represent Katie’s country Antarrengeny.* *Women Ceremony* *- Makeup Ceremony* RETURN TOP *The linear designs in Katie’s painting represent women ceremony and the designs of body paint (awely). In our language Aboriginal women apply makeup.* Aboriginal Women manufacturer their *own* natural cosmetic products. Their cosmetics are the colored products intended to alter women appearance are are decorative cosmetics. Widely advertised the natural Mineral Makeup (allegedly recently discovered) akin to Aboriginal women makeup has been used by Aboriginal women for over 6000 years. *In Europe Cosmetics have been in use for thousands of years* using *ceruse (white lead), to cover the face during the Renaissance, (blindness caused by the mascara Lash Lure during the early 20th century).* Romans and Ancient Egyptians used cosmetics containing poisonous mercury and often lead. However Aboriginal Women Cosmetics include only natural earth grounded Powders (red and yellow clays (ochre ), charcoal and Ash. Aboriginal Women *apply their* Cosmetics Makeup *with a tool that is flat soft padding stick called (typale) like a* Makeup *brush. They paint their makeup designs on the faces and also,* *used the body paint, onto Women chest, breasts, arms as well as their thighs. Each woman can play a makeup Artist and takes her turn to be “painted-up”.* During the Ceremony Aboriginal Women sing the songs associated with their (awely). Women perform (awely) ceremonies to feel good and to demonstrate respect for themselves, their country and the total well-being and health of the community as well as their own. Aboriginal Woman have been applying natural grounded earth powders makeup cosmetic for over 6000 years. However the first archaeological evidence of cosmetics usage was found in Egypt around 3500 BC during the Ancient Egypt times with some of royalty owning make-up, such as Nefertiti, Nefertari, mask of Tutankhamun. In Europe in the Middle Ages women like a pale-skinned complexion, which was achieved through either applying pastes of lead, chalk, or flour, or by bloodletting, also put white lead pigment that was known as ceruse (white lead) on their faces to appear to have pale skin. Cosmetic use was frowned upon at many points in Western history. For example, in the 19th century, make-up was used primarily by prostitutes, and Queen Victoria publicly declared makeup improper, vulgar, and acceptable only for use by actors. European Women in the 19th century liked to be thought of as fragile ladies. They compared themselves to delicate flowers and emphasized their delicacy and femininity. They aimed always to look pale and interesting. Sometimes ladies discreetly used a little rouge on the cheeks, and used "belladonna" to dilate their eyes to make their eyes stand out more. Make-up was frowned upon in general especially during the 1870s when social etiquette became more rigid. Actresses however were allowed to use make up and famous beauties such as** Sarah Bernhardt and Lillie Langtry could be powdered. Most cosmetic products available in the world were still either chemically dubious, or found in the kitchen amid food colorings, berries and beetroot. *By the middle of the 20th century, cosmetics were in widespread use by women in nearly all* **industrial societies around the world.** RETURN TOP
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