Footnotes

• PROVENANCE:
  Purchased from Jirrawun Arts, Kununurra, Western Australia in September 2003
  The Laverty Collection, Sydney
  
  EXHIBITED:
  2004 Australian Culture Now, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 8 June - 1 August 2004
  
  LITERATURE:
  Linda Michael (ed.), Paddy Bedford, exh. cat., Sydney: Museum of Contemporary Art, Sydney, 2006, p.97 (illus.), p.153 (illus.)
  Linda Michael,'2004: Australian culture now in Melbourne', Art Monthly Australia, August 2004, no. 172, p.25 (illus.)
  Charles Green (ed.), 2004 Australian Culture Now, Melbourne: National Gallery of Victoria, 2004, p.106 (illus.), p.211
  Peter Anderson,'Honk4Art', Australian Art Review, November 2004 - February 2005, p.91 (illus.)
  Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Recent Painting from Australia's Remote Aboriginal Communities - the collection of Colin and Elizabeth Laverty, Melbourne: Hardie Grant Books, 2008, p.21 (illus.)
  Colin Laverty and Elizabeth Laverty et al., Beyond Sacred: Australian Aboriginal Art - the collection of Colin and Elizabeth Laverty, Edition II, Melbourne: Kleimeyer Industries, 2011, p.245 (illus.)
  
  In the Ngarranggarni (Dreaming) Ngarrmaliny is a
  place associated with the ancestral White Cockatoo
  who had prevented a large group of men from
  travelling south beyond Gija country. It lies on Foal
  Creek in Paddy Bedford's father's country. In the
  latter years of his life, Bedford allowed his paintings
  to breath through the assured ease of his brush
  marks within more open compositions. This stands in
  contrast to the treatment in earlier paintings on the
  same subject such as Cockatoo, 1999 (Michael, L. [ed.],
  Paddy Bedford, Sydney: Museum of Contemporary
  Art, 2006, p.71), two paintings by the title Jaworraban–
  Cockatoo Dreaming of 2002 (ibid. p.82), one of which
  is in the Kaplan–Levi Collection, Seattle, USA, and
  Cockatoo Dreaming, 2002 (ibid. p.85). Despite the variety
  of compositions on the one Cockatoo Dreaming
  theme, Michiel Dolk argues that '...the association of
  motif with place is clearly recognisable.' (ibid. p.41).
  
  Wally Caruana

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Category: Fine Art / Aboriginal Art

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