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Tiwi Textiles
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Tiwi Textiles : Design, Making, Process

Book Details

Format Paperback / Softback
ISBN-10 174332863X
ISBN-13 9781743328637
Publisher Sydney University Press
Imprint Sydney University Press
Country of Manufacture GB
Country of Publication GB
Publication Date Dec 1st, 2022
Print length 360 Pages
Weight 1,126 grams
Dimensions 20.00 x 25.00 x 2.60 cms
Product Classification: Art of indigenous peoples
Ksh 14,400.00
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Tiwi Textiles: Design, Making, Process tells the story of the innovative Tiwi Design centre on Bathurst Island in northern Australia, dedicated to the production of hand-printed fabrics featuring Indigenous designs, from the 1970s to today. Written by early art coordinator Diana Wood Conroy with oral testimony from senior Tiwi artist Bede Tungutalum, who established Tiwi Design in 1969 with fellow designer Giovanni Tipungwuti, the book traces the beginnings of the centre, and its subsequent place in the Tiwi community and Australian Indigenous culture more broadly. Bringing together many voices and images, especially those of little-known older artists of Paru and Wurrumiyanga (formerly Nguiu) on the Tiwi Islands and from the Indigenous literature, Tiwi Textiles features profiles of Tiwi artists, accounts of the development of new design processes, insights into Tiwi culture and language, and personal reflections on the significance of Tiwi Design, which is still proudly operating today. 'Tiwi Textiles is a unique historical document, a formidable vindication of the accomplishments of great Indigenous artists, and an account of a missing chapter in world art history. The book is a wonderful chronicle of a vital and fertile period for Tiwi practice in the emergence of contemporary Indigenous art. But it is also a charter for the future.' — Nicholas Thomas FBA FAHA Director, Museum of Archaeology and Anthropology, University of Cambridge'Wood Conroy not only writes, intricately and sensitively, a vital history of Tiwi art: she also firms up the place of fibre and textiles practices in Indigenous art and leaves space for us to consider how art history can shift to become more responsive to the lived realities of Indigenous peoples and our non-Indigenous accomplices.' — Tristen Harwood, The Saturday Paper

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