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About the artist - Vernon Ah Kee

Vernon Ah Kee is an influential multidisciplinary contemporary Aboriginal Artist whose politically charged works fuse history and contemporary political issues. Ah Kee is a member of the Kuku Yalanadji, Waanji, Yidinji and Gugu Yimithirr peoples (MCAb 2016). Ah Kee identifies that his “work is Aboriginal art.. it describes the life and history of the Aboriginal people in contemporary and modern terms” (Blake 2017). His work investigates themes of politics of identity, race and colour, the continuing effects of Colonisation in Australia and the normative nature of the underlying racism present in Australia (Jones 2010). Through his art practice, Ah kee portrays the complexities of Aboriginal life and has stated “if I didn’t have art as an outlet, I would be really angry and frustrated. Aboriginal people in this country are angry to varying degrees... I experience all these things (Jones 2010). 

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About the Artwork

In ‘Tall Man’ Ah Kee addresses escalating tension in race relations between the Indigenous community and the police force in Palm Island, North Queensland 2004 that resulted in the police station, courthouse and the senior sergeant’s house being burned down. After the death of Aboriginal man Cameron Doomadgee (Mulrinji Doomadgee) while in police custody an hour after his arrest in November 2004 (Don 2011) was ruled as an accident, rioting led by Indigenous councilor Lex Wotton erupted “That’s not an accident…c’mon people… will we accept this as an accident?” (Ah Kee 2010). Utilizing amateur footage instrumental in convicting Wotton, Ah Kee’s video redeploys this and focuses on Wotton’s role in bringing the crisis to a head, playing the role of the ‘tall man’ – an aboriginal term for a bogey man or spirit who elicits the truth from wrongdoers’ (MCAb 2016). ‘Tall Man’ serves as a microcosm of the tensions in race relations in wider Australia (MCAb 2016).

The four screens present different perspectives of the escalating riots interspersed with scenic idyllic footage of the tropical coastline. The video work is huge, all-encompassing and the stark contrast reflects the panic of the racial tension and riots. It’s a confronting immersive visual and auditory force that explores the history of Indigenous communities as subjugated peoples and their continued struggle for self-determination and equality post colonization. Engaging with the work allows viewers to feel the anger, grief, and frustration of oppression and fear of violence and police brutality. This sentiment is echoed in the end scenes with Wotton’s mother calling for an end to police brutality crying “We are oppressed people!” (Ah Kee 2010)

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Reflection

Vernon Ah Kee’s ‘Tall Man’ 2010 is a eleven minute, four-channel video installation which is part of the Museum of Contemporary Arts ‘Today, Tomorrow, Yesterday’ exhibition, which features works from the gallery’s permanent collection. The exhibition explores the effect and influence of history on present time and art practice. (MCAa 2016) Art provides a valuable and accessible platform for Indigenous artists to present their stories to the public, allowing them to combat harmful stereotypes and provide nuanced and realistic representations of their communities and experiences. This is necessary for cultural wellbeing, expression and self-determination and is particularly significant when shown in one of the country’s largest free art institutions such as the MCA due to its accessibility, prominence and contribution to Australian culture.

‘Tall Man’ is the first video installation by an Aboriginal artist that I have ever observed and the experience was confronting and profound. The use of contemporary art forms to investigate issues relevant to the Indigenous experience challenged me to confront my limited understanding about different forms of Aboriginal art outside of dot-painting in remote settings. This led to the realisation of the wider extent to which the art-world privileges non-Indigenous perspectives and how representation of Indigenous art has been historically stymied and reduced. I feel this has broadened my understanding of the complexities of Aboriginal experience and helped me appreciate the significance of art to reflect the diversity of Indigenous perspectives and the importance of presenting and preserving this.

References:

Ah Kee, V 2010, Tall Man, MCA, Sydney

Blake, E 2017, ‘Sydney Festival: Artist Vernon Ah Kee says he had ‘no status’ when he was born’, 5 January 2017, viewed 9 May 2017, <http://www.smh.com.au/entertainment/art-and-design/sydney-arts/sydney-festival-artist-vernon-ah-kee-says-he-had-no-status-when-he-was-born-20170105-gtmdlw.html>

Don, S 2011, ‘Tragedy of Palm Island in the Frame’, The Australian, 7 October 2011, viewed 2 May 2017, <http://www.theaustralian.com.au/arts/tragedy-of-palm-island-in-the-frame/news-story/30ae2b42eb17e9b2656687926027d2f6>

Jones, G 2010, ‘Vernon Ah Kee – Sovereign Warrior’, Artlink Magazine, 2017, viewed 9 May 2017, <https://www.artlink.com.au/articles/3361/vernon-ah-kee-sovereign-warrior/>

MCA(a), 31 August 2016, Museum of Contemporary Art Limited, viewed 11 May 2017, <https://www.mca.com.au/press/2016/08/31/presenting-mca-collection-today-tomorrow-yesterday/>

MCA(b), 2016, Museum of Contemporary Art Limited, viewed 11 May 2017, < https://www.mca.com.au/collection/work/2016.19/>

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My work is Aboriginal art. It describes the life and history of Aboriginal people in this country. It describes the life of Aboriginal people in contemporary and modern terms. We are not Stone Age people.

Vernon Ah Kee 2017

(http://www.smh.com.au/entertainment/art-and-design/sydney-arts/sydney-festival-artist-vernon-ah-kee-says-he-had-no-status-when-he-was-born-20170105-gtmdlw.html)

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TALL MAN … IS ABOUT THE LIVES OF ABORIGINAL PEOPLE AND THE WAY WE SEE OURSELVES IN TIMES OF THIS KIND OF TROUBLE. AS A PEOPLE, THE ABORIGINE IN AUSTRALIA EXISTS IN A WORLD WHERE OUR PLACE IS ALWAYS PRESCRIBED FOR US AND WE ARE ALWAYS IN JEOPARDY. IT IS A CONTEXT THAT WE ARE CONTINUALLY HAVING TO SURVIVE. IT IS A CONTEXT UPON WHICH WE ARE CONTINUALLY HAVING TO BUILD AND RE-BUILD.

Vernon Ah Kee , 2010 

MCA 2017 (https://www.mca.com.au/collection/work/2016.19/)

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"We want justice... Aboriginal people are sick of it! It's the same thing over and over... it started in the 60's and it's still going.” - Aboriginal woman protesting and expression anger and frustration. 

Vernon Ah Kee ‘Tall Man’ 2010

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“We are oppressed people!” - Lex Wotton’s mother 

Vernon Ah Kee ‘Tall Man’ 2010

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Protest placards “Thou Shalt Not Steal From Us No More!” Reminds viewers that Indigenous Australians were indoctrinated by missionaries and highlights the hypocrisy of the white settlers. 

Vernon Ah Kee ‘Tall Man’ 2010

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Riot footage juxtaposed with scenic aerial shots of Palm Island 

Vernon Ah Kee ‘Tall Man’ 2010

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Tensions rise at police barracks. 

Vernon Ah Kee ‘Tall Man’ 2010

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Firetruck and plumes of smoke. 

Vernon Ah Kee ‘Tall Man’ 2010

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Police station on fire.

Vernon Ah Kee ‘Tall Man’ 2010

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Palm Island mayor Erykah Kyle reads out preliminary findings to Mulrunji (Cameron) Doomadgee's autopsy report, to Palm Islanders. On the far right, Lex Wotton walks to take the mic. 

Vernon Ah Kee ‘Tall Man’ 2010

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“I tell you people... things gonna burn.. I’m not gonna accept it (the report)... so lets do something, more than this.”

- Lex Wotton 

Vernon Ah Kee ‘Tall Man’ 2010

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Lex Wotton’s anger and frustration after Cameron Doomadgee (Mulrinji Doomadgee) death ruled as an accident. 

Vernon Ah Kee ‘Tall Man’ 2010