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Now booking ºÚÁÏÉç Exhibition

Emily Kam Kngwarray

10 July 2025 – 11 January 2026

Free for Members

Emily Kam Kngwarray, Ntang Dreaming 1989

National Gallery of Australia. © Estate of Emily Kam Kngwarray / DACS 2024, All rights reserved

A major exhibition celebrating the monumental art of Emily Kam Kngwarray

Renowned Australian artist Emily Kam Kngwarray created compelling, powerful works that reflect her extraordinary life as a senior Anmatyerr woman from the Utopia region of Australia.

One of the world’s most significant painters to emerge in the late 20th century, her lived experience and spiritual engagement with her homelands was translated into vibrant batiks and later into monumental paintings on canvas. Discover rich textiles, paintings, film and audio elements that embody the majestic scope of Kngwarray’s Country and ancestral heritage.

Kngwarray was in her late 70s when she began painting in earnest. For the next eight years until her death, she painted over 3,000 canvases – roughly one per day – creating timeless art that encapsulates the wisdom, experience and authority she gained throughout her life.

Created in collaboration with the National Gallery of Australia (NGA), this will be the first large-scale presentation of Kngwarray’s work ever held in Europe and a celebration of her astonishing career as one of Australia’s greatest artists.

‘If you close your eyes and imagine the paintings in your mind's eye, you will see them transform. They are real—what Kngwarray painted is alive and true.’

—Jedda Kngwarray Purvis and Josie Petyarr Kunoth, June 2023

Exhibition organised by ºÚÁÏÉç and the National Gallery of Australia based on an exhibition curated by Kelli Cole, Warumungu and Luritja peoples and Hetti Perkins, Arrernte and Kalkadoon peoples.

Emily Kam Kngwarray, Seeds of abundance 1990

National Gallery of Australia. © Estate of Emily Kam Kngwarray / DACS 2024, All rights reserved

Emily Kam Kngwarray, not titled, 1981

National Gallery of Australia. © Estate of Emily Kam Kngwarray / DACS 2024, All rights reserved

Emily Kam Kngwarray, Anwerlarr (pencil yam) 1990

National Gallery of Australia. © Estate of Emily Kam Kngwarray / DACS 2024, All rights reserved

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The Eyal Ofer Galleries

Bankside
London SE1 9TG
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Dates

10 July 2025 – 11 January 2026

  • Members enjoy free entry – no need to book, just turn up with your card
  • Relaxed Hours on the third Tuesday of the month at 10.00–11.00

Pricing

£20 / Free for Members

Concessions available

£5 for ºÚÁÏÉç. 16–25? Sign up and to book

How to book a school visit

Booking and Ticketing FAQs

In partnership with

Further lead support from

With additional support from

Bloomberg Philanthropies

The Emily Kam Kngwarray Exhibition Supporters Circle:

Gretel Packer AM

Andrew and Amanda Love

Naomi Milgrom AC

Simon Mordant AO and Catriona Mordant AM

Mark and Louise Nelson

Steve Martin and Anne Stringfield

Ellen and Bill Taubman on behalf of the A. Alfred Taubman Foundation

Jason Karas

ARTscapades

Andrew Cameron AM and Cathy Cameron

Anita and Luca Belgiorno-Nettis Foundation

D'Lan Contemporary

Tate International Council

Tate Patrons

Tate Americas Foundation

National Gallery of Australia Foundation

Tate Members

Hyundai

Research supported by Hyundai Tate Research Centre: Transnational in partnership with Hyundai Motor

Related events

  • Access

    Relaxed Hours: Emily Kam Kngwarray

    A quieter time to experience major exhibition celebrating the monumental art of Emily Kam Kngwarray

    ºÚÁÏÉç
    Third Tuesday of the month at 10.00–11.00

We Recommend

Left Right
  • Artist

    Emily Kam Kngwarray

    ³¦.1914–1996
  • Untitled (Alhalker)

    Kngwarray was an Anmatyerr Elder. Her artwork focuses on the area where she lived - Alhalker Country, in the Utopia region of the Northern Territory. The dots and lines in her work often represent the vegetation, animals and landscape of her Country, and relate to the Anmatyerr Creation Stories. Untitled (Alhalker) is one of Kngwarreye’s earliest works using acrylic paint on canvas. She began painting with acrylic in late 1988 when she was already in her seventies. She had previously worked in batik, which is a wax-resist dyeing method originating in Indonesia.

    Gallery label, May 2025

  • Untitled

    The dots in this painting are larger and less densely spread than in many of Kngwarray’s works from this period. She developed a more prominent linear style in her later artworks. These linear patterns can indicate lines of plants and trees, but also less identifiable features such as underground yam roots and emu tracks. Like maps, they reveal the connection between places, people and all things. As an Anmatyerr Elder, Kngwarray’s paintings depict her deep understanding of the land, and its traces and memories of the past, present and future.

    Gallery label, May 2025

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