Antoni Tàpies (b. 1923, d. 2012) was born in Barcelona into a family of booksellers and Catalan nationalist politicians. He was an influential catalyst in the global phenomenon of postwar gestural abstraction (named variously ‘abstract expressionism’, ‘tachisme’ or ‘art informel’). He has been called ‘unquestionably the leading figure in [Spain’s] art world of the second half of the twentieth century’ (Manuel Borja-Villel, Antoni Tàpies: the Resources of Rhetoric. Dia Beacon, 2009).

Important solo exhibitions devoted to Tàpies’ have been presented in the Guggenheim Museum, New York (1962 and 1995); Kunsthaus Zürich (1962); Stedelijk Museum, Amsterdam (1980); Museum of Modern Art, New York (1991); Serpentine Gallery, London (1992); Jeu de Paume, Paris (1994); Museo Reina Sofia, Madrid (2000); Haus der Kunst, Munich (2000); MACBA, Barcelona (2004); Dia Beacon (2009), and Museum für Gegenwartskunst Siegen (2022).

Brook Andrew’s interdisciplinary practice ranges across installation, performance and museum intervention, interweaving Wiradjuri language and actions of memory and history with the imagery and devices of museum practice. In 2017, Brook’s artistic career was recognised with a large-scale, immersive solo exhibition – Brook Andrew: The Right to Offend is Sacred at the National Gallery of Victoria, Melbourne.

Darcey Bella Arnold (b.1986) works between painting, sculpture and drawing in a research-based practice that anatomises language to annotate its necessity, fallibility and creative potential.

Arnold received her BFA at the Victorian College of the Arts, University of Melbourne in 2007, and Honours from Monash University, Melbourne in 2009. Arnold’s work has been shown in institutions and museums across Australia including the Institute of Modern Art, Brisbane; Gertrude Contemporary, Melbourne; UNSW Galleries, Sydney; Geelong Gallery, Geelong; La Trobe Art Institute, Bendigo and the Perth Institute of Contemporary Art, Western Australia.

Eubena Nampitjin was born in Tjinndjaldpa, south of Jupiter Well in the Great Sandy Desert, Western Australia. This area, on the Canning Stock Route and over 350 kilometres inland from Port Hedland, is one of the most remote places in Australia. Nampitjin had little contact with non-Indigenous Australians until the late 1940s, when she travelled to Old Mission with her children and first husband. She moved with the mission in 1963 to its present site at Balgo, or Wirrimanu as it is traditionally known. Nampitjin was an elder of the Wangkajunga people, a custodian of women’s law. While at the mission, she regularly returned to live in her country for extended periods. Nampitjin was awarded the Open Painting prize in the Telstra National Aboriginal and Torres Strait Islander Art Award in 1998.

Helicopter Joey Tjungurrayi is well recognised as one of Warlayirti Artists’ leading artists and is a great ambassador for the Art Centre, painting with Warlayirti Artists since the early ‘nineties. Born at Nynmi, west of Kiwirrkurra in Western Australia, Helicopter was brought up in a traditional nomadic lifestyle, learning from childhood the location of water sources and how to hunt for bush food. The time spent moving through country as a young boy has had a profound and lasting effect on Helicopter’s artistic process and practice.

Born and raised in Port-au-Prince, Hervé Télémaque studied with painter Julien Lévi at the Art Students League in New York, 1957-1960. After moving to Paris in 1961 he met the surrealists and was soon attending their daily meetings and other events. The first reproductions of his works appeared in the fifth issue (October 1963) of the Surrealist Group's La Bréche (The breach) —the same issue that introduced Ted Joans (writing from Timbuktu) and the nascent Surrealist Group in Chicago. He also collaborated on such later surrealist periodicals as L’Archibras and the Bulletin de Liaison Surréaliste.

Jan Senbergs was Naarm / Melbourne's leading postwar screenprint artist. While internationally postwar screenprinting was the medium of pop art, Senbergs' work is much more painterly. With his training grounded in industrial printmaking, his inimitable style was a result of subtle, skillful tonal gradation and mysterious imagery.

Born in Amsterdam, Appel was a founding figure of CoBrA (1948–1951), and a pioneering postwar expressionist.

In her formative years Kathleen walked around the country south of Yakka Yakka with her mother, father, brother and uncle. This included Mangkayi, her father’s country, and Ngantalarra and Nakarra Nakarra her mother’s country. They also travelled to Gordon Downs Station for rations of tea, sugar, flour, and tobacco. Kathleen commenced painting in the late 1980s and in 2002 began to emerge as a significant artist gaining recognition for her predominately red and white paintings of Nakarra Nakarra (Seven Sisters’ Tjukurrpa) and the country associated with this story. She was the senior Law woman and custodian of the Nakarra Nakarra (Seven Sisters’ Dreaming) songs and ceremonies from the country south of Yakka Yakka.

Beginning his artistic career in the mid 1950s, Reinhard was a celebrated pioneer at the forefront of Australia’s Pop Art movement of the 1960.

Exhibiting at Bonython Gallery, Sweeney Reed’s Strines Gallery, The Hungry Horse and Marianne Baillieu’s Realities, Reinhard was once broadly appreciated across the Australian art scene. His idiosyncratic approach to Pop art, and his steadfast commitment to using pornographic images eventually saw him fall out of favour in the late 1970s and 80s. However, Reinhard never waivered from his artistic vision, continuing to explore his particular motifs and compositions until his death in 2024.

Ken Reinhard's Estate is represented by NAP Contemporary.

An extremely underrated artist, Groblicka was born in Zólkiew, Poland (now Ukraine) and moved to Adelaide with her husband in 1966. As Elspeth Pitt wrote after the artist's death, Groblicka nurtured "a distinctive visual language unlike that used by any other Australian artist".

Lucy Yukenbarri was a respected senior custodian with a vast knowledge of the waterholes in the Great Sandy Desert.  She began painting in 1989. She concentrated on painting the soaks and rock holes of her country, also the numerous types of bush food including Kantilli (bush raisins) and Pura (bush tomato).  Lucy held many ceremonial responsibilities in the keeping of traditional law.

"Would the last person out of Brisbane please switch off Luke Roberts?"

Marie is the oldest daughter of artist Mati (Bridget) Mudgedell(c.1935-2002). She was born at Sturt Creek Station and later moved to Ruby Plains with her family. Her mother’s country was near Yagga Yagga, Ngarti people’s country. Her father was from Sturt Creek, a place called Killi Killi. Marie left her family to attend the school at Old Balgo Mission. When she finished her schooling, she worked in the laundry of Billiluna Station where she met her husband, fellow artist Patrick (Jupiter) Smith, with whom she moved to Balgo so they could put their children through school. Marie is a highly talented linguist in both Ngardi and Kukatja languages. Marie is one of the last speakers of Ngarti, she and her husband are working on a Ngardi dictionary to ensure the language is not forgotten.

Michael Callaghan was the founder of the political poster workshop Redback Graphix (1980-1994).