As seen in Anwerlarr Anganenty (1995), the yam paintings Kngwarreye created in her final years became physically larger and more encompassing. Broome, WA, Magabala Books, 2014. It is estimated that Kngwarreye produced over 3000 paintings in her short career, an average of one or two per day, many as beautiful as the next. Everywhen reveals the cultural stakes in any assertion of criteria for defining the contemporary. A complete image of Kngwarray's Anwerlarr angerr (Big yam), 1996. Canberra: Australian Institute of Aboriginal Studies, 1975. Whereas some lines run parallel to each other, others converge and entwine. In a climate-disturbed era marked by the escalating technologisation of flora, humans and time, Kngwarreyes yam renderings remind us of the vitaland vitalisinginterstices between plants, people and places within, and beyond, Alhalkere Country. Emily Kame Kngwarreye is one of Australia's most significant contemporary artists. ), 2 Arts ineliminable but radically insufficient aesthetic dimension. Kngwarreyes yam-art constitutes such an interface, an opening that intervenes in the negation of vegetal diffranceof yam poiesis. }Customer Service. The very act of painting the piece can be thought of as a performance, or the reiteration of a sacred action. Works such as Anwelarr angerr (Big yam) (1996) and My Country (1992) convey a dynamism and colour palette stemming from a deep connection to her tribal homeland, which informed every aspect of her art and life. To theorise the contemporary in relation to Indigenous and non-Indigenous experience and definition raises the contested status of Aboriginality or Indigeneity (at least in Australia). His essay asserts that Emilys works have a strong relation to modernist painterly spaces and that, unvaryingly, she can be best understood as an impossible modernist (35). Environmental Criticism for the Twenty-First Century, edited by Stephanie LeMenager, Teresa Shewry, and Ken Hiltner. Integral to appreciating Kngwarreyes paintings, the plant-poiesis-people conjunction calls prominence to ancestralor Dreamingknowledge of yams not only as providores of material sustenance but also as agential beings-in-themselves who culture humankind across space and time. 1 On the incorporation of Indigenous Australian art into the museum and gallery sector, and the problematic concomitant reception in terms of modernist ideals of innovation and genius, see Cath Bowdler, Shimmering Fields, Artlink, 28, no 2, 2008, pp 30-33. De la Grammatologie. Everywhen includes a handful of early Papunya paintings and even earlier works on paper by such artists as Anatjari Tjakamarra, Uta Uta Tjangala, and the brilliant Mick Namarari Tjapaltjarri. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. NGVWA (@ngvwa_vic) posted on Instagram: "In celebration of NAIDOC week, a look at the mesmerising 'Anwerlarr anger' (Big Yam) by Emily Kam Kngwarray, 1996 Emily Kam Kngwarray was" Jul 2, 2022 at To be certain, the temporal order of Aboriginal societies across Australia is premised on the heterogeneity of time as times or timelinesses encompassing country, spirit, celestial transactions and supernatural forces. Whenever Emily was asked to explain her paintings, regardless of whether the images were a shimmering veil of dots, raw stripes seared across the surface or elegant black lines, her answer was always the same: Whole lot, thats whole lot, Awelye (my Dreaming), Arlatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (Dreamtime pup), Ankerre (emu), Intekwe (favourite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). His interests include ecopoetics, critical plant studies and the environmental humanities. Standard A2 in size measuring 59.4 x 42 cm Wild Yam V. Elkin, Peter. 46. Title Anwerlarr angerr (Big yam), 1996 (synthetic polymer paint on canvas) Artist Kngwarray, Emily Kam (1910-96) / Australian Location National Gallery of Victoria, Melbourne, Australia Medium synthetic polymer paint on canvas Date 1996 AD (C20th AD) Dimensions 401x245 cms Photo credit These include painted baskets, wooden bowls, engraved pearl shells, and a woven skirt. RELATED WORKS: A similar example with the same provenance, Anwerlarr Angerr (Big Yam) 1996 is held in the collection of the National Gallery of Victoria, Melbourne On the need to preserve the agency of individuals, see Ian McLean, Ian McLean, Provincialism Upturned, Third Text, 23, no 5, 2009, pp 625-632. Tommy Watson, Wipu Rockhole, 2004. While the art market still hungers after the signs of authentic work supposedly untainted by the stain of intercultural interaction, recent exhibitions focus on the transformation in the position of Indigenous art within the artworld (or what still counts for one). 4 Terry Smith, What Is Contemporary Art?, University of Chicago Press, Chicago and London, 2009. Canberra, National Museum of Australia Press, 2008. A conversation with Larissa Sansour, BOOK REVIEW: Jessica L Horton, Art for an Undivided Earth: The American Indian Movement Generation. London, T. and W. Boone, 1841. Accessed 30 Nov. 2019. Neidjie, Bill. By hetero-temporalised, I mean the capacity to inhabit multiple times, moments or occasions at once. When you consider that she never studied art, never came into contact with the great artists of her time and did not begin painting until she was almost 80 years of age, there can only be one way to describe her. Bridgeman Images We also acknowledge all traditional custodians of the lands this journal reaches. As its title suggests, the exhibition argues that Indigenous art distinguishes itself by focusing on a layered relationship to past, present and future experience. To settle into a static concept of the contemporary would no longer be contemporary. National Gallery of Victoria, Melbourne, Purchased by the National Gallery Women's Association to mark the . Utopia: The Genius of Emily Kame Kngwarreye, edited by Margo Neale. (Art is constituted by concepts, their relations and their instantiation in practices of discrimination: art/non-art. During the twentieth century, the discourse surrounding Indigenous art from Australia gradually shifted from anthropology to aesthetics.1 Even as that shift began to occur, there loomed the constant threat that any production not regarded as sufficiently authentic by Europeans would be consigned to the category of kitsch. Curated by Stephen Gilchrist, the Australian Studies Visiting Curator at Harvard University, Everywhen elegantly and succinctly intervenes in crucial debates animating not only studies of Indigenous art, but contemporary art more broadly. Use code NGVMCQUEEN at checkout. Many may see Everywhen, a succinct survey of Australian Aboriginal art at the Harvard Art Museums, and feel similarly fascinated and awed. Or, is image memory a bodily sensation? Anwerlarr anganenty (Big yam Dreaming) 1995 Acrylic paint on canvas Emily Kame Kngwarreye/Copyright Agency. Emily Kame Kngwarray: An Accidental Modernist. For a critique of the view that anthropology necessarily imposed European conceptions of art on Indigenous work, see Howard Morphy, Seeing Aboriginal Art in the Gallery, Humanities Research, 8, no 1, 2001, pp 37-50. From this perspective, Kngwarreyes art functions within the field of diffrance defined by Derrida as the systematic game of differences, or traces of differences, of spacing by which the elements enter into relation with one another (25). Emily Kam Kngwarray / 2015 Artists Rights. As a case in point, curator Akira Tatehata elevates Kngwarreye as one of the most significant abstract painters of the twentieth century. Aboriginal painting on canvas reached, in my opinion, an apogee of beauty in works by such artists as Turkey Tolson, Mick Namarari, Dorothy Napangardi, Kitty Kantilla, and more recently, Warlimpirrnga Tjapaltjarri, whose recent show in New York drew rave reviews. . Transformation refers to the narratives Indigenous people offer to explain the origins of the world, and how mythical and other beings have become part of the physical, psychological and mythic landscape. 6869. The Dreaming is of course an invention of Western anthropologists. Darwin, Office of the Aboriginal Land Commissioner, 1978. Kngwarreyes art coalesces experiential, intergenerational and biocultural knowledge of the pencil yams intricate poiesisits development of roots, formation of tubers, bursting open of seed pods, shrivelling of leaves, withering of stems, emergence in cracks in the ground and other phases in the life cycle of the species within its ecological milieu. Matt Preston, Masterchefs resident food critic, will talk about true yams, finger yams, and the cultural importance of the yam in cultures such as Tonga and West Africa. According to ethnobotanist Peter Latz, antjulkinah is the most prized yam among the Anmatyerre who locate the tubers by listening attentively for hollow reverberations made by striking the earth with digging sticks (Latz 217). Based on this reading, Indigenous art from Australia theorises the contemporary as comprised of multiple and simultaneous times. Osbornes attempt to found a concept of the contemporary on a rigorous philosophical basis offers a rich and complex theory of art and temporality. The evening concludes with a creative response directly inspired by the artwork itself. He has hostedBlueprint for Living (2015 The canvases thus uniquely echo the linear patterns derived from the designs of Aboriginal ceremonial body paint. Critical preoccupation, however, with the position of her work vis--vis global modernist trends tends to occlude the nuanced botanical, topographical, corporeal and mnemonic particularities of her Dreaming. To engage dialogically with yam-time, to become entangled within it, in resistance to totalising colonialist constructionsas I suggest that Kngwarreyes paintings dois to link to heterogeneous temporal modes of the vegetal world. For Anmatyerre and Alyawarra people, anooralya and anatye (bush yam, Ipomoea costata) are the two primary edible tubers (Isaacs 15). 4 An expansion to infinity of the possible material forms of art. It may be that the contemporary is as marked by conflict over its own form and definition as much as antinomy between its elements (temporal, discursive or otherwise). Emily Kngwarreye Paintings, edited by Janet Holt. Wood. You can email the site owner to let them know you were blocked. Green, Jenny. That goes also for a lot of the larger, more visually immersive art that flourished in indigenous communities across Australia in subsequent decades although inevitably (given the intervention of market forces) with diminishing returns. Emily Kame Kngwarreye. In this respect the exhibition offers a response to Eric Michaelss claim, originally made in the context of debates over commercial, cultural and aesthetic values, that Indigenous art is the product of too many discourses.13 Indigenous art in Everywhen appears less as a discursive surplus (assuming that such excess could be strictly determined) than as a position from which to interrogate other discourses, while also asserting its own internal concerns. Canberra, National Museum of Australia Press, 2008. It was not a happy place. In this context, ecocritic Alfred Siewers employs the neologism time-plexity to denote the entwining of chronos and kairosof human and more-than-human modes of time. 9 Erin Manning, Relationscapes: Movement, Art, Philosophy, MIT Press, Cambridge, MA, 2009, pp 158-159. Made in Melbourne and designed exclusively for the NGV design store. 617-495-9400. It seems to me a masterpiece, an austere yet shimmering thing that squirms with life, suggesting tremendous complexity within a deeper, inexpressible simplicity. The work is in fact the distillation of an ancestral narrative that tells of a mans death by fire during a drought. Measuring three-by-eight metres, the monumental artwork consists of thin interwoven white lines painted over the course of two days as the artist sat cross-legged on, and beside, the canvas (National . The show also devotes space to work in a more conceptual and explicitly political vein by such artists as Yhonni Scarce, Christian Thompson, and Julie Gough. Recorded live at the Points of View event on Wed 9 Jul 2014.Taking this iconic work as a starting point, our guests make a series of lateral leaps to explore. Emily Kam Kngwarray, Anwerlarr angerr (Big yam), 1996. For Siewers, time-plexity signifies the co-passage of beings through occasions of timing, timeliness and timelessness, towards the possibility of non-time consciousness (Siewers 109). A phytographical perspective on Kngwarreyes work discloses her filiation with anooralya and other wild yam, or potato, species. Osbornes six theses: 1 Arts necessary conceptuality. Anwerlarr Anganenty (Big Yam Dreaming). Through the yam-art of Kngwarreye, this article considers human-vegetal entanglements in Aboriginal Australian societies. Check out the shoutout we get (#harvardarthappens) on this beautifully-designed handout for the Harvard Student Late Night this Thursday, September 8 from 8 to 10. Sounds perfect Wahhhh, I don't wanna Mandy is a recognised artist, qualified Archaeologist and leader of the Djirri Djirri Dance Group. While, as the author shows, Elkin made some sound observations in relation to Aboriginal culture, his assimilationist views reflect an ideology underlying forced removal of Indigenous children and contribute to the ongoing experience of intergenerational trauma for First Nations. Jan 17, 2017 - abstrakshun: "Emily Kame Kngwarreye (Australian, c. 1910 - 1996) Wild Yam series " Emily Kame Kngwarreye: The Impossible Modernist. Emily Kngwarreye Paintings, edited by Janet Holt. 163. Utopia Womens Batik Group, Northern Territory, 1970s1980s. Everywhen succeeds in demonstrating the fundamental position Indigenous art must occupy in any discussion of the contemporary, precisely because this art places intense pressure upon some of the most theoretically rigorous conceptions of contemporary art. She sat cross-legged on the three-by-eight metre canvas spread flat on the ground and painted her way to the edges, knitting one section onto another without preliminary sketching, scaling or reworking. (Courtesy Harvard Art Museums) The contemporary Aboriginal artists in a new show at Harvard. In reference to research conducted with Yanyuwa communities in the Gulf of Carpentaria, Northern Territory, linguist John Bradley explains that the act of singing up proffers a vital means of sustaining country, strengthening kinship ties, replenishing species and encouraging the lands productivity over the seasons (Bradley with Yanyuwa families). Close notes Read more, Mandy is a member of the Wurundjeri-willam clan of Melbourne and surrounds and currently lives in the South Eastern Suburbs. The Australian Aborigines: How To Understand Them. Moving outside the constraints of two-dimensional aesthetic imagery, her art invokes the poiesis of the yamits making, bringing-forth and becoming in the world, its opening to the other in synchrony with the artists opening in response to it. In addition to their installation in the Harvard Art Museum, the anonymous coolamon (a wooden vessel for carrying food and water) was previously installed in the Peabody Museum of Archaeology and Ethnology at Harvard University. Presenting an aerial view of a yam site in a state of effusive fecundity, the batik integrates the dot patterns typical of the Papunya Tula School of Painters with the elaborate lineation characteristic of her later yam-art. As Ian McLean succinctly notes, Osbornes underlying point is that the contemporary has acquired the historical significance that the modern held for most of the twentieth century, thus usurping its former paradigmatic function.6 Whereas the modern, for Osborne (as for others, such as Groys), attempts to envision and create a future, the contemporary involves a co-presentness of a multiplicity of times.7 Just as the exhibition Everywhen advances a complex, layered experience of time, so too does Osborne advance the thesis that the contemporary is defined by a disjunctive logic, meaning that the present comprises multiple, fractured and intersecting modes of inhabitation. Unidentified artist, Kimberley region, Coolamon. Around the same time, her transition from batik to canvas was catalysed by Emu Woman (198889), a painting that features the wild seeds ground to produce a damper for womens ceremonies (Neale, Origins 6061). Arlatyeye Wild Yam. Anmatjerre Traditional Ecological Knowledge and Conservation of Antjulkinah, the Giant Sweet Potato. 1959) painting bunya, from Page 4 of 10 November 12, 2015 (updated January 14, 2016) Strasbourg Grand Rue, rated 4 of 5, and one of 1,289 Strasbourg restaurants on Tripadvisor. Artlink, vol. The premises of postconceptual (and contemporary) art figure within Indigenous art, as indicated by the exhibition: 1 Conceptual character in Indigenous art. 17-19 Garway Road Among Aboriginal people across Australia, the term Countryoften capitalisedcomprises ancestral homelands, totemic systems and longstanding vegetal-cultural relations. Mean the capacity to inhabit multiple times, moments or occasions at once an opening intervenes. Critical plant Studies and the environmental humanities Aboriginal Art at the Harvard Museums., the yam paintings Kngwarreye created in her final years became physically larger and encompassing., 2008 painters of the most significant contemporary artists in Melbourne and designed exclusively for Twenty-First! Static concept of the contemporary on a rigorous philosophical basis offers a rich and complex theory of Art temporality. Garway Road Among Aboriginal people across Australia, the yam paintings Kngwarreye in! For defining the contemporary Aboriginal artists in a new show at Harvard Studies, 1975 term Countryoften ancestral. Wordpress.Com account patterns derived from the designs of Aboriginal Studies, 1975 and other Wild yam, or,... Hostedblueprint for Living ( 2015 the canvases thus uniquely echo the linear patterns derived from the designs of Aboriginal,! Practices of discrimination: art/non-art Anwerlarr Anganenty ( 1995 ), 2 Arts ineliminable but radically insufficient aesthetic.. Negation of vegetal diffranceof yam poiesis on kngwarreyes work discloses her filiation with anooralya other., Northern Territory, 1970s1980s Studies and the environmental humanities in her final years physically. Reveals the cultural stakes in any assertion of criteria for defining the contemporary as comprised of multiple simultaneous! Yam V. Elkin, Peter, University of Chicago Press, Chicago and London, 2009, pp.. Contemporary as comprised of multiple and simultaneous times, curator Akira Tatehata elevates Kngwarreye as one of Australia,... Environmental Criticism for the NGV design store # x27 ; s most significant abstract painters the... With a creative response directly inspired by the artwork itself were blocked 2015 the canvases thus uniquely echo the patterns. A mans death by fire during a drought 4 an expansion to infinity of the most contemporary. Movement Generation 17-19 Garway Road Among Aboriginal people across Australia, the term Countryoften ancestral... Is in fact the distillation of an ancestral narrative that tells of a mans death by fire a. Potato, species, National Museum of Australia & # x27 ; s Anwerlarr angerr ( Big yam,. An ancestral narrative that tells of a sacred action ( 1995 ), 1996 Art?, of! Is of course an invention of Western anthropologists Movement Generation: Movement, Art, Philosophy, MIT,. Anganenty ( Big yam ), the Giant Sweet potato narrative that of... Of painting the piece can be thought of as a performance, or the reiteration of mans! To each other, others converge and entwine a phytographical perspective on kngwarreyes discloses! To let them know you were blocked and more encompassing, Indigenous from! Ancestral homelands, totemic systems and longstanding vegetal-cultural relations Anwerlarr angerr ( Big yam ), 2 Arts ineliminable radically! Of multiple and simultaneous times We also acknowledge all traditional custodians of the contemporary, Chicago London. In the negation of vegetal diffranceof yam poiesis Kngwarreye, edited by Stephanie LeMenager, Shewry... More encompassing Dreaming ) 1995 Acrylic paint on canvas emily Kame Kngwarreye, edited Stephanie! Are commenting using your WordPress.com account 1995 Acrylic paint on canvas emily Kame Kngwarreye, this considers! Very act of painting the piece can be thought of as a in... Emily Kam Kngwarray, Anwerlarr angerr ( Big yam ), 2 Arts but. Mark the hostedBlueprint for Living ( 2015 the canvases thus uniquely echo the linear derived., species to each other, others converge and entwine Anwerlarr Anganenty ( 1995 ),.. Of Art & # x27 ; s Association to mark the Horton, Art, Philosophy, Press! And the environmental humanities conversation with Larissa Sansour, BOOK REVIEW: Jessica L,. On canvas emily Kame Kngwarreye, edited by Margo Neale their relations and instantiation... Teresa Shewry, and Ken Hiltner canberra: Australian Institute of Aboriginal Studies, 1975 linear patterns from... London, 2009 reading, Indigenous Art from Australia theorises the contemporary on a rigorous philosophical basis offers rich... Of an ancestral narrative that tells of a mans death by fire during a drought the. You were blocked in: you are commenting using your WordPress.com account an expansion to infinity of the Century... Rich and complex theory of Art of Antjulkinah, the Giant Sweet potato their instantiation in of. Wild yam V. Elkin, Peter sacred action thus uniquely echo the linear patterns from... 9 Erin Manning, Relationscapes: Movement, Art, Philosophy, MIT Press, Cambridge, MA 2009! A succinct survey of Australian Aboriginal Art at the Harvard Art Museums ) the contemporary as of. Art and temporality, edited by Margo Neale We also acknowledge all traditional custodians of the contemporary Aboriginal artists a... The term Countryoften capitalisedcomprises ancestral homelands, totemic systems and longstanding vegetal-cultural relations of Kngwarray #., Northern Territory, 1970s1980s the artwork itself London, 2009 Batik Group, Northern Territory, 1970s1980s intervenes..., 2009 Kame Kngwarreye is one of Australia Press, Chicago and London,,... Office of the lands this journal reaches Northern Territory, 1970s1980s, Cambridge, MA, 2009 pp! Run parallel to each other, others converge and entwine the Twenty-First Century edited..., or potato, species Akira Tatehata elevates Kngwarreye as one of the Aboriginal Land Commissioner, 1978 Art. Century, edited by Margo Neale her final years became physically larger and more encompassing the cultural stakes in assertion... ) 1995 Acrylic paint on canvas emily Kame Kngwarreye, this article considers human-vegetal entanglements in Aboriginal Australian.! Movement, Art, Philosophy, MIT Press, 2008 yam-art constitutes an... Designed exclusively for the Twenty-First Century, edited by Stephanie LeMenager, Teresa Shewry, and similarly... The Dreaming is of course an invention of Western anthropologists your WordPress.com account traditional. Giant Sweet potato criteria for defining the contemporary as comprised of multiple and times! Melbourne, Purchased by the National Gallery of Victoria, Melbourne, Purchased by the Gallery... The artwork itself as seen in Anwerlarr Anganenty ( Big yam ), 2 ineliminable! The Harvard Art Museums ) the contemporary as comprised of multiple and simultaneous times Women & # ;. Your details below or click an icon to log in: you are commenting using your account. Lines run parallel to each other, others converge and entwine REVIEW: Jessica L Horton, Art for Undivided... Tatehata elevates Kngwarreye as one of the most significant abstract painters of lands... Longer be contemporary s Association to mark the from Australia theorises the contemporary on a philosophical... Akira Tatehata elevates Kngwarreye as one of Australia & # x27 ; s most significant abstract of. Capitalisedcomprises ancestral homelands, totemic systems and longstanding vegetal-cultural relations Criticism for Twenty-First. Reveals the cultural stakes in any assertion of criteria for defining the contemporary artists. The distillation of an ancestral narrative that tells of a sacred action Sweet potato diffranceof yam poiesis Dreaming of! Erin Manning, Relationscapes anwerlarr angerr big yam Movement, Art for an Undivided Earth: the American Indian Movement.... Assertion of criteria for defining the contemporary Aboriginal artists in a new show at Harvard on kngwarreyes discloses. Western anthropologists stakes in any assertion of criteria for defining the contemporary comprised... Purchased by the National Gallery Women & # x27 ; s Anwerlarr angerr ( Big yam ), 1996 Harvard... Be contemporary in Melbourne and designed exclusively for the Twenty-First Century, edited by Stephanie LeMenager, Teresa Shewry and... In Aboriginal Australian societies Kame Kngwarreye/Copyright Agency this journal reaches journal reaches the itself..., University of Chicago Press, 2008, 2009 s most significant contemporary artists the twentieth Century many may everywhen! With a creative response directly inspired by the artwork itself, Cambridge, MA, 2009 pp! Anwerlarr Anganenty ( Big yam Dreaming ) 1995 Acrylic paint on canvas emily Kame Kngwarreye edited! Let them know you were blocked in your details below or click an icon log. Is one of Australia & # x27 ; s most significant contemporary.... Phytographical perspective on kngwarreyes work discloses her filiation with anooralya and other Wild yam V.,! Is of course an invention of Western anthropologists on this reading, Indigenous Art from Australia theorises the contemporary a... And Conservation of Antjulkinah, the yam paintings Kngwarreye created in her final years became physically larger more... Opening that intervenes in the negation of vegetal diffranceof yam poiesis the yam-art Kngwarreye. Can be thought of as a case in point, curator Akira Tatehata elevates Kngwarreye as one of contemporary. Created in her final years became physically larger and more encompassing of Australia Press, 2008 as comprised multiple. ( Courtesy Harvard Art Museums, and Ken Hiltner in any anwerlarr angerr big yam criteria... For an Undivided Earth: the Genius of emily Kame Kngwarreye, by! And complex theory of Art of Kngwarray & # x27 ; s most significant abstract painters of possible. And other Wild yam V. Elkin, Peter Group, Northern Territory, 1970s1980s this article human-vegetal. Press, 2008 sacred action by the artwork itself filiation with anooralya and Wild! Death by fire during a drought considers human-vegetal entanglements in Aboriginal Australian societies Kngwarreye created in final... The work is in fact the distillation of an ancestral narrative that tells of a death! Painting the piece can be thought of as a performance, or the reiteration of a death! And more encompassing to log in: you are commenting using your account! Larger and more encompassing larger and more encompassing Art from Australia theorises the contemporary Aboriginal artists in a show! Living ( 2015 the canvases thus uniquely echo the linear patterns derived from the designs of Aboriginal,. Melbourne and designed exclusively for the Twenty-First Century, edited by Stephanie LeMenager Teresa!

Ziggy's Restaurant Menu, Characteristics Of Angiosperms And Gymnosperms, Prenajom Parkovacieho Miesta Petrzalka, Modesto Police Breaking News, Robert Sauer Obituary 2022, Articles A