The Hood Museum of Art at Dartmouth College presents Dreaming Their Way: Australian Aboriginal Women artists a groundbreaking exhibition of paintings by thirty-three indigenous female artists from across the Australian continent. Dreaming Their Way is the first-ever exhibition of its kind in the United States. Featuring intensely colourful canvases and intricate bark paintings, this exhibition demonstrates these women's bold and often experimental interpretations of their cultural heritage. Works from renowned artists such as Dorothy Napangardi and the late Emily Kame Kngwarreye, as well as emerging painters such as Abie Loy and Regina Wilson express the Indigenous relationship to the land, understanding of the world and how it came into being, and sense of obligation to their culture. While Indigenous art is difficult to characterize as a whole, similarities in palette, dotting styles, use of symbols, and themes do appear in certain geographic areas. Many artists have developed distinctive personal styles as well, together contributing to one of the greatest contemporary art movements of the age.

Linked to the spiritual realm, Indigenous Australian art is rooted in ancient stories—or Dreamings—as well as each artist's deep connection to the land. Simply interpreted, the Dreaming is the period of creation, when spiritual ancestors created the land and the life upon it, including humans, while establishing the moral code known as the Law. These all-encompassing religious and spiritual beliefs govern the lives of the Indigenous peoples of Australia. For thousands of years, Dreamings have been ceremoniously communicated through painting, dance, storytelling, and other artistic expressions, creating a strong, living bond between the people and their homeland. Rendered mostly on ephemeral materials, such as sand, these sacred images were intended only for private, initiated eyes. During the last thirty years, however, this has changed, to the manifest benefit of the international art world.

While artists in the northern part of the Australian continent have been painting with natural ochres for audiences outside of their culture since the early part of the twentieth century, this represents a more recent development in central Australia. In 1971, a non-Indigenous teacher named Geoffrey Bardon encouraged Papunya community elders in the central Australian desert to use boards and acrylics to represent Dreaming designs that had previously been used in ceremonial contexts with ephemeral materials. Today a network of art-producing communities crosses the continent's vast expanse.

Painting was initially a male occupation in a society in which the roles and responsibilities of men and women are clearly delineated. In the 1960s, however, women started painting in northern Australia, and two decades later, in the central deserts. Over the last decade women artists have received ever more attention and are often a major financial support for their families and communities.

What distinguishes Indigenous Australian art from other contemporary work is its basis in ancient tradition and in the artists' relationship to the land. In their depiction of Dreamings, artists are stating their position in the world using a prescribed repertoire of imagery. Within these well-defined limits, women artists have become resourceful and imaginative in creating new ways to represent their peoples' ancient stories. The diversity and variety of the paintings in Dreaming Their Way is as remarkable as their array of colors and motifs.

In 1991,  John  Weber, one of the world's leading gallery owners in  Soho New York, predicted that Australian Aboriginal Art was hotter than the Californian Gold Rush.  Now 15 years later it seems the world believes him.   Here Joe Dallessandro  from www.syndication.com gives his  investment tips.

One of the hottest areas of the contemporary art scene in Australia today is Australian Aboriginal art, which is becoming an increasingly attractive option for many investors. The Aboriginal art market has attracted increasing international attention in recent years, and has experienced exceptional growth which appears set to maintain pace in the medium term. Aboriginal art considerably outsells non-indigenous Australian art at auction and has gained significant international standing. It is critical that investors are well informed before entering the Aboriginal art market, however, not only to ensure that investments are made in quality work by quality artists, but also to guarantee the provenance and authenticity of the work.

Australian Aboriginal art has generally proved to be a solid investment over time. Work by important Aboriginal artists has increased in value markedly over the past 30 years, with individual works fetching prices as high  US$350,000 at international auction. Prudent investors who have developed good relationships with specialist galleries can derive great pleasure from collecting the art of the world's oldest living indigenous culture, and can also be assured that the artists in question have been treated fairly and ethically, and that their investment is secure.

One of the first considerations when investing in Aboriginal art is a Certificate of Authenticity. Certificates are normally issued by the community where the artist lives and paints, or by the gallery from which the artwork is purchased. Certificates vary in the details they provide, however most include information including the artist's name, community and language group, the title, story and size of the work, and the name and code of the relevant community art centre or gallery. A photo of the artist with the work is also often included with the certificate.

Many of the factors involved in determining the value of an Aboriginal art work are similar to those involved in any other art work. A particular piece should in the first instance be attractive to the investor on the basis of its immediate aesthetic value, but its current and future financial value depend on a variety of factors requiring careful research. These factors include the renown of the artist and the period of the artist's career in which the work was created. Other factors particular to the Australian Aboriginal art market include the artist's age and seniority as a tribal elder, and their role or position in the historical development of Aboriginal art.

Prior to purchasing a painting, investors should research the artist in as much depth as possible. Determine whether the artist is represented in significant collections or galleries in Australia and internationally. Also determine how prolific the artist is, and whether there is strong demand for the artist in the secondary market - in other words, at auction. View as much work by the artist as possible to determine whether the work under consideration is from a well regarded period or series. Works painted during particular periods can be significantly more valuable than those from other periods. Finally, make sure you have an accurate understanding of the current market value of the artist's work.

If all these factors seem daunting, don't hesitate to ask for professional advice. The Australian Aboriginal art market is far more open than it once was, with increased competition facilitating a marked improvement in service. Reputable gallery owners, dealers and auction houses possess the necessary expertise and are generally happy to assist new investors. One final point to consider when investing in any art are add-on expenses including transaction costs, commissions, insurance and restoration charges. These costs can be high, so be sure to factor them into the purchase price where applicable.