the
WOMEN’Sshow
The Women’s Show Sun Valley USA July 2022
Barbara Moore Gloria Lydia Balbal Makinti Napanangka Mirdidingkingathi Juwarnda Sally Gabori Ms N Yunupingu Ningura Napurrula Ngoia Napaltjarri Noŋgirrŋa Marawili Nyarapayi Giles Pantjiti Lionel Regina Pilawuk Wilson Sarah Ugibari Tjunkiya Napaltjarri Sylvia Kanytjupai Ken
NINGURA NAPURRULA AUSTRALIAN, PINTUPI, C. 1938 - 2013 Ningura Napurrula has become one of the most prominent female painters of the contemporary generation of aboriginal Australian artists. As a young woman in her mid-twenties she took her first journey out of the Gibson Desert in 1962 to Papunya with the Northern Territory Welfare Branch patrol. After their son received medical treatment at Papunya, Napurrula and her husband Yala Yala Gibbs Tjungurrayi were transported by another patrol back to their own country, close to the present day site of Kiwirrkura. The following year, Napurrula and Tjungurrayi walked back to Papunya with their whole family group as part of a general migration of Pintupi people from their country. Napurrula was part of the Kintore/Haasts Bluff women’s painting project in 1995, where she began to make her abstract paintings on canvas. Napurrula first painted in her own right in 1995, in the second year of the Haasts Bluff/Kintore women’s painting project. Following Tjungurrayi’s death in 1998, her painting activity increased dramatically. Her bold, intricate linework and dense monochrome infilling – as seen in Untitled (Wirrulnga), 2009– are reminiscent of Tjungurrayi’s earliest works. Wirrulnga is an important women’s rockhole site east of Kiwirrkura. Napurrula’s work is strongly charged with the seriousness of women’s business, echoed in the distinctive paintings of fellow Papunya Tula Artists, Makinti Napanangka and Inyuwa Nampitjinpa. COLLECTIONS Australian Institute for Aboriginal and Torres Strait Islander Studies Artbank Musée du Quai Branly, Paris Art Gallery of New South Wales Griffith University Art Collection Kunst der Aborigines, Germany Museum and Art Gallery of the Northern Territory National Gallery of Australia NINGURA NAPURRULA Untitled, 2009 60 x 48 inches (152 x 122cm) Acrylic on Belgian linen Papunya Tula Artists Catalog #NN0908067
NYARAPAYI GILES AUSTRALIAN, NGAANYATJARRA, C. 1940-2019 Nyarapayi Giles has gained recognition as a key artist amongst her peers in the Contemporary Indigenous Art Movement. The subtle and flowing application of paint shows great originality, the style she has developed is readily recognisable and unique to her works. Giles works are collected both privately and publicly by institutions in Australia and internationally. Giles was a respected elder of Tjukurla Community in Western Australia. She was born in the Gibson Desert at an important cultural site called ‘Karrku’. It is this site and the associated Tjukurrpa that inspiresd Giles’ powerful and unique paintings. This is where the ochres are collected for ceremonial use. In the dreaming times many emus went down into the rockholes and some took the form of trees. The ochre is extracted in a special way using a stick, and Giles paints the emu spirits which are released during this ceremony to again take physical form. Her paintings show the travels of the emus in the dreaming times and the rockholes they stopped at. COLLECTIONS British Museum South Australia Museum National Gallery of Victoria Patrick Corrigan Collection W & V McGeoch Collection Queensland Art Gallery Collection HSH Prince Albert II Monaco Collection NYARAPAYI GILES Warmurrungu 40 x 30 inches (101 x 76cm) Acrylic on Belgian linen Tjarlirli Artists Catalog #12-237
MAKINTI NAPANANGKA AUSTRALIAN. PINTUPI, C. 1930-2011 For many years Makinti Napanangka was the most senior woman painting with the renowned Papunya Tula Artists. As with other Pintupi women exerting their considerable influence on Australian art, Napanangka worked on the collaborative Haasts Bluff/Kintore women’s painting project. This series of major paintings, marked the beginning of Pintupi women’s participation in the Western Desert art movement as independent artists. Until then, women had largely worked as collaborators on paintings by their husbands and other close male relatives. Napanangka joined Papunya Tula Artists in 1996. Most senior practitioners of Western Desert art led a traditional bush life in their desert homelands until their first contact with white Australians as young adults. Napanangka’s life has followed the same course and, as with most Pintupi people, she returned to live close to her country at Walungurru (Kintore), a small Aboriginal community established during the outstation movement, more than 500 kilometres west of Mparntwe (Alice Springs). Napanangka’s aesthetic is characterized by the use of alternating colors and line-based patterns; her work also features looser brushwork in comparison to her peers. The recurring imagery and motifs in Napanangka’s paintings are based on hairspring skirts and belts, which are ceremonial clothes woven from human hair. The works also often feature the landscape of her birthplace, an area just outside Lupul, and reference the stories of Kungka Kutjarra (or “Two Women”), ancestral figures who traveled across the desert to found new settlements. The lines entering the upper section of Two Travelling Women at Lupulnga, 2009, represent the handspun, hairstring skirts worn by women during ceremonies. The celebratory nature of these performances is expressed in the hedonistic play of colour and form across the painting’s surface. Napanangka’s art personifies the ongoing presence of Pintupi cultural traditions in the contemporary painting movement. SELECTED COLLECTIONS National Gallery of Victoria Art Gallery of New South Wales Queensland Art Gallery Museum & Art Gallery of the Northern Territory Parliament House CollectionAraluen Art Centre Hood Museum of Art, Dartmouth College MAKINTI NAPANANGKA Two Traveling Women at Lupulnga, 2009 48 x 24 inches (122 x 61cm) acrylic on Belgian linen Papunya Tula Artists Catalog #MN0902080
MIRDIDINGKINGATHI JUWARNDA SALLY GABORI AUSTRALIAN, KAYARDILT, C. 1924-2015 Considered one of the greatest contemporary Australian artists of the past two decades, Sally Gabori began painting in 2005, around the age of eighty, and rapidly achieved national and international renown as an artist. In just a few short years of a rare creative intensity, and prior to her death in 2015, she developed a unique, vibrantly colorful body of work with no apparent ties to other aesthetic currents, particularly within contemporary Aboriginal painting. Gabori was born c. 1924 on Bentinck Island, in the Gulf of Carpentaria, off the coast of far-north Queensland, Australia. She was a Kaiadilt woman who spoke Kayardilt language. Her name, Mirdidingkingathi Juwarnda, comes from the Kaiadilt tradition, which stipulates that everyone is named according to their place of birth and their totemic ancestor. Therefore, Mirdidingkingathi indicates that Sally Gabori was born at Mirdidingki, a small creek located in the south of Bentinck Island, and that her “totem animal” is juwarnda or dolphin. Gabori’s paintings, although abstract in appearance, are as much topographical references as they are stories with a deep signification for her, her family, and her people. They are a celebration of different places on her native island, some of which Gabori and members of her family linked to these places through their names, did not visit for almost forty years. The places she paints are also associated with the political struggle for the recognition of Kaiadilt land rights. After her death in 2015, the Queensland Art Gallery | Gallery of Modern Art in Brisbane, and then the National Gallery of Victoria in Melbourne presented a large retrospective of her work in 2016 and 2017. Her paintings are now featured in some of Australia’s most important public collections. The artist is currently being honoured with major solo survey exhibition at the distinguished Fondation Cartier pour l’art contemporain in Paris, France. SELECTED COLLECTIONS National Gallery of Australia National Gallery of Victoria Queensland Art Gallery Art Gallery of Western Australia Musée du Quai Branly, Paris MIRDIDINGKINGATHI JUWARNDA SALLY GABORI Thundi - Barramundi Story, 2014 48 x 36 inches (121 x 91cm) acrylic on canvas Monrington Arts Catalog 3139-L-SG-0508
LYDIA BALBAL AUSTRALIAN, MANGALA, C. 1958 Lydia Balbal is a Mangala woman born around 1958 in the remote Great Sandy Desert near Punmu, Western Australia. She spent her childhood in these ancestral lands untouched by exterior civilizations until 1972 when her family left the desert to settle at the La Grange Mission in the coastal town of Bidyadanga. Her people’s existence was threatened by severe drought so that they had little choice but to leave their traditional country. Although Balbal witnessed the rise and development of the Bidyadanga community painting movement from its beginnings, she only started painting in 2007. Lydia has since emerged as a resolutely modern and avant-garde Aboriginal artist with her work characterized by a unique combination of ancestral traditions. Central to her oeuvre is what lies beneath, “I’m painting underground,” she once explained. “What’s underground. Upside down: water, rockholes, lines beneath the sand-dunes.“ COLLECTIONS Murdoch University Art Collection Aboriginal Art Museum, The Netherlands Thomas Vroom Collection, The Netherlands National Gallery of Victoria Queensland Art Gallery Monash University Art Collection Western Australian Art Gallery National Gallery of Australia Australia Parliament House Collection Kluge-Ruhe Aboriginal Art Collection of the University of Virginia LYDIA BALBAL Wirnpa, 2013 72 x 60 inches (183 x 152 cm) Acrylic on Belgian linen Bidyadanga Artists Catalog #28813
TJUNKIYA NAPALTJARRI AUSTRALIAN, PINTUPI, C. 1927 - 2009 Tjunkiya Napaltjarri was born around 1927 northwest of Kintore, in the Northern Territory near the Western Australian border. A Pintupi woman, she was the sister of Wintjiya Napaltjarri, another Papunya Tula artist. She came in from the bush with her extended family in 1956, settling in Haasts Bluff. Like a number of the other central and western desert women in the region, Napaltjarri was introduced to painting through the Minyma Tjukurrpa (Women’s Dreaming) painting project in the mid-1990s. Along with sister Wintjiya and other women, she participated in a painting camp in 1994 which resulted in a series of very large collaborative canvases. Rather than dotting acrylic paint like other Aboriginal artists, Tjunkiya’s unique style results from pushing and dragging paint across the canvas, yielding jagged, energetic surfaces. In the early 2000s she and her sister painted at Kintore, but in 2008 they were working from their home: “the widows’ camp outside her ‘son’ Turkey Tolson’s former residence”. Tjunkiya and her sister Wintjiya did not confine their activities to painting canvases. The National Gallery of Victoria in 2001 purchased a collaborative batik work, created in 1994 by the sisters in cooperation with several other artists, together with a work completed by Napaltjarri alone. COLLECTIONS National Gallery of Victoria Art Gallery of New South Wales Art Gallery of South Australia National Gallery of Australia Museum and Art Gallery of the Northern Territory Northern Territory Supreme Court Musee du Quai Branly, Paris Charles Darwin University Queensland Art Gallery TJUNKIYA NAPALTJARRI Untitled 2008 48 x 36 inches (122 x 91cm) Acrylic on Belgian linen Papunya Tula Artists Catalog TN0807107
GLORIA AUSTRALIAN, MARTU WANGKA, C. 1975 Gloria is a Martu artist working within a powerful matriarchal tradition that emerged in the Western Desert in the early 2000s. Her paintings are bold and vibrant works full of energy, showing a commitment to the brush and expressive mark making. Born in Jigalong in 1975, Gloria is a painter within a powerful matriarchal tradition that emerged in the Western Desert in the early 2000s, largely through the establishment of Martumili Artists. Her loose brushwork and pastel palettes have drawn critical attention for their highly affecting presence. In the past year she travelled to Perth for her first solo exhibition and was selected as a finalist in the 2018 Hadley Art Prize. Gloria spent much of her life in Jigalong before moving to Port Hedland in recent years. She started painting with the Spinifex Hill Artists in 2016. COLLECTIONS National Gallery of Australia Art Gallery of New South Wales Griffith University Art Collection GLORIA Untitled 2017 30 x 22 inches (77 x 55cm) Acrylic on Belgian linen Spinifex Hill Stios Catalog 17-633
SARAH UGIBARI PAPUA NEW GUINEA, ÖMIE 1919 - 2019 Ugibari painted for Ömie Artists from 2009 sitting and painting ancestral barkcloth designs as well as singing and dancing for celebrations. Her mother was Maranabara of Koruwo village and her father was Suevini of Kiara village on the Managalasi Plateau. As a young woman, Ugibari married an Ömie man of the Sidorajé clan from Gora village. Managalasi people and Ömie people share the same ancestral creation story of Mina and Suja, the first man and woman as well as many of the same barkcloth designs. Ugibari learned to paint as well as create sihoti’e taliobamë’e, designs of the mud, from both her mother and her grandmother. She was the foremost authority on traditional customary dress and spends days preparing the hair of young girls for dancing. Sarah Ugibari has created an example of the very first Ömie/Managalasi nioge (barkcloth) design ever produced. This sihoti’e nioge (mud-dyed barkcloth) design was only worn by Chiefs as it is a marker of prestige. The sihoti’e is contrasted upon the plain white barkcloth in bold, striking bands. The design was sewn with a batwing bone needle and a river reed was shredded to create the sewing thread. The Ömie creation story tells of how the very first sihoti’e nioge was created by Suja, the first Ömie woman and mother of the world, under instruction from Mina, the first Ömie man, after she experienced her first menstruation. Suja dyed the plain barkcloth in the river mud at the River Uhojo at the base of the sacred Mount Obo. Suja wore the mud-dyed barkcloth during her menstruation and lived in seclusion in a small hut known as jé’o jarwé (also called ivi’ino’ové’tové) for its duration. COLLECTIONS National Gallery of Australia Queensland Art Gallery SARAH UGIBARI Aduvahe nioge (gem sihoti’e taliobamë’e) – Chief’s prestige cloth, 2015 30 x 28 inches (77 x 72cm) appliquéd mud-dyed barkcloth Omie Catalog #15-034
BARBARA MBITJANA MOORE AUSTRALIAN, ANMATYERRE, C. 1964 Barbara Moore was born in 1964. She grew up in Ti Tree and moved to Amata to live with her husband. Moore is an Aboriginal senior health worker for Nganampa Heath. She works in a full time position at Amata Clinic and also commits to her painting practice working at the Tjala Arts centre on a daily basis. The artist commenced painting at Tjala Arts (formerly Minymaku Arts) in 2003, and is committed to her painting practice, attending Tjala Arts daily to paint. Moore is known for her bold command of large scale works. She received the prestigious General Painting Award in 2012 at the 29th Telstra National Aboriginal and Torres Strait Islander Art Awards at the Museum and Art Gallery of the Northern Territory, Darwin. Moore has since been a finalist in the Telstra National Aboriginal and Torres Strait Islander Art Award in 2013, 2014, 2015 and 2016. Moore was also a finalist in the 2016 John Fries Award. In 2017 Barbara Moore was a finalist in the Wynne Prize and she was also included in TARNANTHI Festival of Contemporary Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia, Adelaide from 20172018. In 2019 Barbara Moore was once again a finalist in the prestigious Wynne Prize. In this painting Barbara has depicted her country. The different colours and designs represent variations in the landscape. In Pitjantjatjara language, the word Ngura is a definition for the physical geography of land and country. However Ngura has a more richly imbedded meaning as a place to which someone belongs, defining where an individual comes from, family connections, skin groups, language. Paintings of Ngura often portray personal stories and memories of Country that are personal to the artist. Iconography of significant elements within the desert landscape such as rock holes, underground springs, mountain and rock formations, and sacred sites are meticulously recorded from memory, and often depicted from an aerial perspective. COLLECTIONS National Gallery of Victoria Art Gallery of South Australia National Gallery of Australia Richard Klinger and Jane Slatter Collection USA BARBARA MBITJANA MOORE Ngayuku ngura - My Country, 2016 78 x 78 inches (1970 x 1980mm) acrylic on linen Tjala Arts Catalog 358-16
SYLVIA KANYTJUPAI KEN AUSTRALIAN, PITJANTJATJARA, B. 1965 Sylvia Ken has created her Tjukurpa as extraordinarily vibrant and compelling paintings since 1999. In 2019 her painting Seven Sisters won the prestigious Wynne Prize (awarded by the Art Gallery of New South Wales). This is a narrative of the Pleiades constellations (the sisters) and a sinister man who followed them, within a richly evocative landscape. Painted in reds, purples and oranges with white dots scattered over depths of colour, it depicts the rock holes, waterholes and places that the story traverses. Ken has worked at Tjala Arts (formerly Minymaku Arts) with her family since 1999 and her depictions of the Seven Sisters story have attracted attention since she began exhibiting in 2000. Ken was born and schooled in Amata. She began painting after leaving school, working also with batik printed on silk. While she has always worked with the Seven Sisters story, in recent years she has developed a new approach to this important family narrative. Her preference is to work with “new colors and I like to choose my own paints: light purple and dark purple, black, red, yellow and cream colors. I don’t like green. I prefer to use thick paint and to paint with a stick”. Ken has been a repeat finalist in the Telstra National Indigenous Art Award (2013, 2014, 2018), and her work has been widely exhibited throughout Australia and in Singapore. Her work is in significant national and international collections including the Art Gallery of New South Wales, the Art Gallery of South Australia, QAGOMA, Brisbane, and the Brocard-Estrangin Collection, Lagerberg Swift Collection, Richard and Harriette England Collection and the Marshall Collection. COLLECTIONS Art Gallery of South Australia QAGOMA, Brisbane Brocard-Estrangin Collection Lagerberg Swift Collection Art Gallery Of New South Wales SYLVIA KANYTJUPI KEN Seven Sisters 60 x 48 inches (1525 x 1220mm) Acrylic on Belgian linen Tjala Arts Catalog #635-16
PANTJITI LIONEL AUSTRALIAN, PITJANTJATJARA, C. 1930 Pantjiti Lionel was born at an important sacred place, her father’s ngura (country), east of Kanpi (South Australia). Her mother was a Ngaatatjara (WA) woman. Pantjiti moved with her family to the Presbyterian Mission at Pukatja (Ernabella, SA) when she was a little girl. After school she would go to the craft-room, which was a small shed then. She spun wool and knitted jumpers, and made floor rugs with colourful patterns. During that time everyone lived in wiltja (shelters) made of tjanpi (grass), and shifted camp regularly around the mission. Rations were obtained from Alice Springs, Areyonga and Haast’s Bluff, and after doing work experience in the hospital, Pantjiti cooked large meals in the mission kitchen using the rations. Lionel discovered basketry in 1996 through her well-known sister Kumanara Lewis (dec) when Tjanpi gave a workshop at Ernaeblla in 2000. Lewis was the artist responsible for many of the first fibre sculptures and for introducing the use of raffia on the APY Lands. Like her sister, Pantjiti was an innovative fibre artist, producing many unusual figures and animals. These works have featured in numerous exhibitions both with Tjanpi and with Ernabella Arts. COLLECTIONS Artbank Flinders University Art Museum, 2004 National Gallery of Australia, 2004 PANTJITI LIONEL Malara, 2012 72 x 39 inches (180 x 100cm) Acrylic on Canvas Ernabella Arts Catalog 396-12
MS N. YUNUPINGU AUSTRALIAN, YOLNGU, C. 1945 - 2021 Ms. N. Yunupiŋu was a senior Yolŋu artist whose practice encompassed painting, sculpture, drawing and printmaking. Known for her departure from ancestral narratives, her visual language is grounded in the secular realm. It is primarily concerned with varying forms and rhythms of mark-making that connect to her daily life. Yunupiŋu’s early work included figurative elements relating to community events, food gathering, the artist’s travels and notably, her experience of being attacked by a water buffalo as a young woman. In more recent years, she has developed a distinctive abstract style. A key innovator within the Yolŋu artistic community, she utilised a broad range of mediums from earth pigments on bark, to felt-tip pen on discarded print proofs and clear acetate, as well as digital imagery. Yunupiŋu has exhibited work in many important Australian and international group exhibitions and biennales, including Undisclosed: 2nd National Indigenous Art Triennial at the National Gallery of Australia in 2012. She won the Bark Painting Award at the 34th National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of Northern Territory, Darwin in 2017. SELECTED COLLECTIONS Art Gallery of New South Wales Berndt Museum Netherlands University of Western Australia The Metropolitan Museum of Art National Gallery of Victoria MS N. YUNUPINGU Untitled, 2014 39 x 38 inches (100 x 100cm) Natural earth pigments on bark Buku Larrnggay Mulka Catalog 4084K
REGINA PILAWUK WILSON AUSTRALIAN, NGAN’GIKURRUNGURR, C. 1948 Regina Pilawuk Wilson (1948, Daly River Region, NT, Australia) is a Ngan’gikurrungurr woman, senior arist and Cultural Director of Durrmu Arts Aboriginal Corporation. In 1973, together with her husband, Harold Wilson, Regina founded the Peppimenarti (meaning ‘large rock’) Community as a permanent settlement for the Ngan’gikurrungurr people. The location of the community is an important dreaming site for the Ngan’gikurrungurr language group and is situated amid wetlands and floodplains at the centre of the Daly River Aboriginal Reserve, 300 kilometres southwest of Darwin. In 2003 Regina won the General Painting category of the Telstra National Indigenous and TorresStrait Islander Award for a golden syaw (fish-net) painting. Examples of her work are held in the collections of the Art Gallery of New South Wales, The National Gallery of Victoria, The Gallery of Modern Art (Queensland Art Gallery), The British Museum and numerous private and corporate collections in Australia and overseas. Her paintings have been included in many group exhibitions at public and private art institutions, including the 3rd Moscow Biennale of Art, the Wynne Prize (2008 and 2009), AGNSW, and Dreaming Their Way: Australian Aboriginal Women Painters at the National Museum of the Arts, Washington. Her work was recently exhibited in Marking the Infinite, at the Phillips Collection in Washington DC (2018). COLLECTIONS The British Museum Art Gallery of New South Wales Queensland Art Gallery National Gallery of Victoria Levi-Kaplan Collection, Seattle, WA, USA Parliament House Collection, Canberra REGINA PILAWUK WILSON Syaw (Fish-net), 2019 40 x 34 inches (103 x 87cm) Acrylic on Belgian linen Durrmu Arts Catalog 1-19
NONGGIRRNGA MARAWILI AUSTRALIAN, YOLNGU, C. 1946 Highly respected senior Yolŋu artist and elder, Noŋgirrŋa Marawili is regarded as one of the most important contemporary Australian artists, whose bold and highly sophisticated artworks reflect an innate understanding of culture, history, and the environment. Marawili was born into the Madarrpa, one of the approximately 20 clans composing the Yolngu people in Arnhem Land, the sparsely populated northeastern tip of the Northern Territory, which consists almost entirely of Aboriginal lands. Marawili learned to paint while assisting her husband Djutadjuta Mununggurr, an artist and leader of another Yolngu clan, the Djapu. During the 1990s, she contributed many important commissions and exhibitions of Yolngu art, but it was only after 2011 that she emerged as one of the preeminent figures in contemporary bark painting. Using natural materials such as earth ochres combined with a striking use of pink ink from recycled print toner cartridges, Marawili’s practice alludes to her strong cultural ties, whilst simultaneously crossing artistic boundaries. Marawili’s work has been shown in group and solo exhibitions held nationally including the 2017 Indigenous Art Triennial, Defying Empire at the National Gallery of Australia, and the 2018 Art Gallery of New South Wales exhibition from my heart and mind, which brought together works from across her career. She has received numerous awards including the Telstra Bark Painting Award, which she won in both 2015 and 2019, and the Roberts Family Prize in association with the Art Gallery of New South Wales’ Wynne Prize, which she won in 2019. Marawili was also included in the recent exhibition Bark Ladies at NGV International in Melbourne, a landmark exhibition celebrating the NGV’s extraordinary collection of bark paintings and larrakitj (painted hollow poles) by women artists working out of the Yolngu-run art centre, Buku Larrngay Mulka Centre (Buku). SELECTED COLLECTIONS Art Gallery of New South Wales Berndt Museum Netherlands University of Western Australia The Metropolitan Museum of Art National Gallery of Victoria NONGGIRRNGA MARAWILI Family Hunting, 2020 30 x 27 inches (76 x 56cm) Natural earth pigments and synthetic polymer paint on paper
NGOIA NAPALTJARRI AUSTRALIAN, WALPIRI, C. 1943 Ngoia Napaltjarri has a special custodianship responsibilities for her country. She paints her father’s country, which is a sacred Walpiri territory associated with narratives to the ‘water snake’. The oval shapes in her paintings are iconographic representation of the swamps and lakes near Nyrripi (Talarada), North West of Mount Liebig where Napaltjarri lives. The dots represent the water drying up and the cracks in the ground forming. She depicts the wet and dry characteristics of the country. This region is changed with the spiritual presence of the ‘Water Snake’ which lives beneath the surface. This is the area where her father had been hunting in the past. Born in 1943 at Haasts Bluff, west of Alice Springs in the Northern Territory, Napaltjarri remembers when people rode on camels and when the women and young girls had to look after herds of goats. She began painting in 1997 at Mount Liebig (now Amundurrngu Outstation). In 2010 she moved to live and work at Kintore, and began painting with Papunya Tula Artists. Her late husband Jack Tjampitjinpa also painted for Papunya Tula Artists, and together they have five children. Napaltjarri’s work is included in the National Australian Art Gallery, the National Gallery of Australia in Canberra, and Artbank Sydney, amongst others. In 2004 Napaltjarri was the winner of the Advocate Central Australian Award and in 2006 was outright winner of the highly prestigious NATSIAA Telstra prize. COLLECTIONS Art Gallery of South Australia National Gallery of Australia Artbank Sydney NGOIA NAPALTJARRI Untitled, 2020 36 x 36 inches (91 x 91cm) Acrylic on Belgian linen Papunya Tula Catalog #NN2011018
The Women’s Show Sun Valley USA 2022