George Tjungurrayi, Ronnie Tjampitjinpa & Warlimpirrnga Tjapaltjarri (A Collection of Works)

ReDot Fine Art Gallery in conjunction with Papunya Tula Artists presents

George Tjungurrayi, Ronnie Tjampitjinpa & Warlimpirrnga Tjapaltjarri (A Collection of Works)

23 rd October - 30 th November 2013

For a high resolution, downloadable, PDF version of the this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.

c o n t e m p o r a r y

f i n e

i n d i g e n o u s

a r t

Gibson Desert Image Courtesy of Papunya Tula Artists

Gibson Desert Image Courtesy of Papunya Tula Artists

“The name ‘Papunya Tula’ was born at a gathering with some painters at Charley Creek in Alice Springs in June 1972. I recall saying that morning, ‘What do you want to call the company?’ With me were two Pintupi men, Charlie Tarawa (Tjaruru) and Mick Namerari Tjapaltjarri, and one Anmatjira Aranda, Tim Leura.

Charlie Tarawa (Tjaruru) blurted out, as if he’d known all his life, ‘Papunya Tula’... Then I asked, ‘Does that keep all the mobs happy?’ Everyone said, ‘Yes, yes, yes,’ that it did very much; and that morning Papunya Tula became a living idea, and everyone was very happy.”

Source: Papunya Tula Art of The Western Desert (1991 pp. 36) by Geoffrey Bardon,Victoria, VIC: Penguin Books Australia.

Welcoming Papunya Tula Back

In September of this year 2013, some of Australia’s most treasured art came to London for the biggest show yet seen in the UK. Britain’s “shameful” ignorance, the Guardian’s words not mine, of Australian art was addressed by the Royal Academy when its doors opened to the most important survey of the country’s treasures ever mounted in the UK, with more than 200 works spanning two centuries.

The collection included many works travelling abroad for the first time and I am pleased to report that the artworks which opened the show form the continent’s only original art movement and guess what – yes you got it – they are Indigenous.

The show hits you immediately with two colossal heavy weights of the Modern Contemporary art movement, a 7 meter black and white Emily Kame Kngwarreye “Big Yam Dreaming” and the culturally significant “Roads Meeting” by the giant that was Rover Thomas from the late 1980s. All this before a chronological journey from 1800 to the present day showing how the story of Australian art is inextricably linked to landscape unfolds before your eyes.

A rather colourlessly named Australia opened on the 21st of September and runs until the 8th of December 2013. Whilst the reviews have been, well let’s say mixed as that great summer past-time – Brit/Oz bashing plays out, the show is a worthy port of call for an afternoon of cultural immersion to learn more about our southern hemisphere friends and the roots of their culture.

The last important Australian art exhibitions in the UK were in the 1960s at the Whitechapel and Tate, but they covered mostly the contemporary side of Australian aboriginal art, as was the big show before that, a survey held at the Royal Academy in 1923.

Slightly earlier this year, in the first blooms of summer, the critically acclaimed Musée du quai Branly in Paris also became a permanent home to a dynamic new installation by a leading Australian Indigenous artist Lena Nyadbi from the Warmun art centre.

We celebrated a major new commission specifically designed for the Paris museum’s rooftop. At almost 700 square metres, the large scale art installation was designed to be viewed from the Eiffel Tower and by Google Earth users, making it one of the largest artworks made by an Australian artist and an important new addition to the world renowned museum dedicated to the arts and cultures of Africa, Asia, Oceania and the Americas.

These are only two significant highlights of 2013 and the growing international appeal for Indigenous art, its culture and its roots. There have been several other museum shows in America, Holland and France to name but a few and what has been apparent to us converted followers is that day by day, week by week, month by month and year by year the culture and this enduring art movement is embedding itself into the grammar of the global art scene. Indigenous art is here to stay and will continue to hold a pivotal role in the landscape of modern contemporary art and how we view it.

As Jackie Wullschlager of the Financial Times gushed in one of the more warming reviews; “ To western eyes, the overlapping concentric red circles of Long Jack Phillipus Tjakamarra’s ‘Kalipinya Water Dreaming’, the patterns of coloured dots and feathery white cross-hatching in Johnny Warangkula Tjupurrula’s ‘A Bush Tucker Story’ and the shimmering pink/purple ridges of Timmy Payungka Tjapangati’s ‘Sacred Sandhills’ look like bold abstract compositions.

Painted in 1972, all show extraordinary affinities with contemporary 1970s western art – the elegant austerity of minimalism, innovations of land and body art, influences of identity, politics, anthropology, and environmentalism.

None of this was in the minds of the Aboriginal painters, displaced from their homelands and encountering white people for the first time.”

I always go back to statements echoing these comments; that this art movement is pure, beautiful, powerful and everlasting.

As a little boy I recall the excitement I use to feel every second Saturday as I prepared to head off with my father to watch our local football team battle it out against their league rivals. I would by 9am, each and every Saturday, be ready with stool in hand, scarf around my neck, to head off to Kenilworth Road, the home of Luton Town FC. What, you ask, does this have to do with Indigenous art? Well I guess as an adult I now get a similar feeling, once every late autumn, as I prepare for

my annual Papunya Tula show. That feeling of excitement I use to feel every other Saturday morning transposed into the sheer delight of seeing testimonials to one of the most significant cultures left on our planet, in the beautifully interpreted art pieces that will grace the walls of my shrine to Indigenous culture.

This year’s show, a tribute to three of the most important Pintupi men still alive only increases the importance and status of this annual show.

Simply a show by Ronnie, George and Warlimpirrnga, a collection of masterly depictions of the country around the Great Sandy Desert. Their works speak for themselves and the following pages will do credit to their magic far better than any words I can muster so I will leave it to the works to speak to you directly.

Whilst I would not be so arrogant as to mix it with royalty, I do take added heart that or future King, Prince Charles, has given his backing to the London show, and I am personally very proud to be a small part of this company and this remarkable art movement.

I pass the last word back to Paul Sweeney, Manager of Papunya Tula Artists, and borrow yet again the same line from him which I believe is worth repeating over and over: “It’s Papunya Tula’s hope that these paintings are accepted and appreciated for what they really are and that they are recognised for their honesty, power and sheer beauty.”

Enjoy the show.

Giorgio Pilla Director ReDot Fine Art Gallery Singapore, October 2013

Above: Tom Onion Tjapangati (left) talking with Geoffrey Bardon, Papunya (1973).

Source: Lives of the Papunya Tula Artists (2008 pp. 5) by Vivien Johnson, Alice Springs, NT: IAD Press.

Photo: Allan Scott, Image Courtesy of Dorn Bardon

George Tjungurrayi, Ronnie Tjampitjinpa & Warlimpirrnga Tjapaltjarri (A Collection of Works)

The ReDot Fine Art Gallery is proud to welcome back the beautiful works from Australia’s foremost Aboriginal owned art centre, Papunya Tula Artists Pty. Ltd. This exhibition will represent the 10th annual showing in Singapore of the stunning works by the desert masters.

This year’s show, simply titled after the three men showing George Tjungurrayi, Ronnie Tjampitjinpa & Warlimpirrnga Tjapaltjarri (A Collection of Works), brings together the finest body of works amassed for many a year from the company’s most senior lawmen, linked by the culture and myths of their joint custodial stories.

The three artists have a strong link to their country and their works have become synonymous with the beautiful landscapes of the areas around both Kintore and Kiwirrkurra, the two spiritual painting homes of the artists of Papunya Tula. Ronnie has been involved in the Papunya Tula Movement from the very origins in 1971 and was celebrated in the recent Tjukurrtjanu Board shows at both the National Gallery of Victoria (NGV), Melbourne and the Musée du quai Branly in Paris and both George and Warlimpirrnga, whom had first white contact in the mid-1980’s in what has become known as the famous last first contact experience, have carved equally impressive careers over the 40 or so years the company has now been in operation.

These artists, together with other Pintupi men and women, are the custodians of important sacred sites relating to the Tingari Song Cycle and the works epitomize this highly recognized execution method. The Tingari people were a group of ancestral beings who travelled over vast areas of the Western Desert, performing rituals and creating or “opening up” the country. They were usually accompanied by recently-initiated novices to whom they provided ceremonial instruction relating to the cultural law of the region.

At the many sites that make up these songlines, groups of Tingari people held ceremonies, experienced adversity and had adventures, in the course of which they either created or became the physical features of the sites involved. The oral narratives that describe these adventures stretch to thousands of verses, and provide countless topographical details that would assist nomadic bands to navigate and survive in the arid landscape.

Come and see the work of some of Australia’s most celebrated Aboriginal men and learn more about their ancestral stories. The roundels, lines and interlocking designs

embedded in their paintings tell you of these ancient rituals. Soft natural colours, bold secretive brush movements and traditional iconography all act to preserve the sacred and important stories of Australia’s Western Desert Art movement.

The exhibition opens on Wednesday, 23rd October and runs till Saturday, 30th November 2013 and it is a must-see for anyone interested in following the development of Papunya Tula Artists, one of the Aboriginal art movements most important art centres. The show will be opened by Mr. Ben Danks, Assistant General Manager of Papunya Tula Artists Pty. Ltd. Giorgio Pilla Director ReDot Fine Art Gallery

Above: The old Town Hall where the First Artists worked with Geoffrey Bardon still stands in the heart of Papunya

community.

Source: Lives of the Papunya Tula Artists (2008 pp. 3) by Vivien Johnson, Alice Springs, NT: IAD Press.

Photo: Vivien Johnson

Above: George TJUNGURRAYI Photo: Matt Frost, Image Courtesy of Papunya Tula Artists

George TJUNGURRAYI

Born out in the desert in the vicinity of Walawala near Kiwirrkurra in WA, George Tjungurrayi is the son of Tampi Tampi’s brother Natiki Kuli Tjapaltjarri and his wife Witardia Nakamarra. He came in from the desert by way of Mt Doreen station and Yuendumu. In 1962, he accompanied Jeremy Long’s Welfare Branch patrol west into Pintupi country as a guide, meeting his ‘mother’ and ‘sister’ Nganngi and other relatives at Dovers Hills.

George began painting for Papunya Tula Artists in West Camp Papunya in April 1976, and continued intermittently during the 1970s while residing at Yayayi, Waruwiya and Mt Liebig. He settled at Kintore in the early 1980s and also spends time in Kiwirrkurra. His principal or ‘homestead’ site is Tjulyantjangka. His ancestral country covers the sites around Walawala, Kiwirrkurra, Wilkinkarra, Kulkuta, Karrku, Ngaluwinyamana and Kilpinya to the west of Kintore across the WA border, and his father’s country - Kirrimalunya, west of Kiwirrkurra, and Mamultjulkulnga, a large freshwater swamp on the north side of Wilkinkarra. He paints the Tingari stories for this region and for over a decade produced a steady stream of classic Pintupi dotted grids of lines and circles. In the late 1990s, he switched to topographical linework executed in a minimalist palette, a style which found immediate favour.

For contemporary art buyers in the southern capitals, these retinally challenging surfaces were reminiscent of the work of Bridget Riley and the British Op Art School of the 1960s. For George Tjungurrayi senior Pintupi Lawman, however, the striking imagery of these paintings draws on sources within his own culture, like the distinctive Western Desert style of ‘fluted’ carving: fine parallel lines incised into the wood and coated with ochres which embellished men’s ceremonial boomerangs and shields. These designs live on in Western Desert art, transmuted into the style of topographical linework first developed by George Tjungurrayi and his nephew Kenny Williams Tjampitjinpa.

George Tjungurrayi’s first solo exhibition in 1997 at Utopia Art Sydney, organised by Papunya Tula Artists, was followed by another in 1998 at the Melbourne gallery of Gabrielle Pizzi. The artist travelled to Melbourne for the show, and his considerable personal charm may have contributed to the opening night sell-out. The Age art critic Robert Rooney wrote a rave review, and by the end of the decade George Tjungurrayi was one of Papunya Tula Artists’ most sought-after painters. In 2003, he again exhibited at Gallery Gabrielle Pizzi: Paintings from Mamultjulkulnga and Kirrimalunya. His work was included in Meridian: Focus on Contemporary Aboriginal Art at the Museum of Contemporary Art in Sydney in 2003 and Talking About

Abstraction at the Ivan Dougherty Gallery in 2004, exhibitions which sought to bring contemporary Indigenous artists into the mainstream of Australian art practice by exhibiting them alongside non-Indigenous artists whose work is either directly influenced by or resonant with theirs.

In Kintore, George Tjungurrayi is well known in his dealings with whitefellas as a consummate ‘humbug’ artist for his dogged, softly spoken insistence. His nickname in those parts is ‘Hairbrush’, presumably inspired by the curly hair which sticks out in every direction as though it had never felt the touch of one. During a visit I paid to Kintore in the late 1990s, he had the only lawn in town, which he kept emerald green by watering it every evening with a hand-held hose in memory perhaps of the pride-and-joy of one of Kintore’s former white administrators. George’s older ‘sisters’ Nganngi (Nancy) and Naata Nungurrayi have painted for Papunya Tula Artists since the mid-1990s. He is a cousin of Bobby West Tjupurrula. He married Nanupu Nangala, and was a devoted father to their five children: his son Jack (Jake) Tjapaltjarri who in 2004 began doing occasional paintings for Papunya Tula under his father’s instruction and four daughters Jennifer, Hester, Lisa and Rosie Napaltjarri. In 2006, George Tjungurrayi was Highly Commended in the 34th Alice Prize, an award in which Papunya Tula artists have continued to shine since Kaapa’s historic 1971 win.

He has now had 7 solo exhibitions and was highly commended in both the 27th and 28th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia, 2010 and 2011, the most important Indigenous Art prize in Australia.

He has also consistently shown throughout the last decade in major shows around the world that celebrate and focus on contemporary modern Indigenous art.

Source: Lives of the Papunya Tula Artists (2008 pp. 140-142) by Vivien Johnson, Alice Springs, NT: IAD Press.

Awards 2010 Highly commended, ‘27th Telstra National Aboriginal & Torres Strait Islander

Art Award’, Darwin, Northern Territory, Australia.

2011 Highly commended, ‘28th Telstra National Aboriginal & Torres Strait Islander

Art Award’, Darwin, Northern Territory, Australia.

Solo Exhibitions 1997 Utopia Art Sydney, New South Wales, Australia.

1998 Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

2002 Utopia Art Sydney, New South Wales, Australia.

2003 ‘Paintings from Mamultjulkulnga and Kirrimalunya’, Gallery Gabrielle Pizzi,

Melbourne, Victoria, Australia.

2008 ‘Between The Lines’, Utopia Art Sydney, New South Wales, Australia.

2011 Utopia Art Sydney, New South Wales, Australia.

‘Nyarrumparra’, Papunya Tula Artists, Alice Springs, Northern Territory,

Australia.

Selected Group Exhibitions 1990 Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

1992 Dreamtime Gallery, Broadbeach, Queensland, Australia.

1993 Chapman Gallery, Manuka, Canberra, ACT, Australia.

1994 Dreamtime Gallery, Broadbeach, Queensland, Australia.

Galerie Australis, Adelaide, South Australia, Australia.

1995 Groninger Museum, Groninger, The Netherlands.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Chapman Gallery, Manuka, Canberra, ACT, Australia.

Utopia Art Sydney, New South Wales, Australia.

Museums & Art Galleries of the N.T. Darwin, Northern Territory, Australia.

1996 Papunya Tula Artists Pty. Ltd., (Fringe Festival), Adelaide, South Australia,

Australia.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Museums & Art Galleries of the N.T. Darwin, Northern Territory, Australia.

C.A.A.A.C.E., Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

1997 Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Gallery Gabrielle Pizzi, Melbourne, Australia.

1998

1999

2000

2001

2002

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Art Gallery, ‘Culture Store’, Rotterdam, The Netherlands.

Gallery Gabrielle Pizzi, Melbourne, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Gallery Gabrielle Pizzi, New Horizons 2000, Melbourne, Vic. Australia.

‘Lines’, Fireworks Gallery, Brisbane, Queensland, Australia.

‘Aboriginal Art 2000’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Aboriginal Art Select Works’, Kozminsky Gallery and Fine Art Dealers, Melbourne, Victoria, Australia.

‘Aboriginal Art’, Aboriginal Art Gallery Bahr, Speyer, Germany.

Papunya Tula Genesis and Genius, Art Gallery of New South Wales, Sydney, Australia.

‘Pintupi Men’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

AMG Gallery, Paris, France.

Palm Beach Art Fair, Palm Beach, Florida, USA. ‘Papunya Tula 2001’, William Mora Galleries, Melbourne, Victoria, Australia.

‘Art of the Pintupi’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Kintore, Kiwirrkura’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Art Aborigene’, Musée Olympic, Lausanne, France.

‘Pintupi Exhibition’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Dreamtime - Contemporary Aboriginal Art’, Essl Collection, Vienna, Austria.

‘Museum’, Utopia Art, Sydney, New South Wales, Australia.

‘In Concert’, Australian Academy of Science, Canberra, ACT, Australia.

31st Alice Prize, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘Aborigena’, Palazzo Bricherasio, Turin, Italy.

‘Next Generation - Aboriginal Art 2002’. Art House Gallery, Sydney, New South Wales, Australia.

‘Paintings From Our Country’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

2003

2004

‘Aboriginal Art 2002’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

William Mora Galleries, Melbourne, Victoria, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Meridian - Focus On Contemporary Australian Art’, Museum Of Contemporary Art, Sydney, New South Wales, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Pintupi Art 2003’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Aboriginal Art 2003’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

Jan Murphy Gallery, Brisbane, Queensland, Australia.

20th Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, Northern Territory Australia.

‘Masterpieces From The Western Desert’, Gavin Graham Gallery, London, United Kingdom.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Pintupi Art 2004’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Talking About Abstraction’, University of New South Wales - College of Fine Arts, Sydney, New South Wales, Australia.

‘Papunya Tula Artists - 2004’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘All About Papunya’, Chapman Gallery Canberra, Australian Capital Territory, Australia.

‘Talking About Abstraction’, Ivan Dougherty Gallery, College of Fine Arts - The University of New South Wales, Sydney, Australia.

‘The Inner And The Outer’, Stadtgalerie Bamberg, Villa Dessauer, Bamberg, Germany.

‘Aboriginal Art 2004’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Ma Yungu/Pass It On’, Framed Gallery, Darwin, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Looking Closely At Country’, Ivan Dougherty Gallery, College of Fine Arts The University of New South Wales, Sydney, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Mythology & Reality’, Heide Museum of Modern Art, Melbourne, Victoria,

2005

2006

2007

Australia.

‘Ma Yungu/Pass It On’, Framed Gallery, Darwin, Northern Territory, Australia.

‘Papunya Tula Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

Wynne Landscape Prize, Art Gallery of New South Wales, Sydney, Australia.

‘Museum II’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2005’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Pintupi Art 2005’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘New Work For A New Space’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘New Works From The Western Desert’, Indigenart, Perth, Western Australia, Australia.

‘Across The Board’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2006’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

34th Alice Prize, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘PTA’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi’, Hamiltons Gallery, London, United Kingdom.

Melbourne Art Fair, Melbourne, Victoria, Australia.

Papunya Tula Artists - Recent Paintings’, Harriet Place, Darwin, Northern Territory, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘Pintupi Art 2006’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Well Represented’, Utopia Art Sydney, New South Wales, Australia.

‘A Particular Collection’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Dreamtime’, Red Dot Gallery, Singapore.

‘Yawulyurru kapalilu palyara nintilpayi’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Papunya Tula 2007’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

Wynne Landscape Prize, Art Gallery of New South Wales, Sydney, Australia.

‘Group Show’, Jan Murphy Gallery, Brisbane, Queensland, Australia.

‘Big Paintings’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2007’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

24th Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin,

2008

2009

Northern Territory Australia.

‘Recent Paintings 2007’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Pintupi Art 2007’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Pintupi - Mixed Exhibition’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘David Larwill and the Western Desert Artists’, Stephan Wiess Studio, New York, USA. TogArt Contemporary Art Award, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Darwin Aboriginal Art Fair,’ Convention Centre, Darwin, Northern Territory, Australia.

‘Aboriginal Art 2008’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

TogArt Contemporary Art Award, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘20 years of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Art 2008’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Kintore to Kiwirrkura - Papunya Tula Artists’, Red Dot Gallery, Singapore.

‘Papunya Tula Classics’, Utopia Art Sydney, New South Wales, Australia.

‘Papunya 2009, Senior Pintupi Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Pro Community - Papunya Tula Artists’, Kunstwerk, Ebergingen-Nussdorf, Germany.

Darwin Aboriginal Art Fair, The Chan Building, Bennett Park Darwin, Australia.

‘26th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia.

‘Painting the Country’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

TogArt Contemporary Art Award, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Nganana Tjungurringanyi Tjukurrpa Nintintjakitja - We Are Here Sharing Our Dreaming’, 80 Washington Square East Galleries, New York, USA.

2010

2011

‘Pintupi 2009’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Pro Community - Papunya Tula Artists’, ArtBar71, Berlin, Germany.

‘Pro Community - Papunya Tula Artists’, VDMA, Frankfurt, Germany.

‘Pro Community - Papunya Tula Artists’, Artkelch, Freiburg, Germany.

‘Community - The Heart Of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Nganampatju Kanpatja Winki, Nganampatju Yara Winkii – All Our Paintings, All Our Stories’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Museum III’, Utopia Art Sydney, New South Wales, Australia.

‘PTA NOW’, Utopia Art Sydney, New South Wales, Australia.

‘Tradition & Innovation - Papunya Tula 2010’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Aboriginal Art 2010’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Papunya Tula Artists: Art of the Western Desert, Harvey Art Projects USA, Sun Valley, Idaho, USA Darwin Aboriginal Art Fair, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘27th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia.

‘Wilkinkarralakutu - Journeys To Lake Mackay’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘Ngurra Kutju Ngurrara - Belonging To One Country’, ReDot Gallery, Singapore.

‘Desert Country’, Art Gallery of South Australia, Adelaide, South Australia, Australia.

‘Recent Paintings’ Chapman Gallery, Canberra, Australian Capital Territory, Australia.

‘Community’, Utopia Art Sydney, Utopia Art Sydney, New South Wales, Australia.

Art Karlsruhe 2011, Karlsruhe, Germany.

‘Revival in Small’, Artkelch, Freiburg, Germany.

‘40 Years of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

2012

‘Desert Country’, Lawrence Wilson Art Gallery, Crawley, Western Australia, Australia.

‘Aboriginal Art 2011’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Pintupi Art 2011’, A P Bond Gallery, Adelaide, South Australia, Australia.

‘28th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia.

Darwin Aboriginal Art Fair, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Desert Country’, Mornington Peninsula Regional Art Gallery, Mornington, Victoria, Australia.

‘Desert Mob 2011’, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘Pintupi Trails 2011’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Australia in Two Colours’, Artkelch Collectors Lounge, Schorndorf, Germany.

‘Desert Country’, Perc Tucker Regional Gallery, Townsville, Queensland, Australia.

‘Desert Country’, Newcastle Art Gallery, Newcastle, New South Wales, Australia.

‘Ancestral Modern’ - Australian Aboriginal Art The Kaplan & Levi Collection, Seattle Art Musuem, Washington, USA. ‘Classic Works From Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Interconnected’, Utopia Art Sydney, New South Wales, Australia.

‘Desert Country’, University of Queensland, Australia.

‘29th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia.

‘Visual Rhythm’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Desert Mob 2012’, Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

‘Crossing Cultures’ - The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, Hood Museum of Art, Hanover, New Hampshire, USA. ‘PTA 40th Anniversary Show’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Unique Perspectives - Papunya Tula Artists And The Alice Springs Community’, Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

2013

‘Community IV’ - Celebrating Forty Years Of Papunya Tula Artists, Utopia Art Sydney, New South Wales, Australia.

‘Desert Country’, Riddoch Art Gallery, Mount Gambier, South Australia, Australia.

‘Crossing Cultures’ -The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, Toledo Museum of Art, Ohio, USA. ‘Painting Now - Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Language Of The Land’, Paul Johnstone Gallery, Darwin, Northern Territory, Australia.

Collections National Gallery of Australia.

National Gallery of Victoria.

Art Gallery of New South Wales.

Art Gallery of South Australia.

Supreme Court of the Northern Territory, Darwin, N.T. Musée national des Arts d’Afrique et d’Océanie, Paris, France.

Artbank.

Groninger Museum, The Netherlands.

Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Robert Holmes a Court Collection.

University of Virginia, U.S.A. Museum of Contemporary Art, Sydney, Australia.

Griffith University Art Collection.

Hood Museum of Art, USA.

George TJUNGURRAYI

Tjulurulnga Acrylic on Belgian Linen 183 x 153cm GT1104031

SGD48,500 (excluding GST)

This painting depicts designs associated with the soakage water site of Tjulurulnga, west of the Kiwirrkura Community in Western Australia.

During ancestral times two Ngangkari (Aboriginal Healers) were camped at this site after travelling from further west. The two men held ceremonies relating to the site while they were there. One of the men also performed healing techniques to remove sickness from the other, who was ill in the stomach.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 153 x 122cm GT1010039

SGD32,750 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site, which forms part of the Tingari Song Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kaakuratintja Acrylic on Belgian Linen 107 x 91cm GT1202060

SGD9,650 (excluding GST)

This painting depicts designs associated with Kaakuratintja (Lake MacDonald). In ancestral times two Tingari Tjapaltjarri brothers lived at this site and were visited by another group of men from the west.

The visiting men hunted an emu while they were there and refused to share it with the brothers, which made them very angry. The Tjapaltjarri brothers then turned into a snake by stretching their legs out until their toes touched, and then sang and created a huge storm which blew all the visiting men’s spears into the sky. The spears then fell out of the sky and killed some of the men, while the rest were killed by a fierce hailstorm also created by the brothers. It is believed that many water snakes still live at this site.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 91 x 91cm GT1306013

SGD8,150 (excluding GST)

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 91 x 61cm GT1111097

SGD5,000 (excluding GST)

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Nyintirrinya Acrylic on Belgian Linen 91 x 46cm GT1208086

SGD3,450 (excluding GST)

This painting relates to a site just west of Kiwirrkura known as Nyintirrinya. This site is part of the Tingari Cycle and was visited by a large group of Tingari men who had travelled in from the west. After stopping at the soakage at Nyintirrinya the Tingari people continued travelling east to Kiwirrkura as they continued their journey to Wilkinkarra (Lake Mackay).

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 107 x 28cm GT1303007

SGD2,750 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Tjulurulnga Acrylic on Belgian Linen 107 x 28cm GT1211056

SGD2,750 (excluding GST)

This painting depicts designs associated with the soakage water site of Tjulurulnga, west of the Kiwirrkura Community in Western Australia.

During ancestral times two Ngangkari (Aboriginal Healers) were camped at this site after travelling from further west. The two men held ceremonies relating to the site while they were there. One of the men also performed healing techniques to remove sickness from the other, who was ill in the stomach.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Ngamurrunya Acrylic on Belgian Linen 107 x 28cm GT1210075

SGD2,750 (excluding GST)

This painting depicts designs associated with the rockhole and soakage water site of Ngamurrunya, slightly west of Winparku (Mt. Webb) in Western Australia.

In mythological times a group of Tingari men visited this site after travelling through the sites of Marrapinti and Ngaminya further west.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 107 x 28cm GT1210070

SGD2,750 (excluding GST)

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 107 x 28cm GT1210008

SGD2,750 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Maruwanya Acrylic on Belgian Linen 87 x 28cm GT1209002

SGD2,150 (excluding GST)

This painting depicts designs associated with the soakage water site of Maruwanya, a claypan with soakage water, north-west of Lake Mackay.

The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 87 x 28cm GT1110047

SGD2,150 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Ngamurrunya Acrylic on Belgian Linen 87 x 28cm GT1110046

SGD2,150 (excluding GST)

This painting depicts designs associated with the rockhole and soakage water site of Ngamurrunya, slightly west of Winparku (Mt. Webb) in Western Australia.

In mythological times a group of Tingari men visited this site after travelling through the sites of Marrapinti and Ngaminya further west.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Ngamurrunya Acrylic on Belgian Linen 87 x 28cm GT1109179

SGD2,150 (excluding GST)

This painting depicts designs associated with the rockhole and soakage water site of Ngamurrunya, slightly west of Winparku (Mt. Webb) in Western Australia.

In mythological times a group of Tingari men visited this site after travelling through the sites of Marrapinti and Ngaminya further west.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 61 x 31cm GT1303059

SGD950 (excluding GST)

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 61 x 31cm GT1302061

SGD950 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Pukaratjina Acrylic on Belgian Linen 61 x 31cm GT1208002

SGD950 (excluding GST)

This painting depicts designs associated with the rockhole and soakage water site of Pukaratjina, west of Jupiter Well in Western Australia. In mythological times a large group of Tingari men camped at this site before continuing their travels east towards Kiwirrkura.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Tjulurulnga Acrylic on Belgian Linen 61 x 31cm GT1111047

SGD950 (excluding GST)

This painting depicts designs associated with the soakage water site of Tjulurulnga, west of the Kiwirrkura Community in Western Australia.

During ancestral times two Ngangkari (Aboriginal Healers) were camped at this site after travelling from further west. The two men held ceremonies relating to the site while they were there. One of the men also performed healing techniques to remove sickness from the other, who was ill in the stomach.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 46 x 38cm GT1307006

SGD950 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site after passing through Wilkinkarra (Lake Mackay). This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men also passed through Unkunya before continuing their travels south-west to Wiluna, north of Kalgoolie.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Kirrimalunya Acrylic on Belgian Linen 46 x 38cm GT1303071

SGD950 (excluding GST)

The design in this painting depicts the claypan site of Kirrimalunya, north of Wilkinkarra (Lake Mackay). In ancestral times two Ngangkaris (Aboriginal healers) were camped at this site. The two were only young boys but often this healing power is given to Ngangkaris by the time they are young teenagers.

This ancestral story forms part of the Tingari Cycle.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Unkunya Acrylic on Belgian Linen 46 x 38cm GT1211048

SGD950 (excluding GST)

This painting depicts designs associated with the soakage water site of Unkunya, west of the Kiwirrkura community in Western Australia. The Two Snake Dreaming travelled through this site. This ancestral story forms part of the Tingari Cycle.

In ancestral times a large group of Tingari men camped at Unkunya before continuing their travels south-west to Wiluna. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

George TJUNGURRAYI

Mamultjulkulnga Acrylic on Belgian Linen 46 x 38cm GT1111109

SGD950 (excluding GST)

This painting relates to the claypan site known as Mamultjulkulnga, on the western side of Wilkinkarra (Lake Mackay). Mamultjulkulnga is of great importance to the artist as his father passed away at this site.

After rain this claypan becomes a large shallow freshwater lake which provides ideal conditions for the prolific growth of the small fleshy subshrub Tecticornia verrucosa, known in Pintupi as Mungilypa.

In ancestral times two Tingari men of the Tjungurrayi and Tjapaltjarri kinship subsections camped at this site and gathered mungilypa. The seeds from this plant are ground into a paste which is then cooked in the coals to form a type of unleavened bread.

The men also made spears at this site which they threw towards the east and west. The spears flew straight and then turned north and south, which is represented in the painting by the direction of the lines. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Above: Ronnie TJAMPITJINPA Photo: Matt Frost, Image Courtesy of Papunya Tula Artists

Ronnie TJAMPITJINPA

Born around Muyin, about 40 kilometres west of the Kintore Ranges near the WA border, Ronnie is the son of Minpuru Tjangala (b. circa 1899 - 1976) and his wife Anintu (Yanintu) Nungurrayi (b. circa 1916 - 1987). In his boyhood, Ronnie’s family travelled extensively across Pintupi territory, moving throughout this region and also in the area around Wilkinkarra (Lake Mackay) in the NT. Ronnie has connections to the Water Dreaming site of Kalipinypa as the place where his grandfather died.

His principal or ‘homestead’ site is Yintjintji. He also paints Porcupine (Echidna) Dreaming. He was initiated into Aboriginal Law at Umari, to the west of his birthplace. When they first saw white people, Ronnie and his family thought they were ‘devils from the grave’. But both Ronnie, then about thirteen, and his younger brother Smithy Zimran Tjampitjinpa, then about six, and their parents and other siblings including Yuyuya Nampitjinpa, were recorded by Jeremy Long among the large group of Pintupi who walked in from Umari (Dovers Hills) area in 1956. Ronnie told me that he and Smithy later went bush again and then to Yuendumu, finally rejoining relatives at Papunya. Ronnie’s father, who was the older brother of Uta Uta Tjangala, passed away in Papunya in 1976 (though there is no record of his death at Papunya Hospital). Ronnie’s mother and four of his younger ‘brothers’ (possibly he meant Uta Uta’s sons) passed away later in Kintore.

In Papunya, Ronnie had worked as a labourer, assisting with the fencing of the airstrips at Papunya and Haasts Bluff. Despite his relative youth, he painted a few small boards in the early months of the painting movement and was one of the original Papunya Tula shareholders. Although his name reappears in the company’s records in 1976, he seems to have painted only occasionally until the 1980s. In 1979, John Kean listed him as a carver rather than a painter. Over the intervening years, he had moved between Papunya, Yuendumu, Balgo and Mt Doreen station, talking to many people about returning to traditional Pintupi lands. This move was made possible by the establishment of Kintore in 1981. Ronnie shifted there with his family in 1983 and established an outstation at Ininti (Redbank). Over the next decade he emerged as one of Papunya Tula’s major artists, pioneering the scaled-up bold linear style that came to dominate many of the Kintore painters’ work in the 1990s. In 1988, he won the Alice Springs Art Prize and in 1989 had his first solo exhibition at Gallery Gabrielle Pizzi, travelling to Melbourne for the opening. He has since had numerous one-man shows with Papunya Tula including 1994, 1996, 1997 and 2002 at Utopia Art Sydney and 1995 at the Alcaston Gallery Melbourne.

At one time Chairman of the Kintore Outstation Council, Ronnie still resides on his

outstation when not at Kintore – or these days in Alice Springs painting for private dealers. His younger ‘brother’ Kenny Williams Tjampitjinpa (who married Ronnie’s second wife’s younger sister) started to paint for Papunya Tula Artists under his instruction in the late 1980s while living at Redbank. During the 1980s, Ronnie worked hard on a land claim for Ininti, holding meetings in Darwin, Turkey Creek, Utopia and many other places before abandoning political involvement as ‘too much humbug for too long’. In 2002, he commented ‘I’m working for myself now, painting.’

He has travelled widely for his art: to Broome, Warmun, Milingimbi, Elcho Island, Port Hedland, Perth, Adelaide, Melbourne and Sydney: ‘I been all over.’ He said that he wants now to ‘settle down’ and just paint. Several of his works were included in Papunya Tula: Genesis and Genius at the Art Gallery of NSW in 2000. His sister Yuyuya Nampitjinpa is also a bold, talented artist who began painting for Papunya Tula Artists in the mid-1990s. Ronnie’s first wife was Karatjari Napangati, with whom he had one surviving son. His second wife was Purrunga Napangati, older daughter of Walangkura Napurrula, and his third Mary Napangati. Both Purrunga and Mary have painted for Papunya Tula Artists, as has Ronnie’s son David Tjangala since 2004.

Ronnie was elected Chairman of Papunya Tula Artists in 2004. Some call him the ‘King of Kintore’.

He has consistently shown throughout the last decade in major shows around the world that celebrate and focus on contemporary modern Indigenous art.

Source: Lives of the Papunya Tula Artists (2008 pp. 96-98) by Vivien Johnson, Alice Springs, NT: IAD Press.

Awards 1988 The Alice Prize.

Selected Solo Exhibitions 1989 Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

1994 Utopia Art Sydney, New South Wales, Australia.

1995 Alcaston Gallery, Melbourne, Victoria, Australia.

1996 Utopia Art Sydney, New South Wales, Australia.

1997 Utopia Art Sydney, New South Wales, Australia.

2002 Utopia Art Sydney, New South Wales, Australia.

Selected Group Exhibitions 1982 Brisbane Festival, Brisbane, Queensland, Australia.

Georges Exhibition, Melbourne, Victoria, Australia.

Aboriginal Artists Agency Ltd. Sydney, New South Wales, Australia.

1983 Mori Gallery, Sydney, New South Wales, Australia.

1986 Roar Studios, Melbourne, Victoria, Australia.

Aboriginal Arts Australia, Canberra, A.C.T. Australia.

Galerie Dusseldorf, Perth, Western Australia, Australia.

1987 Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

1988 Art Gallery of South Australia, Adelaide, South Australia, Australia.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

Expo ‘88, Brisbane, Queensland, Australia.

1990 Gallery Gabrielle Pizzi, Palazzo Bianchi Michiel, Venice, Italy.

‘Peintres Papunya D’Australie’, Paris, France.

1991 Benalla Art Gallery, Benalla, Australia.

Union of Soviet Artist’s Gallery, Moscow, Russia.

Marble Hall, St. Petersburg, Russia.

Chapman Gallery, Manuka, Canberra, A.C.T. Australia.

Australian National Gallery, Canberra, A.C.T., Australia.

1992 State Ukrinian Museum of Art, Kiev, Ukraine.

State Bylorussian Museum of Modern Art, Minsk, Bylorussia, Latvia.

Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Ballarat Fine Art Gallery, Ballarat, Victoria, Australia.

1993 Art Gallery of New South Wales, Sydney, Australia.

Dreamtime Gallery, Broadbeach, Queensland, Australia.

Gallerie Australis, Adelaide, South Australia, Australia.

1994

1995

1996

Manly Art Gallery & Art Museum, Manly, New South Wales, Australia.

Utopia Art Sydney, Sydney, New South Wales, Australia.

Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Chapman Gallery, Manuka, Canberra, A.C.T. Australia.

Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Art Museum Armidale, New South Wales, Australia.

Perc Tucker Regional Gallery, Townsville, Queensland, Australia.

Art Gallery of Western Australia, Perth, Western Australia, Australia.

Australian Perspecta, Art Gallery of New South Wales, Sydney, Australia.

Utopia Art Sydney, New South Wales, Australia.

Gallerie Australis, Adelaide, South Australia, Australia.

Dreamtime Gallery, Broadbeach, Queensland, Australia.

Durack Gallery, Broome, Western Australia., Australia.

Museum Villa Stuck, Prinzregentenstrabe, Munich.

Spazio Krizia, Milano, Italy.

Palazzo Butera, Palermo, Italy.

Fondazione Gorrardo, Lugano, Switzerland.

ACAF 4 Royal Exhibition Hall, Melbourne, Utopia Art Sydney, Australia.

Power of the Land, National Gallery of Victoria, Melbourne, Australia.

National Aboriginal & Torres Strait Islander Heritage Art Award & exhibition, Canberra, Australia.

National Gallery of Victoria, Melbourne, Victoria, Australia.

Chapman Gallery, Manuka, Canberra, A.C.T. Australia.

Groninger Museum, Groninger, The Netherlands.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Mitchell Galleries, State Library of N.S.W. Sydney, Australia.

Museo di Architettura e Scultura Ligure di Sant’Agostino, Genova, Italy.

Utopia Art Sydney, New South Wales, Australia.

Fremantle Arts Centre, Perth, Western Australia, Australia.

Papunya Tula Artists Pty. Ltd., (Fringe Festival), Adelaide, South Australia, Australia.

Niagara Galleries, Victoria, Utopia Art - Sydney, Australia.

Gallery Gabrielle Pizzi, Melbourne, Australia.

Utopia Art Sydney, New South Wales, Australia.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Museums & Art Galleries of the N.T. Darwin, Northern Territory, Australia.

Utopia Art Sydney, New South Wales, Australia.

1997

1998

1999

2000

Joint House Department, Parliament House, Canberra, A.C.T. Australia.

Sherman Galleries, Utopia Art -Sydney, New South Wales, Australia.

‘Aboriginal Art’, Poznan City Gallery, Poland.

Melbourne Art Fair, Melbourne, Victoria, Australia.

Art Gallery of South Australia, Adelaide, Australia.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Chapman Gallery, Manuka, Canberra, A.C.T. Australia.

13th National Aboriginal & Torres Strait Islander Art Award, Gold Coast City Art Gallery, Queensland, Australia.

13th National Aboriginal & Torres Strait Islander Art Award, Drill Hall, Canberra, Australia.

13th National Aboriginal & Torres Strait Islander Art Award, Tandanya Aboriginal Cultural Institute Incorporated, Adelaide, South Australia, Australia.

13th National Aboriginal & Torres Strait Islander Art Award, Campbelltown City Art Gallery, New South Wales, Australia.

13th National Aboriginal & Torres Strait Islander Art Award, Westpac Gallery, Melbourne, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

15th National Aboriginal & Torres Strait Islander Art Award 1998, Museums & Art Gallery of the Northern Territory, Darwin, Northern Territory, Australia.

New World Art Gallery, Hattem, The Netherlands.

Art Gallery Kunsthuys, Wijk bij Duurstede, The Netherlands.

Gallery Gabrielle Pizzi, Melbourne, Australia ‘Art Of The Aborigines’, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland.

Melbourne Art Fair, Melbourne, Victoria, Australia.

N.T Art Award, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

Flinders University of South Australia, Bedford Park, South Australia, Australia.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia ‘Lines’ Fireworks Gallery, Brisbane, Queensland, Australia.

‘Aboriginal Art 2000’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art Select Works’, Kozminsky Gallery and Fine Art Dealers,

2001

2002

2003

Melbourne, Victoria, Australia.

‘Spring Exhibition’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

Framed Gallery, Darwin, Northern Territory, Australia.

Papunya Tula Genesis and Genius, Art Gallery of New South Wales, Sydney, Australia.

Framed Gallery, Darwin, Northern Territory, Australia.

‘Pintupi Men’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

Musée des Beaux Arts et d’Archeologie de Vienne, France.

Palm Beach Art Fair, Palm Beach, Florida, USA. ‘Art of the Pintupi’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Kintore, Kiwirrkura’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Aboriginal Art 2001’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Dreamscapes - Contemporary Desert Art’, Mostings Hus, Frederiksberg, Denmark.

‘Art Aborigene’, Musée Olympic, Lausanne, Switzerland.

‘Papunya - Works From The 1980’s, Utopia Art, Sydney, New South Wales, Australia.

‘Dreamtime - Contemporary Aboriginal Art’, Essl Collection, Vienna, Austria.

‘Indigenous Highlights from the State Art Collection’, Art Gallery of Western Australia, Perth, Australia.

‘Aborigena’, Palazzo Bricherasio, Turin, Italy.

‘Paintings From Our Country’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Lines 2’, Fireworks Gallery, Brisbane, Queensland, Australia.

‘Aboriginal Art 2002’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Saluting Papunya’, Chapman Gallery, Canberra, Australian Capital Territory, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Aboriginal Art 2003’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Ab Op 2 - Exploring The Visual Intensity Of Contemporary Aboriginal Art’, Utopia Art Sydney, New South Wales, Australia.

Jan Murphy Gallery, Brisbane, Queensland, Australia.

‘Australian Contemporary Aboriginal Art in Prague’, Toskansky Palace, Praha 1, Czech Republic.

2004

2005

2006

‘Pintupi Art From The Western Desert’, Indigenart, Subiaco, Western Australia, Australia.

‘Masterpieces From The Western Desert’, Gavin Graham Gallery, London, United Kingdom.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Pintupi Art 2004’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘All About Papunya’, Chapman Gallery Canberra, Australian Capital Territory, Australia.

‘Talking About Abstraction’, Ivan Dougherty Gallery, College of Fine Arts The University of New South Wales, Sydney, Australia.

‘Aboriginal Art 2004’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

21st Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, Northern Territory Australia.

‘Ma Yungu/Pass It On’, Framed Gallery, Darwin, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Looking Closely At Country’, Ivan Dougherty Gallery, College of Fine Arts The University of New South Wales, Sydney, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Mythology & Reality’, Heide Museum of Modern Art, Melbourne, Victoria, Australia.

‘Papunya Tula Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Luminous - Contemporary Art From The Australian Desert’, Manly Art Gallery And Museum, Sydney, New South Wales, Australia.

‘Museum II’, Utopia Art Sydney, New South Wales, Australia.

‘Luminous - Contemporary Art From The Australian Desert’, Bundoora Homestead Art Gallery, Bundoora, Victoria, Australia.

‘Aboriginal Art 2005’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Strong and Stately’, Red Dot Gallery, Singapore.

‘New Work For A New Space’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘New Works From The Western Desert’, Indigenart, Perth, Western Australia, Australia.

‘Luminous - Contemporary Art From The Australian Desert’, Bathurst

2007

2008

Regional Gallery, New South Wales, Australia.

‘Papunya Tula Artists 2006’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Land Marks’, National Gallery of Victoria, Melbourne, Victoria, Australia.

‘PTA’, Utopia Art Sydney, New South Wales, Australia.

‘Luminous - Contemporary Art From The Australian Desert’, Manning Regional Art Gallery, New South Wales, Australia.

‘Aboriginal Art 2006’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Pintupi’, Hamiltons Gallery, London, United Kingdom.

Papunya Tula Artists - Recent Paintings’, Harriet Place, Darwin, Northern Territory, Australia.

‘Luminous - Contemporary Art From The Australian Desert’, Grafton Regional Gallery, New South Wales, Australia.

‘Pintupi Art 2006’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘A Particular Collection’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Dreamtime’, Red Dot Gallery, Singapore.

‘Yawulyurru kapalilu palyara nintilpayi’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Papunya Tula 2007’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Recent Paintings 2007’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘The Black And White Show’, Red Dot Gallery, Singapore.

‘Pintupi Art 2007’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Pintupi - Mixed Exhibition’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Australian Abstraction’, Utopia Art Sydney, New South Wales, Australia.

‘Virtuosity: The Evolution of Painting at Papunya Tula,’ The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia, Charlottesville, USA..

TogArt Contemporary Art Award, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Aboriginal Art 2008’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

TogArt Contemporary Art Award, Araluen Art Centre, Alice Springs, Northern Territory, Australia.

‘20 years of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

2009

2010

‘Pintupi Art 2008’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Kintore to Kiwirrkura - Papunya Tula Artists’, Red Dot Gallery, Singapore.

‘Marrkangku Yara Palyantjaku Ngurrangka - Making Strong Paintings At Home’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Pairs Of Paintings, Utopia Art Sydney, New South Wales, Australia.

‘Pro Community - Papunya Tula Artists’, Kunstwerk, Ebergingen-Nussdorf, Germany.

‘Icons Of The Desert: Early Aboriginal Paintings From Papunya’, Herbert F. Johnson Museum Of Art, Cornell University, New York, USA. ‘Papunya 2009, Senior Pintupi Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Icons Of The Desert: Early Aboriginal Paintings From Papunya’, Fowler Museum, University of California, Los Angeles, California, USA. ‘Icons Of The Desert: Early Aboriginal Paintings From Papunya’, Grey Art Gallery, New York University, New York, USA. ‘Nganana Tjungurringanyi Tjukurrpa Nintintjakitja - We Are Here Sharing Our Dreaming’, 80 Washington Square East Galleries, New York, USA. ‘Pro Community - Papunya Tula Artists’, ArtBar71, Berlin, Germany.

‘Pro Community - Papunya Tula Artists’, VDMA, Frankfurt, Germany.

‘Pro Community - Papunya Tula Artists’, Artkelch, Freiburg, Germany.

‘Community - The Heart Of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Nganampatju Kanpatja Winki, Nganampatju Yara Winkii – All Our Paintings, All Our Stories’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Tjukurrpa Palurukutu, Kutjupawana Palyantjanya – Same Stories, A New Way’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Museum III’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2010’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Papunya Tula Artists: Art of the Western Desert, Harvey Art Projects USA, Sun Valley, Idaho, USA Darwin Aboriginal Art Fair, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Wilkinkarralakutu - Journeys To Lake Mackay’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern

2011

2012

Territory, Australia.

‘Desert Country’ Art Gallery of South Australia, Adelaide, South Australia, Australia.

‘Ngurra Kutju Ngurrara - Belonging To One Country’, ReDot Gallery, Singapore. ’40 Years of Paunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Desert Country’ Lawrence Wilson Art Gallery, Crawley, Western Australia, Australia. ‘land.spirit.song’, Harvey Art Projects USA, Sun Valley, Idaho, USA Darwin Aboriginal Art Fair, Darwin Convention Centre, Darwin, Northern Territory, Australia.

‘Aboriginal Art 2011’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Living Water’, National Gallery of Victoria, Melbourne, Victoria, Australia.

‘Desert Country’ Mornington Peninsula Regional Art Gallery, Mornington, Victoria, Australia.

‘Pintupi Trails 2011’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Tjukurrtjanu: Origins of Western Desert Art’, National Gallery of Victoria, Melbourne, Victoria, Australia.

‘Recent Pintupi Works’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Desert Country’ Perc Tucker Regional Gallery, Townsville, Queensland, Australia.

‘Forty Years of Papunya Tula Artists’, Harvey Art Projects USA, Sun Valley, Idaho, USA. ‘Desert Country’ Newcastle Art Gallery, Newcastle, New South Wales, Australia.

‘Classic Works From Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Visual Rhythm’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Crossing Cultures’ - The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, Hood Museum of Art, Hanover, New Hampshire, USA. ‘Tjukurrtjanu: Origins of Western Desert Art’, Musée du Quai Branly, Paris.

‘PTA 40th Anniversary Show’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

2013

‘Unique Perspectives - Papunya Tula Artists And The Alice Springs Community’, Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

‘Community IV’ - Celebrating Forty Years Of Papunya Tula Artists, Utopia Art Sydney, New South Wales, Australia.

‘Papunya Tula: Works On Paper’, Art Gallery Of New South Wales, Sydney, Australia.

‘All-Over Country’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Crossing Cultures’ - The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, Toledo Museum of Art, Ohio, USA. ‘Painting Now - Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Language Of The Land’, Paul Johnstone Gallery, Darwin, Northern Territory, Australia.

Collections Artbank.

Australian National Gallery.

Art Gallery of South Australia.

Art Gallery of New South Wales.

Art Gallery of Western Australia.

National Gallery of Victoria.

Bendigo Art Gallery.

Museums & Art Galleries of the Northern Territory.

Robert Holmes a Court Collection.

Musée national des Arts d’Afrique et d’Océanie, Paris, France.

Musée du quai Branly, Paris, France.

Medibank Private Collection.

Supreme Court of the Northern Territory.

Queensland Art Gallery.

Groninger Museum, The Netherlands.

Araluen Art Centre.

Riddoch Art Gallery.

University of Virginia, U.S.A. Aboriginal Art Museum, The Netherlands.

Griffith University Art Collection.

Hood Museum of Art, USA.

Malparingya Acrylic on Belgian Linen 183 x 244cm RT0312045

SGD106,250 (excluding GST)

This painting depicts body paint des making ceremonies at the site of M east of Wilkinkarra (Lake Mackay). by a group of travelling Tingari men Malparingya from the east and later Wilkinkarra.

Since events associated with the Tin nature no further detail was given.

Ronnie TJAMPITJINPA

signs associated with rain Malparingya, slightly south This site was visited n who had approached r continued on to

ngari Cycle are of a secret

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari Men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Umari Acrylic on Belgian Linen 137 x 122cm RT1101063

SGD22,750 (excluding GST)

This painting depicts designs associated with the rockhole site of Umari, east of Mt. Webb in Western Australia. In mythological times a Tingari Man of the Tjangala kinship subsection travelled from Illpilli.

He travelled west to Umari where he had a liaison with a woman of the Nangala kinship subsection. This is a mother-in-law relationship which is very taboo in Aboriginal culture. He then speared a kangaroo and tried to light a fire using his woomera and a fire stick but was unsuccessful. He moved close to the main rockhole at the site and was then able to light the fire, cooked and ate the kangaroo before travelling south.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Wililnya Acrylic on Belgian Linen 122 x 107cm RT0804064

SGD14,700 (excluding GST)

This painting depicts designs associated with the site of Wililnya, a large rockhole, east of the Kintore Community. In mythological times one woman travelled from this site towards the west, passing through Kintore and then continuing on to Kiwirrkura, before turning and continuing south. This mythology forms part of the Tingari Cycle.

The various shapes in this work depict the geographical features of this site and its surrounds.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 122 x 91cm RT1206027

SGD11,500 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 122 x 61cm RT1212032

SGD8,150 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Umari Acrylic on Belgian Linen 91 x 91cm RT1207083

SGD8,150 (excluding GST)

This painting depicts designs associated with the rockhole site of Umari, east of Mt. Webb in Western Australia. This is the artist father’s country, and it holds a childhood memory for the artist as he became separated momentarily from his father whilst standing near a big rockhole.

In mythological times a Tingari Man of the Tjakamarra kinship subsection travelled from Kampurarrpa, north of the Ehrenberg Range.

He travelled west to Umari where he had a liaison with a woman of the Nangala kinship subsection. This is a mother-in-law relationship which is forbidden in Aboriginal culture. He then speared a kangaroo and tried to light a fire using his woomera and a fire stick but was unsuccessful. He moved close to the main rockhole at the site and was then able to light the fire, cooked and ate the kangaroo before travelling south.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 91 x 61cm RT1304003

SGD5,000 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 91 x 46cm RT1302011

SGD3,450 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 107 x 28cm RT1302045

SGD2,750 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Lampintja Acrylic on Belgian Linen 107 x 28cm RT1211022

SGD2,750 (excluding GST)

This painting depicts designs associated with the rockhole site of Lampintja, south of Lake MacDonald. In mythological times a large group of Tingari men visited this site before travelling north to Lake MacDonald.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles.

These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1304046

SGD2,150 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1302035

SGD2,150 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1212066

SGD2,150 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Ronnie TJAMPITJINPA

Walungurru Acrylic on Belgian Linen 87 x 28cm RT1203083

SGD2,150 (excluding GST)

This painting depicts designs associated with the site of Walungurru or Kintore. In ancestral times a ngintaka (perentie) came to this site from the west. Two women tracked the ngintaka to Kintore and eventually found it. One held the ngintaka while the other killed it. When the ngintaka died, it turned to stone and became the mountain, a very prominent landmark next to the Kintore community.

This site is associated with the Tingari song cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Above: Warlimpirrnga TJAPALTJARRI Image Courtesy of Greg Weight

Born at Tjuurlnga in the Angas Hills east of Kiwirrkurra, Warlimpirrnga was the son of Papalya Nangala and Waku Tjungurrayi, an old man who had claimed Papalya and two of her sisters as his wives and taken them to live out in the desert, avoiding any contact with whitefellas. Warlimpirrnga grew to manhood ‘chasing the clouds’; searching for rain as they followed the traditional lifestyle of the Western Desert peoples in the country west of Wilkinkarra. After his father’s death when Warlimpirrnga was about five years old, Waku’s place as senior man of the group was taken by Lanti Tjapanangka, who married Waku’s widows and continued to enforce the group’s isolation. A few years after Lanti died, the twice-widowed sisters sent Warlimpirrnga and his older half brother Piyirti (Payirti) Tjapaltjarri, son of Waku and Watjungka Nangala, the youngest of the three sisters, in search of their long-lost relatives. In October 1984, the brothers encountered Pinta Pinta Tjapanangka and his son Matthew trying to fix a flat tyre at their Winparrku (Mt Webb) outstation just out of the newly established Pintupi homelands community of Kiwirrkurra. The subsequent arrival of the family group of nine in Kiwirrkurra made national headlines.

Until this point, Warlimpirrnga had no contact with Europeans and their ways.

After three years at the settlement, he approached Daphne Williams of Papunya Tula Artists with the request that he be allowed to paint. The other artists instructed him in the use of paint and canvas, and he completed his first painting for the company in April 1987. His first eleven paintings were exhibited in Melbourne at Gallery Gabrielle Pizzi in 1988, the entire group being donated to the National Gallery of Victoria by Ron and Nellie Castan. Warlimpirrnga is married to Yalti Napangati, who is the older daughter of Lanti and Nanu Nangala, Papalya’s younger sister. They have four children, two sons and two daughters. Warlimpirrnga paints Snake and Tingari stories for his country, including the sites of Marawa and Kanapilya and the salt lake and soakage area of Kalparti which is the southwest section of Wilkinkarra (Lake Mackay). Other recurrent subjects are Minatapinya, a large swamp south of Marawa where Tingari men camped as they made their way east towards Wilkinkarra, and Malu (Kangaroo) Dreaming.

Warlimpirrnga’s work is consistently in demand and he and his ‘brother’ Walala also paint for private dealers in town. When interviewed in 1999, Warlimpirrnga’s driving ambition was to own his own car and he spoke often of the need to ‘organise’ to this end. Later that year he and Ray James had a two-man show at Gabrielle Pizzi’s Melbourne gallery and its success enabled him to purchase a 4WD vehicle by the end of the year. The Balgo artist Tjumpo Tjapanangka was a close relative

of Warlimpirrnga and others in the so-called ‘first contact’ group. In August 2000, Warlimpirrnga travelled to Sydney with a group of four men from Kiwirrkurra to make a ground painting at the Art Gallery of NSW for the opening of Papunya Tula: Genesis and Genius. He seemed unperturbed by the crowds and adulation, but was more at home clowning around the Kiwirrkurra art shed with Kanya or out hunting goanna near Walawala. His life was the subject of an episode of Robert Hughes’ Beyond the Fatal Shore documentary for Oxford TV, BBC and ABC in which he expressed a desire to establish an outstation on his own country. An extended article, ‘The Last Nomads’, in The Bulletin magazine (4 May 2004 pp. 28-35) also featured Warlimpirrnga’s ‘first contact’ experience.

He has also consistently shown throughout the last decade in major shows around the world that celebrate and focus on contemporary modern Indigenous art with two solo shows in 1988 and 2009.

Source: Lives of the Papunya Tula Artists (2008 pp. 238) by Vivien Johnson, Alice Springs, NT: IAD Press.

Selected Solo Exhibitions 1988 Gallery Gabrielle Pizzi, Melbourne, Australia.

2009 Warlimpirrnga Tjaplatjarri, Patrick Tjungurrayi, Scott Livesey Galleries,

Melbourne, Victoria, Australia.

Selected Group Exhibitions 1989 National Gallery of Victoria, Melbourne, Victoria, Australia.

1990 The Isaacs Gallery, Toronto, Canada.

Friendly Country - Friendly People, Araluen Arts Centre, Alice Springs,

Northern Territory, Australia.

I’Ete Australien a Montpellier, Musée Fabre Galerie, Saint Ravy, Montpellier,

France.

1993 Dreamtime Gallery, Broadbeach, Queensland, Australia.

1994 Chapman Gallery, Manuka, Canberra, A.C.T. Australia.

1995 Art Gallery of New South Wales, Sydney, Australia.

Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

Utopia Art, Sydney, New South Wales, Australia.

1996 Gallery Gabrielle Pizzi, Melbourne, Australia.

C.A.A.A.C.E., Araluen Art Centre, Alice Springs, Northern Territory, Australia.

1997 Papunya Tula Artists Pty. Ltd., Alice Springs, Northern Territory, Australia.

1998 Art Gallery, ‘Culture Store’, Rotterdam, The Netherlands.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

1999 Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia. Two man show with Ray

James Tjangala.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

The Desert Mob Art Show, Araluen Art Centre, Alice Springs, Northern

Territory, Australia.

2000 ‘Lines’, Fireworks Gallery, Brisbane, Queensland, Australia.

Indigenart, Subiaco, Western Australia, Australia.

‘Aboriginal Art 2000’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

Utopia Art Sydney, New South Wales, Australia.

Papunya Tula ‘Genesis and Genius’, Art Gallery of New South Wales, Sydney,

Australia.

‘Pintupi Men’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

2001 Musée des Beaux Arts et d’Archeologie de Vienne, France.

Palm Beach Art Fair, Palm Beach, Florida, USA.

2002

2003

‘Papunya Tula 2001’, William Mora Galleries, Melbourne, Victoria, Australia.

‘Kintore, Kiwirrkura’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Dreamscapes - Contemporary Desert Art’, Mostings Hus, Frederiksberg, Denmark.

‘Papunya Tula 30th Anniversary Exhibition’, Chapman Gallery, Canberra, ACT, Australia.

‘The White Show 2’, William Mora Galleries, Melbourne, Victoria, Australia.

‘Pintupi Exhibition’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Museum’, Utopia Art Sydney, New South Wales, Australia.

‘Size Doesn’t Matter’, William Mora Galleries, Melbourne, Victoria, Australia.

Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Aboriginal Art 2002’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Queensland Museum, Brisbane, Quensland, Australia William Mora Galleries, Melbourne, Victoria, Australia.

‘Pintupi Mens’ and Womens’ Stories’, Indigenart, Subiaco, Western Australia, Australia.

‘Art Born Of The Western Desert’, Framed Gallery, Darwin, Northern Territory, Australia.

‘Saluting Papunya’, Chapman Gallery, Canberra, Australian Capital Territory, Australia.

19th Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, Northern Territory Australia.

‘Native Title Business - Contemporary Indigenous Art’, Gladstone Regional Art Gallery and Museum, Quensland, Australia.

‘Family’, Utopia Art Sydney, New South Wales, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Duaringa Shire Art Gallery, Blackwater, Queensland, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Cairns Regional Gallery, Queensland, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Perc Tucker Regional Gallery, Townsville, Queensland, Australia.

‘Pintupi Art 2003’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia,

2004

Australia.

‘Native Title Business - Contemporary Indigenous Art’, Toowoomba Regional Art Gallery, Queensland, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Cooloola Shire Public Gallery, Queensland, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Noosa Regional Gallery, Queensland, Australia.

‘Ab Op 2 - Exploring The Visual Intensity Of Contemporary Aboriginal Art’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2003’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Kintore-Kiwirrkura 2003’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Pintupi Art From The Western Desert’, Indigenart, Subiaco, Western Australia, Australia.

‘Masterpieces From The Western Desert’, Gavin Graham Gallery, London, United Kingdom.

‘Native Title Business - Contemporary Indigenous Art’, National Museum of Australia, Canberra, ACT, Australia.

‘Papunya Tula Artists - A Gift From The Desert’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Papunya Tula - Selected Paintings’, William Mora Galleries, Melbourne, Victoria, Australia.

‘Pintupi Art 2004’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Gippsland Art Gallery, Victoria, Australia.

‘Papunya Tula Artists - 2004’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘All About Papunya’, Chapman Gallery Canberra, Australian Capital Territory, Australia.

‘Talking About Abstraction’, Ivan Dougherty Gallery, College of Fine Arts - The University of New South Wales, Sydney, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Koorie Heritage Trust, Melbourne, Victoria, Australia.

‘Aboriginal Art 2004’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

2005

2006

‘Native Title Business - Contemporary Indigenous Art’, Academy Gallery, University of Tasmania, Launceston, Australia.

‘Ma Yungu/Pass It On’, Framed Gallery, Darwin, Northern Territory, Australia.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Looking Closely At Country’, Ivan Dougherty Gallery, College of Fine Arts The University of New South Wales, Sydney, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Carnegie Gallery and Salamanca Arts Centre, Hobart, Tasmania, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Ararat Gallery, Ararat, Victoria, Australia.

‘Native Title Business - Contemporary Indigenous Art’, Riddoch Art Gallery, Mount Gambier, South Australia.

‘Papunya Tula Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

22nd Telstra National Aboriginal & Torres Strait Islander Art Award, Darwin, Northern Territory Australia.

‘Aboriginal Art 2005’, Scott Livesey Art Dealer, Melbourne, Victoria, Australia.

‘Papunya Tula - New Paintings From The Kintore Kiwirrkura Region’, John Gordon Gallery, Coffs Harbour, New South Wales, Australia.

‘Pintupi Art 2005’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Strong and Stately’, Red Dot Gallery, Singapore.

‘Living Legends of the Western Desert’, Walkabout Gallery, Sydney, New South Wales, Australia.

‘Pintupi Artists’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘New Works From The Western Desert’, Indigenart, Perth, Western Australia, Australia.

‘Group Show’, John Gordon Gallery, Coffs Harbour, New South Wales, Australia.

‘Contemporary Aboriginal Art’, Jan Murphy Gallery, Brisbane, Queensland, Australia.

‘Papunya Tula Artists 2006’, Gallery Gabrielle Pizzi, Melbourne,Victoria, Australia.

‘Land Marks’, National Gallery of Victoria, Melbourne, Victoria, Australia.

‘Aboriginal Art 2006’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘PTA’, Utopia Art Sydney, New South Wales, Australia.

2007

2008

2009

‘Pintupi’, Hamiltons Gallery, London, United Kingdom.

Melbourne Art Fair, Melbourne, Victoria, Australia.

‘Pintupi Art 2006’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

‘Well Represented’, Utopia Art Sydney, New South Wales, Australia.

‘A Particular Collection’, Utopia Art Sydney, New South Wales, Australia.

‘Pintupi Dreamtime’, Red Dot Gallery, Singapore.

‘Group Show’, Jan Murphy Gallery, Brisbane, Queensland, Australia.

‘Big Paintings’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2007’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Master Works From Papunya Tula’, Birrung Gallery, Sydney, New South Wales, Australia.

‘The Black And White Show’, Red Dot Gallery, Singapore.

‘Elysées de l’Art’, Galerie Arts d’Australie - Stéphane Jacob, Paris.

‘Pintupi - Mixed Exhibition’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘David Larwill and the Western Desert Artists’, Stephan Wiess Studio, New York, USA. ‘Handle With Care’, Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, South Australia, Australia.

‘New Paintings from Papunya Tula Artists’, Chapman Gallery, Canberra, Australian Capital Territory, Australia.

‘Aboriginal Art 2008’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Papunya Tula Classics’, Utopia Art Sydney, New South Wales, Australia.

‘Papunya 2009, Senior Pintupi Artists’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Pro Community - Papunya Tula Artists’, Kunstwerk, Ebergingen-Nussdorf, Germany.

Darwin Aboriginal Art Fair,The Chan Building, Bennett Park Darwin, Australia.

‘26th Telstra National Aboriginal & Torres Strait Islander Art Award’, Darwin, Northern Territory, Australia.

‘Painting the Country’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Nganana Tjungurringanyi Tjukurrpa Nintintjakitja - We Are Here Sharing Our Dreaming’, 80 Washington Square East Galleries, New York, USA. ‘Pintupi 2009’, Tony Bond Aboriginal Art Dealer, Adelaide, South Australia, Australia.

2010

2011

2012

‘Pro Community - Papunya Tula Artists’, ArtBar71, Berlin, Germany.

‘Pro Community - Papunya Tula Artists’, VDMA, Frankfurt, Germany.

‘Pro Community - Papunya Tula Artists’, Artkelch, Freiburg, Germany.

‘Community - The Heart Of Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Nganampatju Kanpatja Winki, Nganampatju Yara Winkii - All Our Paintings, All Our Stories’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Tjukurrpa Palurukutu, Kutjupawana Palyantjanya - Same Stories, A New Way’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Aboriginal Art 2010’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

Art Bodensee 2010, Dornbirn, Austria.

‘Papunya Tula Artists: Art of the Western Desert, Harvey Art Projects USA, Sun Valley, Idaho, USA ‘Wilkinkarralakutu - Journeys To Lake Mackay’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Ngurra Kutju Ngurrara - Belonging To One Country’, ReDot Gallery, Singapore.

Art Karlsruhe 2011, Karlsruhe, Germany.

‘Revival in Small’, Artkelch, Freiburg, Germany. ’40 Years of Paunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Aboriginal Art 2011’, Scott Livesey Galleries, Melbourne, Victoria, Australia.

‘Pintupi Trails 2011’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Australia in Two Colours’, Artkelch Collectors Lounge, Schorndorf, Germany.

‘Recent Pintupi Works’, Papunya Tula Artists, Alice Springs, Northern Territory, Australia.

‘Classic Works From Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia. dOCUMENTA (13), Kassel, Germany.

‘Visual Rhythm’, Cross Cultural Art Exchange, Darwin, Northern Territory, Australia.

‘Desert Mob 2012’, Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

‘Tjukurrpa Ngaatjanya Maru Kamu Tjulkura - Dreaming In Black And White’, ReDot Gallery, Singapore.

‘PTA 40th Anniversary Show’, Papunya Tula Artists, Alice Springs, Northern

2013

Territory, Australia.

‘Unique Perspectives - Papunya Tula Artists And The Alice Springs Community’, Araluen Arts Centre, Alice Springs, Northern Territory, Australia.

‘Community IV’ - Celebrating Forty Years Of Papunya Tula Artists, Utopia Art Sydney, New South Wales, Australia.

‘Papunya Tula: Works On Paper’, Art Gallery Of New South Wales, Sydney, Australia.

‘Travelling Through Country’, Gallery Gabrielle Pizzi, Melbourne, Victoria, Australia.

‘Painting Now - Papunya Tula Artists’, Utopia Art Sydney, New South Wales, Australia.

‘Salon des refusés’, Darwin, Northern Territory, Australia.

Collections National Gallery of Victoria.

Art Gallery of New South Wales.

Musée national des Arts d’Afrique et d’Océanie, Paris, France.

The Kelton Foundation Collection, USA. Macquarie Bank Collection.

Artbank.

Griffith University Art Collection.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 183 x 153cm WT1304061

SGD48,500 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 122 x 107cm WT1208123

SGD14,700 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 122 x 91cm WT1211079

SGD11,500 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Wilkinkarra Acrylic on Belgian Linen 107 x 91cm WT1206070

SGD9,650 (excluding GST)

This painting depicts designs associated with the lake site of Wilkinkarra (Lake Mackay). In ancestral times a large group of Tingari men started from this site and travelled in a large circle, eventually returning to Lake Mackay. The sinuous lines represent the sandhills surrounding the area. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 91 x 61cm WT1307021

SGD5,000 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Wilkinkarra Acrylic on Belgian Linen 91 x 46cm WT1210031

SGD3,450 (excluding GST)

This painting depicts designs associated with the lake site of Wilkinkarra (Lake Mackay). In ancestral times a large group of Tingari men started from this site and travelled in a large circle, eventually returning to Lake Mackay. The sinuous lines represent the sandhills surrounding the area. Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 91 x 46cm WT0910028

SGD3,450 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Warlimpirrnga TJAPALTJARRI

Marawa Acrylic on Belgian Linen 61 x 55cm WT0906013

SGD2,300 (excluding GST)

This painting depicts designs associated with the swamp site of Marawa, situated slightly west of Wilkinkarra (Lake Mackay). There is also a rockhole and soakage waters at this site. During ancestral times a large group of Tingari men travelled to Marawa from the west, and after arriving at the site, passed beneath the earth’s surface and continued travelling underground. It is also said that a huge ancestral snake sleeps in this swamp.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.

Gibson Desert Image Courtesy of Papunya Tula Artists

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