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Desert Country This trail is intended as a guide for young people and families as they enjoy the exhibition. PaPunya Tula arTisTs Clifford Possum Tjapaltjarri c.1934–2002, Anmatyerre people, Northern Territory Clifford Possum Tjapaltjarri was one of Australia’s greatest artists. His epic paintings depicted stories about his country, weaving together Aboriginal law and ceremony, vitally important to social cohesion and survival. As a member of the famous Papunya Tula Artists, Clifford revealed through painting the stories that had once only existed briefly as markings in the sand. His purpose was to ensure the survival of Aboriginal law and connection with country. This painting depicts men and women’s ceremonies for the site of Yinyalingi, located in the heart of the artist’s ancestral homeland. Delicate concentric circles depict the underground nests of honey ants (a delicacy among desert people), excavated by an ancestral woman. Around the sides are her belt and digging stick as well as objects related to men’s ceremony. FIND: Can you find other objects important to hunting Honey Ant Ceremony and survival? What might they have been made of? 1972, Papunya, Northern Territory LOOK: On the sides of the painting you will notice synthetic polymer paint on board 104.0 x 81.4 cm some shield like shapes. What do you think they were Elder Wing Centenary Gift of made of and what could the markings mean? The Foundation 2001 © Estate of Clifford Possum Tjapaltjarri THINK: You have a big story to tell. 2010, licensed by Aboriginal Artists Agency How might you go about painting it. PaPunya Tula arTisTs Turkey Tolson Tjupurrula 1942–2001, Pintupi people, Northern Territory In this painting Turkey Tolson tells the ancestral story of a clash between two groups at a site called Ilyingaungau, near a rocky outcrop far to the west of Alice Springs. A large group of men from Tolson’s father’s country at Mitukatjirri had travelled toward Ilyingaungau where they made camp. At the same time a group of men from Tjikari came into the same territory. The Mitukatijirri men challenged them to fight and the painting shows the many spears being straightened in readiness. LOOK: Can you see a rocky outcrop in the painting? Straightening spears at Ilyingaungau What other landscape features can you see? 1990, Kintore, Northern Territory synthetic polymer paint on canvas DESCRIBE: What would it be like to walk across this 181.5 x 244.0 cm landscape? What would you see? Gift of the Friends of the Art Gallery of South Australia 1990 LIST: What colours can you see in this painting? © Estate of Turkey Tolson Tjupurrula 2010, licensed by Aboriginal Artists AT HOME/SCHOOL: Using a limited range of earth colours, Agency paint a landscape using Tolson’s line painting style. PaPunya Tula arTisTs Doreen Reid Nakamarra c.1955–2009, Pintupi people, Northern Territory/Western Australia The Rockholes at Marrapinti depicts a significant women’s site west of the Pollock Hills in the Gibson Desert of Western Australia. Marrapinti is where the ancestral women of the Nangala and Napangati skin groups would camp and make nose bones or marrapinti. The fine dotting in this painting shows the creek at the site, and the surrounding sandhills. FIND: Can you seek the creek? Rockholes at Marrapinti THINK: The artist has been very careful in detailing every 2007, Kiwirrkura, Western Australia aspect of the landscape. How could she know it so well? synthetic polymer paint on canvas, 153.0 x 183.0 cm DESCRIBE: You make a journey across this landscape. Gift of Frances Gerard, Dr Michael Hayes, What would you take with you and why? Mark Livesey QC, David McKee, Lady Porter and Sue Tweddell through the Art Gallery Draw: a bird’s-eye view of a place that is important of South Australia Foundation Collectors’ to you. Club 2007 © Estate of Doreen Reid Nakamarra 2010, CHOOSE: Draw your own small section of this beautiful licensed by Aboriginal Artists Agency and complex pattern. WaTiyaWanu arTisTs Lilly Kelly Napangardi born c.1948, Luritja/Walpiri people, Northern Territory In Sandhills Lilly Kelly Napangardi has skilfully depicted the topography in this elemental landscape. The overall affect is hypnotic, suggesting features that appear and disappear with the changing winds. The artist paints in almost microscopic detail, but her overall view of the landscape is very large in scale. It’s as if her spirit was flying over the landscape like a grain of sand. DESCRIBE: The landscape you see before you. Sandhills 2005, Haasts Bluff, Northern Territory IMAGINE: Shut your eyes and imagine flying above synthetic polymer paint on linen the land. How do you feel? 185.0 x 307.0 cm Gift of Justice Bruce Debelle, Peter FIND: This landscape might look barren. But there is Dobson, Frances Gerard, Anne Kidman, John Mansfield, David McKee and Dick water there. Can you guess where it might be? Whitington QC through the Art Gallery THINK: How long would it take to make a painting of South Australia Foundation Collectors’ Club 2005 like this. © Courtesy of Lilly Kelly Napangardi & Watiyawanu Arts Warmun arT Rover Thomas 1926–1998, Kukatja/Wangkatjunga people, Western Australia Rover Thomas was one of the most remarkable artist to emerge from the Warmun community at Turkey Creek, in the Kimberley Region in North-Western Australia. Paruku depicts a lake and is one of Rover Thomas’s great masterpieces, a sophisticated representation of the power and significance of meeting places. The cultural and social importance of Paruku is reinforced by the five boundaries touching the lake’s edge. The use of traditional symbolism in painting remained important to Thomas throughout his life. HOw: This painting uses traditional pigments. What might they be? Where do they come from? Paruku (Lake Gregory) wRITE: A short story about a journey through the 1991, Turkey Creek, Western Australia natural pigments on canvas Australian desert landscape. 168.0 x 183.0 cm LOOK: Paruku is a lake. Why do you think the artist South Australian Government Grant 1991 © Rover Thomas estate, courtesy Warmun has shown it in black? Art Centre AT HOME/SCHOOL: Try making your own paints from soil and charcoal samples near your home. Warmun arT Mabel Juli born 1933, Gija people, Western Australia Garnkiny Ngarrangkarni – Moon Dreaming uses simple designs to refer to Mabel Juli’s rich experience of the sparse desert environment where she lives. The painting is a love story of an Aboriginal man who is heartbroken as he cannot marry the beautiful girl with the long black hair whom he loves. Rather than stay on earth without her he is forever in the night sky, coming back to life every month as the moon. wRITE: Create your own imaginative story about how Garnkiny Ngarrangkarni – Moon Dreaming the sun rises and sets. 2009, Turkey Creek, Western Australia natural ochre and pigment on linen PAINT: The moon at night in a desert landscape 120.0 x 180.0 cm IMAGINE: You can turn into a rock, tree, a star, an Gift of the Art Gallery of South Australia Foundation 2009 animal at the click of your fingers. What would you © Mabel Juli, courtesy Warmun Art Centre choose to become? WarlayirTi arTisTs Tjumpo Tjapanangka c.1929–2007, Kukatja/Pintupi people, Western Australia This Dreaming story concerns the travels of two brothers, often called two goannas, whose actions create the features of the landscape. Wilkinkarra (Lake Mackay) tells a story of the two goanna men’s search for bush food as they move from waterhole to waterhole. The waterholes are represented by the three small yellow circles. A commonly told story from the region, the two goanna men start a fire to flush out prey, but the fire blazes destructively out of control. The hills near Wilkinkarra are burnt by the fire and fall into the lake, creating today’s claypan. DESCRIBE: What colours can you find in this painting? Wilkinkarra (Lake Mackay) 2001, Balgo Hills, Western Australia CHOOSE: You can live anywhere you want in this synthetic polymer paint on canvas landscape. Where would you choose and why? 120.0 x 180.0 cm Gift of Harold and Neriba Gallasch 2002 DRAw: What do you think a goanna man might © Tjumpo Tjapanangka, courtesy of look like? Warlayirti Artists uToPia region Angelina Pwerle born c.1952, Anmatyerre/Alyawarr people, Northern Territory Bush Plum is an exquisitely coloured composition with an under-painted layer of deep pink, which is then covered with fine white dotting built up in layers. The artist used a single bamboo skewer to create each dot with fine detail, which gives the overall effect of a subtly textured, shimmering surface. The artist shares her Bush Plum Dreaming with her older sisters, senior custodians of the cultural knowledge for their country. This work is also about memory, a landscape of observation and sensory perceptions, and is a sophisticated representation of the flora, geographical and sacred sites related to the Bush Plum. OBSERVE: This painting has very fine dotting. Bush Plum 2007, Utopia, Northern Territory Move in closely, observe, then step back to synthetic polymer paint on linen experience the overall effect. 120.0 x 330.0 cm Gift of Bill Nuttall and Annette Reeves THINK: Why would a story about bush plums be through the Art Gallery of South Australia important? What do you think? Contemporary Collectors 2009. Donated through the Australian Government’s DISCOVER: What does a bush plum look like? Cultural Gifts Program. © Angelina Pwerle, courtesy of Niagara (It is also referred to as a native currant). Galleries, Melbourne maralinga TjaruTja PeoPle Kunmanara Queama 1947–2009, Pitjantjatjara people, South Australia Hilda Moodoo born 1952, Pitjantjatjara people, South Australia Hilda Moodoo and Kunmanara Queama’s Destruction I shows the mushroom cloud of the Maralinga atomic bomb tests.
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  • Gemeinschaftswerk Von Tjungu Palya Künstlern

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    WWW.ARTKELCH.DE © ARTKELCH | 20 11 | Copyright für das Gemälde bei den Künstlern von Watarru und Tjungu Palya GEMEINSCHAFTSWERK VON TJUNGU PALYA KÜNSTLERN Seit seiner Gründung im Jahre 2006 gabe der Kultur und für die nachhaltige Lebensfähigkeit dieser Ge- hat sich Tjungu Palya zu einem dy- meinden. Die Motivation für das Vorantreiben der Aktivitäten im namischen und innovativen Kunst- Kunstzentrum ist der Wunsch der Künstler, ihre Geschicke selbst in zentrum der Gemeinde entwickelt. die Hand nehmen zu können, Karrierechancen für die Jugend zu Etwa 100 km südlich des Uluru entwickeln und lebendige und autarke Gemeinschaften zu bilden. (Ayers Rock) liegt Nyapari am Fuße der majestätischen Mann Ranges Die führenden Künstler arbeiten ununterbrochen und sind über- im Herzen einer Gegend, die schon immer dem Volk der Pitjantjatjara zeugt davon, dass die Weitergabe des traditionellen Wissens an die gehörte. Diese Hügelkette, die von den Anangu [indigene Australier] jüngere Generation äußerst wichtig ist. So ist es nicht ungewöhnlich, Murputja – der knochige Grat des menschlichen Rückgrats – genannt dass sich vier Generationen einer Familie im Kunstzentrum zum wird, ist die Quelle vieler Wasserlöcher und traditioneller Rastplätze. Singen und Malen versammeln und Auszüge aus der Tjukurpa Die Orte Kanpi, Nyapari, Angatja, Umpukulu und Tjankanu haben [Schöpfungsgeschichte] wieder und wieder erzählen. sich dabei von jahreszeitlichen Rastplätzen zu permanenten Siedlungen Die Gesetze der Tjukurpa sind ein fester Bestandteil des Lebens, entwickelt. der Religion und des Alltags der Anangu. Sie erklären die Erschaffung Mehr als 50 Personen aus dieser Gegend haben sich gemeinsam mit allen Lebens und geben gleichzeitig Hinweise, wie man ein gutes ihren Familien ca. 180 km weiter südlich in Watarru niedergelassen Leben führen kann.