PAPUNYA TULA 1 INTERPRETIVE RESOURCE | Learning at the Gallery | Art Gallery of South Australia artgallery.sa.gov.au/learning , 1972, , , , 1982 Papunya,, 1982 Northern Territory, synthetic Women Dreaming Women Honey Ant Ceremony Ant Honey image: Daisy Leura Nakamarra, Australia, born c.1938, Northern people, Territory, polymer paint on canvas, cm (diam); 59.0 Lisette Kohlhagen Bequest Fund Art 1982, Gallery of South Australia, Adelaide. Courtesy the artist,Artists Licensed by Aboriginal Agency, 2017 image: Clifford Possum Tjapaltjarri, Australia, c.1934–2002, AnmatyerreNorthern people, Territory, synthetic polymer paint on board, cm; 104.0 Elder x 81.4 Wing CentenaryGift of The Foundation 2001, Art Gallery of South Australia, Adelaide. Courtesythe artist, estate of Licensed by Aboriginal Artists Agency, 2017 is one the of first recognition. She is a senior law woman of her community and feels responsible for protecting traditional stories. 1936 and moved to the Papunya1936 settlement with her husband Tim Leura Tjapaltjarriand their six children. Her husband was Clifford brotherPossum’s and one the of first painters theof movement at Papunya. Daisy Leura was one the of firstfemale artists to receive DAISY LEURA NAKAMARRADAISY In the early days at Papunya painting was reserved largely for men. in the However, women1980s too began to paint their stories. Daisy Leura Nakamarra was born circa works made Clifford by Possum at Papunya. The painting depicts and men’s women’s ceremonies for the Honey Ant site of Yinyalingi in the artist’s ancestral country near Mt Allan. Nantakutara Nakamarra. In the Clifford late 1960s Possum was already a noted woodcarver and had experimented with paintings based on traditional symbols. Ceremony Ant Honey kilometres northwest Alice of Springs. From a young age he was a stockman at numerous cattle stationsand in the late 1950s was recruited to help build the Papunya settlement, where he met and married Emily groups. CLIFFORD POSSUM TJAPALTJARRI Clifford Possum Tjapaltjarri – 2002) (1934 was born in a creek bed at Napperby Station, in Anmatyerre country, about two hundred the 20th century. Papunya is located 260km northwest Alice of Springs and was established the by under an assimilation policy as in the a 1960s settlement several of began as an Aboriginal-owned in 1972 and managed organisation. Established to run the business the of Anmatyerre, Arrernte, , and Warlpiri artists, today it is recognised as one Australia’s of most successful art collectives to emerge from TULA PAPUNYA The artists Papunya Tula Company Pty Ltd PAPUNYA TULA 2 INTERPRETIVE RESOURCE | Learning at the Gallery | Art Gallery of South Australia artgallery.sa.gov.au/learning KEY LITERACY WORDS Assimilation Ephemeral Movement Secular Settlement Spinifex Tjukurrpa (Dreaming) , MAKING Draw what you think a honey ant might look like. Now draw an insect that you know well and create a design this insect.inspired by Think about the place where you live. Create a painting depicting your favourite thing about this place. , Miegunyah , IAD Press, , 2008 , Art Gallery South of Australia, Desert Country Desert J. Papunya: A Place Made After the Story art

? What do these shapes remind you The Streets Papunya: of The Re-Invention Painting Papunya of Lives Artists the of Tula Papunya Johnson, V. Press, Melbourne, 2004 Cumpston N. & Patton B, Adelaide, 2010 Johnson, V. things you have learnt from your grandparents or parents? Why is story telling important? Brainstorm different ways that we communicate stories to others. Aboriginal artists sometimes paint as a means teaching of their stories to younger generations. What are some RESPONDING RESPONDING What shapes or images and objects can you identify in Ceremony Ant Honey of? EARLY YEARS YEARS EARLY http://bit.ly/2wqkz0U Streets Papunya of Education Resource http://bit.ly/2xu8eFQ National Museum Australia of – Papunya Collection http://bit.ly/2irkC6I National Museum Australia of – Papunya Ground Women’s Painting http://bit.ly/2xf4yIS Papunya Tjupi Arts The Conversation, Friday essay: How the Men’sPainting Room at Papunya Australian transformed http://bit.ly/2w0ihVg Desert Country – Education Resource http://bit.ly/2xetGza NewSouth Publishing, New South Wales,2015 WEBSITES Australians Together http://bit.ly/2wGVdf0 Bardon, G. and Bardon, RESOURCES RESOURCES BOOKS PAPUNYA TULA 3 INTERPRETIVE RESOURCE | Learning at the Gallery | Art Gallery of South Australia artgallery.sa.gov.au/learning

vivid? Which was your favourite to work with and why? In small groups create a collaborative painting that explores the environment each of student in the group. How will you create a cohesive image that tells everyone’s story? MAKING MAKING Look carefully at the variety dotting of techniques used theby Papunya artists and consider how the artists have made these marks.Experiment with a variety materials of to create a unique tool that makes a repeated pattern. The early artists from Papunya painted their stories onto salvaged surfaces such as linoleum tiles and interior wall panels with an assortment paints. of Think a story of that is important to you, your family, school or community. Collect recycled surfaces such as cereal boxes, old canvases, frames or fabric. Create a painting that represents this story using your own symbols and choice colourof palette. Early Papunya artists sometimes used house paint, poster paint, acrylic paint or ochre. Experiment with different types paints of available to you. Create a series of samples with annotations documenting your experience with working with different materials. Which was the most transparent or opaque? Which paint was the most The Art Gallery of South Australia gratefully acknowledges the support of the Wood Foundation in the development of this resource. consider Honey Ant Ceremony Ant Honey The Gallery’s Learning programs are supported by the Department for Education and Child Development. Information and hyperlinks correct at time of print. Art Gallery of South Australiaof this resource. staff Kylie Neagle and Lisa Slade contributed to the development used for food in this region? species play in Australia’s biodiversity? Identify potential threats to its continued survival. Considering the basic human needs food, of water and shelter, how might people survive in the CentralDesert region? What plants and animals would be able to be Paintings Aboriginal by women often depict stories about native bush Since tucker. European settlement over 100 plant and animal species are either now extinct or close to extinction. Select another flora or fauna endemic to Australia. What role does your selected story. Investigate the behaviour and ecology a honey of ant. How do they get their honey and how does this differ to the way bees produce honey? Why do you think they may be special to Aboriginal people? Locate Papunya on a map. What are the main features of region?this After reading about the why this story is significantfor the artist and the community. Find recent works art of that depict this PRIMARY RESPONDING PAPUNYA TULA 4 INTERPRETIVE RESOURCE | Learning at the Gallery | Art Gallery of South Australia artgallery.sa.gov.au/learning

, 1971, Papunya,, 1971, Untitled image: Kaapa Mbitjana Tjampitjinpa, Australia, - 1989, c.1925 Northern Territory, synthetic polymer paint on plywood, x 99.0 cm; South 121.6 Australian Government Grant Art 1989, Gallery of South Australia, Adelaide.Courtesy estate of the artist, Licensed by Aboriginal Artists© Estate Agency, 2010 of Kaapa Mbitjana Tjampitjinpa, Licensed by Aboriginal Artists Agency, 2010 MAKING Create a painting or drawing representing a story that is special to you. Experiment with different ways to represent yourstory. Imagine youhave been asked to write an introduction to a new publication based on the new displays Australian of art at the Art Gallery South of Australia. Introduce the reader to the new displays addressingby each theme. key Many artists use art as a means recording of their stories and understanding historical events that have shaped their lives. Think a historicalof event that has shaped your life. Create a painting that documents this event or explains why this event occurred. “the Aboriginal ‘Intended as . Use examples Papunya by artists Discuss how this movement aided Germany throughout history. What is the difference between assimilation and multiculturalism? Discuss why assimilation is problematic. aimed to assimilate Aboriginal people. Research what assimilation these policies involved. Compare these policies to those implemented in other nations such as New Zealand, the United States America of and movement. Up until the the Australian 1960’s Government implemented assimilation policies, which had devastating effects on Aboriginal communities. These policies and “civilised settlement” proved Papunya to be a meeting place for Indigenous ideas and culture’. cultural sustainability. Compare Papunya to another moment in history where artists have joined together to form a most successful art collectives to emerge from the 20th century. When discussing paintingmen’s at Papunya, writer and curator John Kean has stated a “half-way between house” “nomadism” painting empowered them as modern individuals while simultaneously empowering their traditions and religion” to support McLean’s statement. Papunya is recognised as one Australia’s of today. How hastoday. the style painting of changed and what reasons can you suggest for these shifts? Writer Ian McLean has stated people’s [Papunya artists] enthusiasm for Papunya artists whose works art of are on display. Investigate the evolution paintings of from Papunya. Identify characteristics key works of artof created and 1980s, in the1990s 1970s, Research the painting Papunya Tula movement and its impact on the Australian and international art scenes. With a partner discuss the different techniques and processes used the by SECONDARY RESPONDING