PINTUPI ARTISTS live and work in various areas in their Pintupi home country, which encompasses a vast stretch of land in the Gibson Desert in the Northern Territory of Australia and beyond over the border into Western Australia. Pintupi Artists have a very strong presence in the Aboriginal Art world and most are associated to their own community art centre known as Papunya Tula Artists Pty. Ltd., which has a long history and also included member artists, such as Clifford Possum Tjapaltjarri and Billy Stockman Tjapaltjarri, who were not Pintupi, but were part of the group of painting men, who brought Aboriginal Art into being and founded Papunya Tula Artists Pty Ltd. to begin with.
Johnny Yungut Tjupurrula Bibliography
Date: 2002
Size: 153 x 122 cm ( Aprox. 5` 6`` x 4` )
Medium: Acrylic on Linen
Provenance: Papunya Tula Artists catalogue # JY0207222
PRICE: AU$77,000
These two ceremonial relics depicting traditional Aboriginal iconography serve to further reinforce the traditional nature of Johnny Yungut`s paintings, which clearly remain interconnected to the secret-sacred world of Aboriginal tribesmen. Relics such as this and a better understanding of the Art of other Aboriginal Masters largely contradict the notion that artists of the Papunya Tula Art Movement shifted away from depicting secret-sacred material following the departure of Geoffrey Bardon from Papunya Settlement. Reasons for this shift differ among those who monopolize Aboriginal literature and information on sales room floors, because no-one thought of asking the precursors of the Movement themselves, who to some degree did make their secret-sacred material less conspicuous, but not to the degree that some people seem to think and not for the reasons that have been suggested. Given Johnny Yungut`s works, however, the very notion that artists of the `old school` shifted away from depicting secret-sacred material seems difficult to grasp, for the above relics compared to the Art of Johnny Yungut and other Pintupi Art clearly suggests otherwise, for all that is really missing here is the actual pictorial image of a Tjurunga (Churinga), or sacred carved stone or board, but not its content.
Essentially, there is still a long way to go in understanding the Art of our Masters, but as far as the two Johnny Yungut`s paintings here at Artspeak are concerned, one can argue that the Art of Johnny Yungut is more indicative of secret-sacred Aboriginal material than some early paintings from the 1970s and early 1980s, for this work and Johnny's painting below offer powerful archetypal Pintupi imagery that brings one closer to ancient tribal life than most other Aboriginal works do. Here is a touch of an ancient past presented on a contemporary surface; it is not a sandpainting proper; nor is it a Tjurunga, but it is, nevertheless, a substitute of a kind that offers something very real and sacred that speaks to the collective unconscious in all of us. This is not art for art sake, or a `pretty` painting, but a beautiful timeless work of art created by a man whose entire being is at one with this creation, as were the artisans of ancient Egypt and cave painters of Lascaux and Kakadu and the like, who provided what we know of humankind's beginnings as a creative and spiritual entity.
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Johnny Yungut Tjupurrula
Date: 2002
Size: 137 x 122 cm ( 4` 6`` x 4` )
Medium: Acrylic on Linen
Provenance: Papunya Tula Artists catalogue # JY0207075
PRICE: AU$66,000
As Pintupi Art developed Pintupi artists became less concerned with pictorial detail and instead focused their attention on the fundamental visual basics associated to their own cultural visual language, which senior artists like Johnny Yungut knew well and practiced this form of art in creating ceremonial sandpaintings and body art in traditional rituals throughout their adult life. This is the experience that Johnny Yungut brought to his canvases that portray the profound in Pintupi Culture.
Not guided in his art making to be at one with current tastes, or paint in haste for his next pay cheque, Johnny Yungut drew from his own creativity and painted with heart. Consequentially, this is the art that will hold pride of place in the art world for all time, for it rests beyond personal taste and trends and interference and can only be described as `Important Contemporary Aboriginal Art`, because this is exactly what it is and it's beautiful.
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Ningura Napurrula
is a principle Pintupi Aboriginal Artist with work in major
collections. Ningura`s work and those of her senior female peers took
the more `classical` style of Pintupi Art to a new less formal direction when the
women began painting in their own right following the deaths of their famous
husbands, who the women assisted on occasion over a very long period of time, but
were never acknowledged for their work.
Today Ningura`s work forms part of the Musee du qua Branly in Paris.
UNTITLED
DATE: 2001
SIZE: 91 x 91 cm (aprox. 3` x 3`)
MEDIUM: Acrylic on Linen
PROVENANCE: Peter Los...private commission
Accompanying documentation: Artspeak Studio Gallery.
CODE: Artspeak/010705
PRICE :AU$13,200
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Tjunkiya Napaltjarri
Brief
Biography
UNTITLED
DATE: 2004, 2001, 2004
SIZE: 91 x 61 cm (aprox. 3` x 2`) by three
MEDIUM: Acrylic on Linen
PROVENANCE: Papunya Tula Artists.
Catalogue No: TN0404126, TN0107060, TN0405144
PRICE: AU$17,600
These three paintings worked so well together that separating them made no sense, so they are being offered here as a triptych that can be hung as a group, or individually within the same space where their visual impact will demand attention. These paintings are simply stunning and embody cultural content described in their accompanying documentation.
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Linda Syddick Napaltjarri
Title: First Contact: Haasts Bluff 1948
Date: 2001
Size: 172 x 122 cm ( aprox. 5` 8`` x 4`)
Medium: Acrylic on Linen
Provenance: Painted at Linda Syddick`s own home in Adelaide for Tony Bond (Bond Aboriginal Art)
PRICE: AU$22,000
The fusion of Christianity and traditional culture is a-typical of the Art of Linda Syddick, who is a deeply religious woman whose tribal world and Christian beliefs remain as one, as demonstrated in her unique paintings.
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Linda Syddick Napaltjarri
Title: Emu Men at Walukurritje
Date: 2001
Size: 165 x 123 cm ( aprox. 5` 5`` x 4` 1/4``)
Medium: Acrylic on Linen
Provenance: Flinders Lane Gallery Cat # FG02704.LSN
Hans Sip Collection
PRICE: AU$18,800
Christian elements are not so obvious in this work until one focuses on the motifs that represent halos around the Emu Men's heads. These men are the artist`s ancestors, who have long passed away and are now spirit men, or -in the mind of the artist- angels in God's domain, though still remaining interconnected with their country and people.
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George Tjapanangka
(c.1930s-2002)
Date: 1998
Size: 61 x 55 cm ( Aprox. 2` x 1` 9 1/2`` )
Medium: Acrylic on Linen
Provenance: Papunya Tula Artists catalogue # GT 980648
PRICE: AU$4,400
According to John Kean (long term art advisor and currently a staff member at Museum Victoria), speaking of the art of George Tjapanangka in relation to his first solo exhibition `Desert Landmarks` in Melbourne some years ago: "George's works are unique, because they are relatively small-scale with careful detailing of traditional elements, rather than the large scale minimalist works which have been popular recently".
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Kenny Williams Tjampitjinpa
Date: 1998
Size: 61 x 55 cm ( Aprox. 2` x 1` 9 1/2`` )
Medium: Acrylic on Linen
Provenance: Papunya Tula Artists catalogue # GT 980524
PRICE: AU$3,300
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Barney Campbell Tjakamarra
(c.1930s- 2006)
Date: 1998
Size: 91 x 46 cm ( Aprox. 2` x 1` 9 1/2`` )
Medium: Acrylic on Linen
Provenance: Papunya Tula Artists catalogue # BC 981003
PRICE: AU$4,400
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