Overview

In 1971 a small group of Aboriginal artists from Australia’s remote Central and Western Deserts changed the face of global art history. The township of Papunya was founded in 1959 as a settlement for Aboriginal people who were relocated from their homelands. Living in cramped conditions, the community brought together people of diverse backgrounds and languages. Painting offered a way of asserting authority: of explaining who the townspeople were and where they came from amid this chaotic mélange of strangers. Using ancient iconographies rarely seen by outsiders, an artistic renaissance sprang forth as artists defiantly asserted themselves against the uncertainty of colonial displacement. Irrititja Kuwarri Tjungu (Past and Present Together) celebrates the fiftieth anniversary of Papunya Tula Artists, from the very first experiments on scraps of cardboard, linoleum, and Masonite through to the epic abstract paintings that are showcased internationally today. Motivated by the artists’ desire to preserve and transmit their cultural knowledge, the movement quickly grew into a powerful medium for economic and social justice. From humble beginnings, a multimillion-dollar industry would emerge, changing the face of contemporary art and creating a powerful voice for Indigenous artists.

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9781735326924

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Reviews

Irrititja Kuwarri Tjungu (Past Present Together): Fifty Years of Papunya Tula Artists is indeed more than a beautiful catalogue - although the high production values make it a pleasure to page through. The book, which ties in loosely with two exhibitions at the Kluge-Ruhe [Aboriginal Art Collection of the University of Virginia], also contains scholarly insights gleaned during two years of research in Central Australia and from a deep dive into the archives of co-editor Fred Myers, who has been documenting Papunya Tula since its inception. Paintings by well-known names such as Clifford Possum Tjapaltjarri and Ronnie Tjampitjinpa share space with obscure treasures that have never before been reproduced, while essays by esteemed curator Hetti Perkins and US actor Steve Martin (a noted collector of Australian Indigenous art), among others, provide diverse perspectives.

Author Information

Henry F. Skerritt is Curator of the Indigenous Arts of Australia and editor of Marking the Infinite: Contemporary Women Artists from Aboriginal Australia. Fred Myers is Silver Professor of Anthropology at NYU and author of Painting Culture: The Making of an Aboriginal High Art.

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