Papunya, a settlement 240km north-west of Alice Springs was established as an administrative centre by the government for the Aboriginal people predominantly of the Luritja/Pintupi language groups who had moved in from the desert. The Papunya Tula painting style derives directly from the artists' knowledge of traditional body and sand painting associated with ceremony. To portray these dreamtime creation stories for the public, has required the removal of sacred symbols and the careful monitoring of ancestral designs.The Papunya Tula Art Movement began in 1971 when a school teacher, Geoffrey Bardon, encouraged some of the men to paint a blank school wall. The murals sparked off tremendous interest in the community and soon many men started painting. In 1972 the artists successfully established their own company. The company is entirely owned and directed by traditional Aboriginal people. The homelands movement of the last decade means its operations now extend more than 700 kilometres west of Alice Springs .
The company aims is to promote individual artists, support economic and social development in their communities, and help maintain the rich cultural heritage of the area. Recent projects include sales of paintings to support a dialysis unit in the remote communities. Papunya Tula artists are represented in most public galleries, major museums, institutions and many large private collections within Australia as well as overseas.
Some exhibition catalogues and reviews have been included but for reasons of space and the difficulty of locating such items this bibliography does not attempt to be a complete record. Information about substantial exhibitions and catalogues so they could be added would be welcome. The list has been divided by material type: books, articles, exhibition catalogues and multimedia
Although extensive, this bibliography is necessarily a work in progress, and it is hoped that readers will advise the National Museum of Australia Library of omissions or deficiencies. All such communications should be addressed to National Museum of Australia library.
Some hyperlinks are to subscription services available in the NMA Library. Readers at NMA can access them directly by clicking on the link. External readers can only do this if their institution also has a subscription to the relevant service.
Compiled by Libby Coates, September 2007
BOOKSARTICLESBardon, G, Aboriginal Art of the Western Desert, (Adelaide: Rigby, 1979) , p.71.
Bardon, G and J Bardon, Papunya: A Place made After the Story: The Beginnings of the Western Desert Painting Movement, (Carlton, Vic.: Miegunyah Press, 2004) , p. 527
In 1971, Bardon was posted to the Papunyah settlement in Central Australia. He taught the artists to paint, thus triggering a surge of creative activity. Papunyah is a complete record of the artists and the works emanating from Papunyah and is a firsthand account of the origins of the contemporary art movement in desert Australia.
Bardon, G and J Ryan, Papunya Tula: Art of the Western Desert, (Marlston, S.A.: J.B. Books, 1999) , p.140.
Beyond Sacred (Melbourne: Hardie Grant, 2008), 347p.
Illustrates the extensive collection of C and L Laverty.Johnson, V and National Museum of Australia., Papunya Painting: Out of the Desert, (Canberra, A.C.T.: National Museum of Australia Press, 2007) , 1 v.
"Exhibition cagalogue supporting exhibition of Papunya Tula Western Desert art, including essays from experts in the field and interpretation of the iconography in the artworks."--Provided by publisher.
Myers, FR, Painting Culture: The Making of an Aboriginal High Art, (Durham: Duke University Press, 2002).
Perkins, H, and others, One Sun One Moon: Aboriginal Art in Australia, (Sydney: Art Gallery of New South Wales, 2007), 368 p.
Featuring over 240 colour plates, this volume canvasses an extraordinary diverse range of Aboriginal art. The 27 essays by leading authorities and 13 interviews with key artists are accompanied by an extensive chronology.
Perkins, H, H Fink and Art Gallery of New South Wales, Papunya Tula: Genesis and Genius , (Sydney: Art Gallery of New South Wales in association with Papunya Tula artists, 2000), 319 p.
Catalogue for exhibition that tells the story of the emergence of one of the most dynamic movements in Australian art history with its constellation of painters such as Rover Thomas, Mick Namarari, and Emily Kame Kngwarrye.
Corbally Stourton, P and N Corbally Stourton, Songlines and Dreamings: Contemporary Australian Aboriginal Painting: The First Quarter-Century of Papunya Tula, (London: Lund Humphries, 1996), p.192
The art of the Australian Aborigines is widely recognised as being the oldest art form in the world, preceding that of the Americas and Europe by many centuries. For thousands of years, however, the only art forms practised by the Aborigines were rock painting and carving, bark painting, sand painting and body painting using natural ochres, wild desert cotton, charcoal and birds' down, often carried out as part of ceremonial activities. It was not until 1971 that the Aborigines of the Papunya Tula settlement in the deserts of the Northern Territory were introduced to methods of painting on canvas and board using modern materials. This book commemorates the twenty-fifth anniversary of the Papunya Tula painting movement - the birthplace of contemporary Aboriginal painting.; The work of eighty Papunya Tula artists, including some of the best known Aboriginal painters - Clifford Possum Tjapaltjarri, Michael Nelson Tjakamarra and Tim Leura Tjapaltjarri - is illustrated in this book in two hundred full-colour reproductions which demonstrates the vibrancy and sophistication of the art. Patrick Corbally Stourton's introductory text examines the events which led to the birth of this extraordinary painting movement, and illuminates the mythology of Dreamings which lies behind every Aboriginal painting.
Johnson, V, Lives of the Papunya Tula Artists, (Alice Springs, N.T.: IAD Press, 2007)
EXHIBITION CATALOGUESAllan, S, 'Papunya Tula--the Birthplace of Contemporary Australian Aboriginal Art', World Socialist Web Site http://www.wsws.org/articles/2001/aug2001/tula-a24.shtml [accessed March 2007]
Amadios, N, 'Papunya Art: A Disturbing Experience. -Exhibition at Araluen Arts Centre, Alice Springs-', Arts National v.2 (2), Dec 1984, pp.48-51.
Attwood, A, 'Black Art Breaks into a White World', Time Australia v.5 (29), 16 July 1990, pp.54-61.
Bardon, SG, In Kleinert S and M Neale eds. The Oxford Companion to Aboriginal Art and Culture, (Melbourne: Oxford University Press, 2000), [NMA 700.899915 OXF]
Anderson, C and F Dussart, 'Dreamings in Acrylic. -Western Desert Art: Case Study of the Papunya and Yuendumu Communities of Painters', In Sutton,P ed. Dreamings: The Art of Aboriginal Australia, (Ringwood, Vic.: Viking, 1988), pp.89-142.[NMA 709.94074 DRE].
Beier, U, 'Papunya Tula Art: The End of Assimilation', Aspect(34), Aug 1986, pp.32-37.
Bonyhady, T, 'Papunya Stories', Australian Humanities Review(20), <http://www.lib.latrobe.edu.au/AHR/archive/Issue-December-2000/bonyhady2.html [accessed March 2007]
Bridge, S, 'The Courts' Approach to Moral Rights.', Copyright Reporter v.3 (1), July 1985, pp.2-4.
The decision in Crocker v. Papunya Tula Artists Pty. Limited is the first to deal with s.191 of the Copyright Act, and indicates a future direction for moral rights claims. Further implications of the decision relate to the Copyright Law Review Committee's proposed moral rights legislation. authorship. Overall, the case concerns false attribution of authorship.
Burke, T, 'Papunya. -Aboriginal Art in the Central Australian Deserts', Stiletto(49), July 1988, pp.52-54.
Burns Coleman, 'Appreciating "Traditional" Aboriginal Painting Aesthetically', Journal of Aesthetics and Art Criticism v.62 (3), 2004, pp.235. [accessed 29/03/2007].
Butler, S, 'Disorientation, the Affect of Lockhart River's Indigenous Art', Eyeline(54), 2004, pp.24-28.
Cadzow, J, 'The Art Boom of Dreamtime', Australian, supp., p. 1-2.
Carruthers, F, 'Broken Dreaming [the Division between Black and White]', Australian. Magazine(16-17 Sept), 2000, pp.20-26.
Carter, P, 'Geoffrey Bardon, an Appreciation 1940-2003: [Obituary.]', Art Monthly Australia(161), July 2003, pp.14-15.
Clark, G, 'Spirit Braille', Quadrant (Sydney) v.49 (5), May 2005, pp.58-62. <http://www.quadrant.org.au/php/article_view.php?article_id=1108> [accessed March 2007][NMA S 052 QUA].
'Clifford Possum. -Western Desert Art on the Walls of Araluen in the Northern Territory-', Arts National v.2 (6), July/ Aug 1985, pp.59-62.
Fitzgerald, M, 'Dreaming in New Colors', Time Australia(3), 28 August 2000, pp.68.
Focuses on 'Papunya Tula: Genesis and Genius,' a 2000 Olympic Arts Festival exhibition in Sydney, Australia. Art movement of Papunya Tula Artists which was launched by Aboriginal elders in Papunya, Australia; Paintings which are the recording of Water Dreamings, the singing and dancing for water in Australia's Western Desert.
Fitzgerald, M, 'Cultural Production Line: [the Greed of Exploitative Art Dealers and Venal Practitioners Threatens to Devalue the Currency of Aboriginal Art]', Time Australia(20), 22 May 2006, pp.60-61.
Fitzgerald, M,'Different Strokes [Authenticity in Aboriginal Art]', Time Australia(30), 26 July 1999, pp.72-75.
Fitzgerald, M,'Painting for their Lives', Time Australia(4), 11/29 2004, pp.106-108.
The article presents information related to the celebrated Papunya Tula Artists in Australia, who are selling their art creations to fight against kidney disease. The kidney disease is threatening their community. Papunya Tula Artists, the movement begun by Geoffrey Bardon in 1971, which is today a multi-million-dollar industry and the community's main provider. It also presents information related to the book "Papunya: A Place Made After the Story."
Fitzgerald, M,'Focus on Clifford Possum Tjapaltjarri & Tim Leura Tjapaltjarri at AGNSW', Australian Artist v.15 (1), 06 1999, pp.4.
Discusses the symbolisms in the `Warlugulong 1976', a collaborative work by Clifford Possum Tjapaltjarri and Tim Leura Tjapaltjarri, exhibited at the Focus Series of the Art Gallery of New South Wales. Epic work of the first decade of the Papunya Tula artist's movement; Topographical representation; Depiction of ancestral events; Graphical representation of Aboriginal law.;
Frater, A, 'Aboriginal Art Blossoms in the Desert', Age, 10 July 1982, p. 11.
Frawley J, 'Genesis and Genius (and Gymnastics): Another 'New Truth' of the Papunya Art Movement.', Ngoonjook(24), December 2003, pp.39-46.
This paper puts forward a view of the establishment of Papunya Tula art which complements the account of the art movement's genesis with the arrival of school teacher Geoff Bardon in 1971 at Papunya. The author asks if this is the only truth about Papunya Tula's beginnings and suggests that its origins may in fact be found in the adult education art classes that were held at Papunya in the 1960s. The paper details the history of Northern Territory Aboriginal community-based adult education, which started during World War II. By 1959, all government settlements and mission stations were being encouraged to conduct adult education classes. Papunya settlement was opened in March 1959 and its school established in that year. The first adult education classes, which featured art classes, were offered in 1962. This emphasis on art continued throughout the 1960s and included a program which aimed to develop existing skills using European media. The author places Bardon's contribution within this context. He concludes that prior experience played its role and that the Papunya adults' interest was stimulated and rekindled by previous experiences of adult education classes and the influence of other school teachers, particularly P Baram.
Ginsburg, F and F Myers, 'A History of Aboriginal Futures', Critique of Anthropology v.26 (1), 2006, pp.27.
Green, I, 'Make 'Im Flash, Poor Bugger: Talking about Men's Art in Papunya.', In West,MKC ed. The Inspired Dream: Life as Art in Aboriginal Australia, (South Brisbane: Queensland Art Gallery, 1988), pp.39-47, 111.[NMA EDWARDS 709.9429074 INS].
Hill, B, 'Mantric Maps: Lost and found', Voices (Canberra) v.2 (2), Winter 1992, pp.74-84.
Isaacs, J, 'Waiting for the Mob from Balgo: Aboriginal Art', Australian and International Art Monthly(1), June 1987, pp.20-22.
Isaacs, J, 'Circles, Tracks, and Lines', World & I v.8 April 1993, pp.232.
Discusses the Aboriginal people of Australia and their art. Papunya settlement; Geoff Bardon; Papunya Tula Artists Pty. LTD.; Religious philosophy of tjukurpa and art; Traditions of sand painting; Contemporary painting movement..
Izett, E, 'Sitting Down with Indigenous Artists:', Artlink v.25 (2), June 2005, pp.26-29.
Johnson, T, 'Tim Johnson Interviewed by Nicholas Zurbrugg', Art and Australia v.29 (1), Spring 1991, pp.44-51.
Johnson, T, 'Paying the Rent.', In Commonwealth Institute ed. Stories of Australian Art, (London: The Institute, 1988), pp.57-65.
Aboriginal artists should be given parallel recognition and equal access to the art world vis a vis Western artists
Johnson, V, 'Twentieth Century Dreaming: Contemporary Aboriginal Art', Art and Asia Pacific v.1 (1), Dec 1993, pp.71-78.
Johnson, V, 'Maxie Tjampitjinpa: The Minimal Mythologist', Art and Text(50), 1995, pp.54-59.
Johnson, V, 'George Tjapanangka', Art & Australia v.40 Summer 2002, pp.244.
Pays tribute to the late Australian Aboriginal artist George Tjapanangka. Blend of contemporary abstraction and figurative elements; Biographical information; Exhibition of works with Papunya Tula Artists; Description of works such as 'Two Women Dreaming.';
Johnson, V, 'John Tjakamarra c.1932-2002', Art and Australia v.40 (4), June-July-Aug 2003 2003, pp.574.
Jones, P, ''Arts and Manufactures': Inventing Aboriginal Craft', In Noris Ioannou ed. Craft in Society: An Anthology of Perspectives, (South Fremantle, W.A.: Fremantle Arts Centre Press, 1992), [NMA 745.0994 CRA].
Jorgensen, D, 'Martian Utopias, Land Rights and Indigenous Desert Painting [Paper in: Futures Exchange: Antipodean Utopias. Leane, Elizabeth (Ed.).]', Australian Cultural History(23), 2004, pp.105-119. [NMA S 994 HIS].
Jurra, KJ, 'The Historical Development of Papunya Community', Ngoonjook(18), Dec 2000, pp.6-18.
Kerr, J, 'Papunya Tula', Art AsiaPacific(3), 2001, pp.31.[NMA S 709.5 ART]
Reviews the art exhibition `Papunya Tula: Genesis and Genius,' at the Art Gallery of New South Wales in Sydney, Australia in August 2000.
Kimber, RG, 'Papunya Tula: Artists of the Central and Western Deserts of Australia', Australian Art Review. 1982, pp.122-125.
Kimber, RG, 'Ceremony from Ground to Canvas: A Switch of Dimension in Papunya', Artlink v.13 (2), June/ Aug 1993, pp.40-44.[NMA S 705 ART].
Kimber, RG,'M.N. Tjapaltjarri', Art & Australia v.36 1999, pp.397.
Profiles Pintupi artist M.N. Tjapaltjarri. Family background; Education and work as a stockhand; Foundation painter of Papunya Tula Artists Pty. Ltd.; Notable paintings.
Kleinert S, 'The Meeting Place: Indigenous Art in a University Context.', Ngoonjook(24), December 2003, pp.58-66.
In most accounts of recent Aboriginal art history, which have focused almost exclusively on Papunya and art teacher Geoffrey Bardon, the importance of Aboriginal forays into printmaking have been overlooked. Charles Darwin University's collection of Indigenous prints is now the largest outside the National Gallery of Australia. This paper discusses the ways in which the university has striven to tailor its activities to the needs of Indigenous students, from artists in remote communities to those in more urban settings. One example of the university's activities in remote delivery is its program of printmaking workshops taken to bush communities.
Kovalev, A, 'From Red Centre to Red Square: 'Aboriginal Paintings from the Desert' in Moscow.', Art and Australia v.29 (4), Winter 1992, pp.435-437.
Papunya, Balgo Hills and Utopia artists on display in the Commonwealth of Independent States
Lambert, RJ, 'Dreaming in Ochre and Wood', Australian Connoisseur and Collector(2), 1982, pp.80-83.
Layton, R, 'Traditional and Contemporary Art of Aboriginal Australia: Two Case Studies [Papunya Artists and Pitjantjatjara Artists]', In Jeremy Coote and Anthony Shelton ed. Anthropology, Art, and Aesthetics, (Oxford: Clarendon Press, 1992), pp.137-159.[NMA 701.03 ANT].
Lumby, C, 'Ethically Collecting Aboriginal Art: [the Moral Implications of the White Man's Market for Indigenous Art in the 21st Century]', Australian Art Collector(29), July-Sept 2004, pp.132-134.[NMA S 709.94 AUS]
The moral implications of the white man's market for Indigenous art in the 21st century
McCulloch-Uehlin, S, 'Art from the Heart.', Australian, 1995, Weekend Review, p. 10.
Report of tour exploring developments in outback Aboriginal art.
McDonald, J, 'Dreamweaver: Clifford Possum Tjapaltjarri (c.1932-2002)', Australian Financial Review Magazine, Nov 2003, pp.78-79, 81-82, 84.
McLean, I, 'Kuninjku Modernism: New Perspectives on Western Arnhem Land Art.', Artlink v.25 (2), 2005 June, pp.48-51.
McQueen, H, 'Divining Water Dreaming', Art Monthly Australia(134), Oct 2000, pp.8-10.
Megaw, JVS, 'Art as Identity: Aspects of Contemporary Aboriginal Art', In Allan Hanson and Louise Hanson. ed. Art and Identity in Oceania, (Bathurst, N.S.W.: Crawford House Press, 1990), pp.282-292,313-315.[NMA 700.995 ART].
Megaw, JVS, 'Transformations: Appreciation, Appropriation and Imagery in Indigenous Australian Art', In Anita Herle ed. Pacific Art: Persistence, Change and Meaning, (Adelaide, S. Aust.: Crawford House Publishing, 2002), pp.370-385, 449-452.
Megaw, JVS and others, Twenty-Five Years and Beyond: Papunya Tula Painting, (Adelaide : Flinders Art Museum, 1999), 97.
Mellor, D, 'Indigenous Art', Art & Australia v.39 2001, pp.165.
Reviews the books 'The Native Born: Objects and Representations from Ramingining, Arnhem Land,' edited by Djon Mundine and Bernice Murphy and 'Papunya Tula: Genesis and Genius,' edited by Hetti Perkins and Hannah Fink.
Michaels, E, 'Bad Aboriginal Art', Art and Text(28), Mar/ May 1988, pp.59-73.
Miller, S, 'The Papunya Tula Archive at the Art Gallery of New South Wales: A Case Study in the Provision of Archival Services for Indigenous Art', ARLIS/ ANZ Journal(59), June 2005, pp.7-13.[NMA S 026.705 ARL].
Morgan, J, 'Beat of the Sacred Heart [Western Desert Dot Painting]', Sydney Morning Herald, 12 Aug 2000, Spectrum, p. 12.
Murphy, B, 'Curating Contemporary Aboriginal Art', Praxis M(17), Summer 1987, pp.21-24.
Myers, FR 'We are Not Alone: Anthropology in a World of Others', Ethnos v.71 (2), 2006, pp.233.
Myers, FR, 'Representing Culture: The Production of Discourse (s) for Aboriginal Acrylic Paintings', Cultural Anthropology v.6 (1), 1991, pp.26-62.[NMA S 306 CUL].
Myers, FR, 'Ontologies of the Image and Economies of Exchange', American Ethnologist v.31 (1), 2004, pp.5-20.
Myers, FR, 'Collecting Aboriginal Art in the Australian Nation: Two Case Studies', Visual Anthropology Review v.21 (1-2), Spring/Fall 2005, pp.116-137.
How Aboriginal acrylic painting came to be reframed as "high art" is an interesting ethnohistorical question. Scholars have traced the increasing frequency of the exhibition of Aboriginal Australian acrylic painting and the increasing emphasis on the framework of fine art and contemporary fine art in these exhibitions. Individual artists come prominently into attention, both in the press and also—eventually—with one-person exhibitions. In this article I delineate the collecting practices and ideologies that lie at the foundation of two of the important early collections of acrylic painting in Australia—that of Tim and Vivien Johnson (which was gifted eventually to the Art Gallery of New South Wales) and that of Dame Margaret Carnegie (some of which was gifted to the Art Gallery of Victoria). My aim is to explore the differences in their understanding of the art and its importance as part of a more concrete analysis of the forms of cultural convergence between Aboriginal culture and particular formations in the larger social world in which it came to circulate. These processes involve Australia's distinction as a nation as well as its postcolonial emergence from British domination toward varying forms of nationalist cosmopolitanism.
Myers, FR, 'Unsettled Business: Acrylic Painting, Tradition, and Indigenous being', Visual Anthropology v.17 (3), 2004, pp.247-271.
Myers, FR, 'Illusion and Reality: Aboriginal Self Determination in Central Australia.', In The Future of Former Foragers in Australia and Southern Africa: Papers Presented at the American Anthropological Association. Meeting, Schrire,C and R Gordon, eds, Chicago, Ill (Cambridge, MA: American Anthropological Association, 1985), 109-121 pp.
Myers, FR, 'Culture Making: Performing Aboriginality at the Asia Society Gallery', American Ethnologist(4), 1994, pp.679-699. <http://homepages.nyu.edu/%7Efrm1/source_files/pdfs/myers%20culturemaking.pdf> [accessed 20 Nov 2007].
Myers, FR 'Aesthetic Function and Practice: A Loval History of Pintupi Painting', In Morphy,H and M Boles eds. Art from the Land, (1999: University of Virginia Press, 1999), pp.219-259. <http://homepages.nyu.edu/%7Efrm1/source_files/pdfs/MyersArtFromtheLand.pdf>.
Myers, FR, 'Uncertain Regard: An Exhibition of Aboriginal Art in France', Ethnos 1998, pp.7-47. <http://homepages.nyu.edu/%7Efrm1/source_files/pdfs/Myers--Uncertain_Regard.pdf> [accessed 20 Nov 2007].
O'Flynn, N, 'Aboriginal Painting, Past and Present: Reading Direction and the Unaboriginal Eye', Australian and New Zealand Studies in Canada(8), Dec 1992, pp.33-58.
Periz, I, 'Tim Johnson: The Problems of Appropriation. -Interview-', Tension(3), Apr 1984, pp.11
Perkins, H and H Fink, 'Covering Ground: The Corporeality of Landscape.', Art and Australia v.38 (1), Sept-Oct-Nov 2000, pp.74-83. <
Focuses on Australia's Papunya Tula landscape paintings. History of Papunya Tula; Ancient creation myths represented by the paintings; Development of individual styles; Corporeal nature of land in Papunya Tula paintings.
Petitjean, G, 'The Lines of Willy Tjungurrayi', Art & Australia v.38 2001, pp.598.
Describes the paintings of Western Desert artist Willy Tjungurrayi. Creation of line-paintings that describe the landscape; Use of interplay between full lines and dotted lines; Birth at Patjantja in the Pintupi territory; Start as painter with the Papunya Tula Artists in 1976; Themes and styles of Western Desert painting.
Phipps, J, 'Reflections on Aboriginal Art, Assimilation and Land Rights', Art Monthly Australia(114), Oct 1998, pp.22-25.
Pizzi, G, 'Dreamings of the Aboriginal Nation', A-Z Antiques Australia v.1 (3), Autumn 1989, pp.51-54,57-58.
Pizzi, G, ''the Work is the Statement': An Interview with Gabrielle Pizzi. -by Benjamin, Roger-', Art Monthly Australia(47 supp.), 1993, pp.25-26.
Ravenscroft, M, 'Methods and Materials used in Australian Aboriginal Art', Bulletin (Institute for the Conservation of Cultural Material) v.11 (3), Dec 1985, pp.92-109.
Ryan, J, 'Geoffrey Robert Bardon AM 1940-2003: [Obituary of the Visionary Australian Writer, Teacher and Activist.]', Art and Australia v.41 (3), Autumn 2004, pp.395.
Ryan, J, 'The Mythology of Pattern: Papunya Tula Art 1971-89', In Ryan,J ed. Mythscapes: Aboriginal Art of the Desert, (Melbourne: National Gallery of Victoria, 1990), pp.24-55.
Schulz, D, 'When Dreaming Turns into a Nightmare [Allegations of Forgery in Aboriginal Art]', Bulletin (Sydney)(11 May 1999), , pp.40-45.
Simons, S, 'Papunya: Reflections on an Exhibition of Aboriginal Art. -Long Gallery, University of Wollongong, New South Wales-', Scarp(11), Oct 1987, pp.8-13.
Stretton Rowena, 'Utopia Aboriginal Art', Australian business pages 1991, p. 84-85.
Utopia, a former cattle station, is 260 kilometeres north-east of Alice Springs; Papunya is about the same distance north-west and Yuendemu is 50 kilometeres beyond Papunya. Utopia batik print work has been keenly sought after, a demand encouraged by the patronage of the late Robert Holmes ... Court. Papunya and Yuendemu are famous as the home of Aboriginal contemporary painters. Coverage of how this art may be acquired and approximate price ranges
Strocchi, M, 'Minyma Tjukurrpa: Kintore/Haasts Bluff Canvas Project. Dancing Women to Famous Painters.', Artlink v.26 (4), 2006, pp.104-107.
Willis, A and T Fry, 'Ethnocentrism, Art and the Culture of Domination', Praxis M(20), 1988, pp.16-22.
Symes, C and B Lingard, 'From the Ethnographic to the Aesthetic: An Examination of the Relationship between Aboriginal and European Culture in Australian Art 1788/ 1988', In Foss,P ed. Island in the Stream: Myths of Place in Australian Culture, (Leichhardt, N.S.W.: Pluto Press, 1988), pp.188-215,228-232.
Taylor, L, 'Fred R. Myers. Painting Culture: The Making of an Aboriginal High Art.', The Australian Journal of Anthropology v.15 (1), 2004, pp.118-120.[NMA S 301 AUS].
Thomas, N, 'A Compelling Vision. [Review of Emily Kame Kngwarreye: Alhalkere, Paintings from Utopia (Art Exhibition: 1998: Queensland Art Gallery )]', Asian Art News v.8 (3), May/ June 1998, pp.48-51.
Thompson, L, 'The Papunya Art of Central Australia.', Craft Arts(14), Dec/ Feb 1988, pp.37-40.
The famous Papunya paintings of the desert artists are a continuation of an ancient visual language at the heart of 30,000 years of Aboriginal culture and tradition
Wolseley, J, 'Rock Wallaby Dreaming: The Power, the Mood and the Scandal.', Art and Australia v.37 (3), Mar- May 2000, pp.377-379.
OTHERAboriginal Cultural Institute (Adelaide, S. Aust.), East to West: Land in Papunya Tula Painting, ([Adelaide]: Aboriginal Cultural Institute Incorporated, 1990), 1 portfolio
Boulter, M, C Hodges and Utopia Art Sydney., Australia's First International Art Movement, ([Sydney]: Utopia Art Sydney, 1990), 19 p.
Brody, A, and National Gallery of Victoria., The Face of the Centre: Papunya Tula Paintings, 1971-84, (Melbourne: National Gallery of Victoria, 1985), 51 p.
Crocker, A, Papunya: Aboriginal Paintings from the Central Australian Desert, ([Australia]: The Aboriginal Artists Agency and Papunya Tula Artists, 1983), 64p.
Crocker, A and others, Mr Sandman Bring Me a Dream, (Alice Springs [N.T.]: Aboriginal Artists Agency with Papunya Tula Artists Pty. Ltd., 1981), 64 p.[NMA EDWARDS 759.0110994 MRS].
Dyer, CA, Icons of the Western Desert: The John W. Kluge Papunya Tula Twentieth Anniversary Commission, (North Adelaide, S.A.: Museum Art International Pty. Ltd, 1996), 151 p.
Gallery Gabrielle Pizzi, Papunya Tula, (Melbourne: Gallery Gabrielle Pizzi, 1990), 48 p.
Green, C, J Smith and National Gallery of Victoria., Fieldwork: Australian Art 1968-2002, (Melbourne, Vic.: National Gallery of Victoria, 2002), 159 p.
James, D and D Inc, Desart: Aboriginal Art and Craft Centres of Central Australia, (Alice Springs, NT: Desart, 1993), 45 p.
John Weber Gallery, Papunya Tula: Contemporary Paintings from Australia's Western Desert, (New York: John Weber Gallery, 1989), [5] p.
Johnson, V, J Hylton and Art Gallery of South Australia, Dreamings of the Desert: Aboriginal Dot Paintings of the Western Desert, (Adelaide: The Gallery, 1996), 140 p.[NMA EDWARDS 704.03995 JOH].
Johnson, V and others, Clifford Possum Tjapaltjarri, (Adelaide: Art Gallery of South Australia, 2003), 255 p.[NMA F 759.994 JOH]
Karovich, S, G Pizzi and Benalla Art Gallery., Aboriginal Desert Paintings, Benalla Art Gallery ... November, 1987 - 31st January, 1988, ([Benalla, Vic.]: Benalla Art Gallery, 1987), 1 p.
Klingender, T, Papunya Tula Artists' Company and H Gallery, Pintupi: 20 Contemporary Paintings from the Pintupi Homelands, (London: Hamiltons, 2006), [42] p.
Papunya Tula: Aboriginal Art of the Western Desert, October 13-November 7, 1980, Macquarie University Library, Exhibition Area, Level 2, ([Sydney]: Macquarie University Library, 1980), 27 p.
Maughan, J, Dot and Circle: A Retrospective Survey of the Aboriginal Acrylic Paintings of Central Australia /, (Melbourne: Royal Melbourne Institute of Technology, 1986), 208 p.
Pizzi, G, Gallery Gabrielle Pizzi. and Papunya Tula Artists' Company., Rising Stars 2005, (Melbourne: Gallery Gabrielle Pizzi, 2005), 1 folded card [9].
Pizzi, G, University of Tasmania. and Plimsoll Gallery., Painting from the Desert: Contemporary Aboriginal Paintings, ([Hobart]: University of Tasmania, 1990), 24 p.
Pizzi, G,'Western Desert Art 1971/ 1989: An Overview', In presented by Lauraine Diggins Fine Art Pty Ltd. ed. A Myriad of Dreaming: Twentieth Century Aboriginal Art . (Melbourne: Malakoff Fine Art Press, 1989), pp.62-86.[NMA 750.899915074 MYR].
Ryan, J, G Bardon and National Gallery of Victoria, Mythscapes: Aboriginal Art of the Desert from the National Gallery of Victoria, (Melbourne: The Gallery, 1989), 104 p.
Sutherland, I, Papunya Tula Paintings: 2-24 May Wagga Wagga City Art Gallery , (Wagga Wagga, N.S.W.: Wagga Wagga City Art Gallery, 1988), 20 p.
Tjapaltjarri, CP and others, Songlines: Clifford Possum and Papunya Tula Artists: An Exhibition at the Rebecca Hossack Gallery, (London: Rebecca Hossack Gallery, 1990), [6] p.
Tjungurrayi, Charlie T. and University of Queensland. University Art Museum. eds. Trace and Place Recent Aboriginal Painting from Papunya Tula [and] Where the Dreamtime Stops, (Brisbane, Qld.: University Art Museum, University of Queensland, 1986 )
Williams, J and others, Masterpieces from the Western Desert, (London: Gavin Graham Gallery, 2003), 31 p.
Borschmann, G, Interview with Dick Kimber, Writer, Historian, Anthropologist, Interview with Dick Kimber, Writer, Historian, Anthropologist, [Recorded on Nov. 5, Nov. 6, Nov.11 and Nov.13, 2003 at Alice Springs, N.T], 2003
Richard Kimber, an amateur historian of central Australia speaks about his relationship with the South Australian Museum as a collector of artefacts on the South Australian coastal plains and Victorian mallee in the 1960s; his personal relationships with the Arrente people of the Northern Territory; his role in land rights claims under the Federal Land Rights (N.T.) Act, particularly for the Walpiri people; the work of T.G.H. Strehlow.
Doreen Mellor, v.[videorecording (VHS)].2002
Summary: Doreen Mellor is co-curator of the exhibition "Papunya Tula painting, 25 years and beyond". She speaks about the origins of the Papunya Tula painting movement and its place in the development of the indigenous visual arts during the past two decades.
Dreamings: The Art of Aboriginal Australia, Film Australia, v.1 videocassette (VHS)(30 min.); sd, col, 1/2 inFilm Australia, 1988
Filmed at many Northern Territory sites, the film includes artists David Mulungi, and Paddy Carroll painting a Dreaming story, Michael Nelson Jakamurra from Papunya painting aerial views of the land, and women artists at Yuendumu. It shows the techniques of preparing bark for painting, and collecting ochre. The video aims to show that art in Aboriginal life is an essential link with the past and traditions. (ML)
Mr. Patterns, McKenzie, C, Film Australia, 2004
Papunya Tula art, commonly known as dot painting, is world renowned. This video tells the story of Geoff Bardon, who together with the Papunya artists, was a catalyst for what many consider, the greatest art movement of the 20th century.
Sandpaintings of the Western Desert a Demonstration, O'Rourke, S and P Jools, S. O'Rourke, [producer], 1981.
Aboriginal Video Magazine. no. 9, Wood, C and others, Produced by the Communications and Liaison Branch of the Dept. of Community Development, 1986
A news magazine, made by Aboriginal people, containing a number of short news items: Barunga Sports and Culture Festival 1986; newstime; David Gulpilil talks about statehood; turtle hunting; Centre for Appropriate Technology, Alice Springs; community government; fire and flood; Papunya Tula artists; working together; and Charley Pride sings.