User:Hamiltonstone/Sandbox3

Jenni Kemarre Martiniello
In 2012, Martiniello was a finalist in the Waterhouse Natural History Art Prize. Martiniello won the 2013 National Aboriginal & Torres Strait Islander Art Award for her work Golden Brown Reeds Fish Trap, created in blown glass. She also won a 2013 fellowship worth $90,000 at the National Indigenous Art Awards.

Boxer Milner
Boxer Milner (also Boxer Milner Tjampitjin or Milnga Milnga) was born around 1935 on Sturt Creek, north of Lake Gegory in Western Australia, near the border with the Northern Territory. The name Milnga Milnga, noted by the National Gallery of Australia as an alternate name for Boxer Milner, refers also to a flood plain area on Sturt Creek, in the artist's country.

Milner began his career as a stockman in the region where he was born. Milner first painted in the late 1980s, and exhibited with Warlayirti Artists, based in Balgo, Western Australia.

Milner's works are held by the Art Gallery of South Australia, the National Gallery of Australia, the National Gallery of Victoria, the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia, and several major private collections.

Daisy Leura Nakamarra
Daisy Leura Nakamarra (born c.1936) is a contemporary Indigenous Australian artist, one of the first women to paint for Papunya Tula artists' company, and wife of one of Papunya's founding artists, Tim Leura Tjapaltjarri.

Daisy Leura was born on Narwietooma Station in the Northern Territory around 1936. Nakamarra is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Daisy Leura is the element of the artist's name that is specifically hers.

One of the first of the women to paint with Papunya Tula artists, Daisy was also, according to Vivien Johnson, the first woman painting in the Western Desert style to hava a work purchased by an Australian collecting institution.

Major public collections that include works by Daisy Leura include the National Gallery of Australia and Art Gallery of South Australia. Her paintings are also held in the Flinders University Art Museum as well as by the private Kelton Foundation.

Joanne Currie Nalingu
Joanne Currie won the Wynne Prize in 2008 with her painting The river is calm.

Narputta Nangala Jugudai
Mother of Daisy Jugadai Napaltjarri.

Nangala is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Narputta Jugadai is the element of the artist's name that is specifically hers.

Winner of the National Aboriginal & Torres Strait Islander Art Award in 1997, works by Narputta are held by the Art Gallery of New South Wales, and the National Gallery of Victoria.

Charlie Ward Tjakamarra
Charlie Ward Tjakamarra (c.1932–2005) was a Pintupi artist who lived and painted in Kintore, Northern Territory. A contemporary Indigenous Australian artist, Charlie Ward's paintings are held by the Art Gallery of New South Wales and the National Gallery of Victoria.

Life
Charlie Ward Tjakamarra was born around 1932. Tjakamarra (in Pintupi language) or Jakamara (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Charlie is the element of the artist's name that is specifically his.

Charlie Ward died in Alice Springs on 6 May 2005.

Background
Papunya is a settlement in the Northern Territory, established in 1959 to house Indigenous Australians who were being displaced from their traditional lands in Australia's central and western desert regions.

Contemporary Indigenous art of the western desert began in 1971 when Indigenous men at Papunya created murals and canvases using western art materials, assisted by teacher Geoffrey Bardon. Their work used acrylic paints to create designs representing body painting and ground sculptures. [source] The artists, led by a number of senior men, particularly Kaapa Tjampitjinpa, in 1972 formed the Papunya Tula artists' company to represent their interests.

were men (there had been resistance among the Pintupi men of central Australia to women also painting).

Charlie Ward was active painting in Kintore, Northern Territory in the 1990s. It was at that time that he painted Fire Dreaming at Ngulyarma (1999) and Tingarri men's bushfire at Ngarru, west of Jupiter Well (2001), both works acquired by the National Gallery of Victoria in 2007. These works were painted in synthetic polymer paint on canvas.

In addition to painting, Charlie Ward was also an author of the story Yumaringkamarra, published in 1974 by the Northern Territory Department of Education.

Paintings by Charlie Ward are held in the collection of Art Gallery of New South Wales, and the National Gallery of Victoria.

Freddy West Tjakamarra
Freddy West Tjakamarra (c.1933–1994) was a Pintupi artist who lived and painted at Papunya and later at Kiwirrkurra.

Life
Freddy West Tjakamarra was born around 1933 in the Pollock Hills, west of Lake Mackay, an arid region near what is now Kiwirrkurra. Tjakamarra (in Pintupi language) or Jakamara (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Freddy West is the element of the artist's name that is specifically his.

Freddy West's first contact with Europeans was in 1962; the following year he and his family walked to Papunya, where they settled. Like Uta Uta Tjangala, he was an advocate for the return of the Pintupi to their land, including the new settlement of Kiwirrkurra.

Art
Freddy West was one of the founders of Papunya Tula artists, but was a sporadic painter. He worked during the establishment phase of the movement at Papunya, then resumed painting later in the 1980s.
 * Background on Papunya

Early works by Freddy West often related to the Tingari cycle of songlines. The Tingari Men were a group of ancestral elders who − in the Dreaming − travelled over vast areas of the Western Desert, performing rituals and creating or "opening up" the country. They were usually accompanied by recently-initiated novices to whom they provided instruction in the ritual and law of the region. The adventures of the Tingari groups are enshrined in numerous song-myth cycles which provide explanations for contemporary customs in Western Desert aboriginal life. Works of this nature include Ngunarrmanya (1974) and Tingarri Men at Ngalkalarra (1975). The National Museum of Australia described Ngunarrmanya as representing a gathering at a permanent waterhole that was an important Tingari site: "A fire lit by men from the south, to signal their presence, threatened a store of sacred ceremonial objects. The initiates were instructed to build a barrier, which became a sandhill around the waterhole. This diverted the fire eastward and the Tingarri people followed its burnt-out path."

Paintings by Freddy West are held by the National Museum of Australia.

Long Jack Phillipus Tjakamarra
Tjakamarra (in Pintupi language) or Jakamara (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Long Jack Phillipus is the element of the artist's name that is specifically his.

Old Mick Tjakamarra
Tjakamarra (in Pintupi language) or Jakamara (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Old Mick is the element of the artist's name that is specifically his.

Dinny Nolan Tjampitjinpa
Tjampitjinpa (in Pintupi language) or Jampijinpa (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Dinny Nolan is the element of the artist's name that is specifically his.

Old Walter Tjampitjinpa
Old Walter Tjampitjinpa (c. 1912 - 1980) was a Pintupi painter from the central and western desert.

[insert PT background here] Old Walter was one of the foundation artists of the movement that emerged in Papunya Tula. White art teacher Geoffrey Bardon considered him one of eight artists whose efforts at the foundation of the movement were particularly interesting. The others were Tim Leura Tjapaltjarri, Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Payungka Tjapangati, Mick Namarari Tjapaltjarri, Charlie Tarawa Tjungurrayi and Johnny Warrangkula Tjupurrula.

Toward the end of his life, Old Walter became blind. He died in Alice Springs in 1980.

Ronnie Tjampitjinpa
Born around 1943 and raised in the Western Desert region around Lake Mackay, Ronnie moved into Haasts Bluff in 1956.

Tjampitjinpa (in Pintupi language) or Jampijinpa (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Ronnie is the element of the artist's name that is specifically his.

Uta Uta Tjangala
Uta Uta Tjangala (c. 1926–1990) was a central Australian artist, notable for his paintings, in particular the 1981 work Yumari.

Tjangala (in Pintupi language) or Jangala (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Uta Uta is the element of the artist's name that is specifically his.

Uta Uta was born around 1926 in the Gibson Desert region, west of present day Kiwirrkurra. In the 1950s Uta Uta and his family moved to Ikuntji (also known as Haasts Bluff) in the Northern Territory.

At the time he painted Yumari (1981), there were political tensions in the community of Papunya. The Pintupi people at Papunya were "doubly exiled by history", by being forced into white settlements by European administrators, but also by having to live on other Aboriginal people's traditional lands. As a senior Pintupi man, Uta Uta was involved in this conflict, and was a strong supporter of Pintupi moving back to their own country. The painting Yumari has been seen as "the artist himself...surveying the Country to which he hopes soon to return".

As well as being a noted painter, he was an "expressive and dynamic dancer and a foremost authority on men's ritual" amongst his community.

Works by Uta Uta are held in the collections of the National Gallery of Australia, Art Gallery of New South Wales, the National Gallery of Victoria, and the National Museum of Australia.

Bill Whiskey Tjapaltjarri
Bill Whiskey Tjapaltjarri (c.1920 – 2008) was a central Australian Indigenous Australian artist.

Known as Mininderi when his family lived traditionally, Bill Whiskey was born around a hundred kilometres west of Uluru, in a locality called Pirupa Alka. Following his father's death, the family walked north to Haasts Bluff, Northern Territory, where Bill worked on construction of the new settlement there. His middle name was a misnomer as Bill was a teetotaller; it arose not through reference to the alcoholic beverage, but to his 'whiskery' beard.

Bill had painted designs on artifacts for some time. It was only in 2004 that he went to the art centre at Mount Liebig and asked to paint canvas, and was immediately recognised as a significant artist. The most frequent subject for his works is the portrayal of waterholes near Kata Tjuta (also known as The Olgas), and is the only artist recorded as painting a cockatoo story from the dreaming for this area.

David Corby Tjapaltjarri
David Corby Tjapaltjarri (c. 1940 – c. 1980) was a Warlpiri-speaking Indigenous artist from Australia's Western Desert region.

Tjapaltjarri (in Pintupi language) or Japaljarri (in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus David Corby is the element of the artist's name that is specifically his.

Critic Sasha Grishin has reviewed David Corby's work in the context of renewal at Papunya.

David Corby's work is held by the Flinders University Art Museum in Adelaide and the Museum and Art Gallery of the Northern Territory in Darwin.

Tim Leura Tjapaltjarri
Husband of Daisy Leura Nakamarra.

Tjapaltjarri (in Pintupi language) or Japaljarri(in Warlpiri dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although often used as terms of address, they are not surnames in the sense used by Europeans. Thus Tim Leura is the element of the artist's name that is specifically his.

Tim Leura was one of the foundation artists of the movement that emerged in Papunya Tula. White art teacher Geoffrey Bardon considered him one of eight artists whose efforts at the foundation of the movement were particularly interesting. The others were Old Walter Tjampitjinpa, Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Payungka Tjapangati, Mick Namarari Tjapaltjarri, Charlie Tarawa Tjungurrayi and Johnny Warrangkula Tjupurrula.

Tommy Lowry Tjapaltjarri
Tommy Lowry Tjapaltjarri (also Tommy Tichiwan No. 4) was a Pintupi painter. He painted works in synthetic polymer on canvas, including Two Men's Dreaming at Kuluntjarranya (1984), a major work included in the Papunya Tula: Genesis and Genius exhibition at the Art Gallery of New South Wales.

Tim Payungka Tjapangati
Tim Payungka was one of the foundation artists of the movement that emerged in Papunya Tula. White art teacher Geoffrey Bardon considered him one of eight artists whose efforts at the foundation of the movement were particularly interesting. The others were Old Walter Tjampitjinpa, Tim Leura Tjapaltjarri, Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Charlie Tarawa Tjungurrayi, Mick Namarari Tjapaltjarri, and Johnny Warrangkula Tjupurrula.

Long Tom Tjapanangka
Painted Ulampuwarru (Haasts Bluff Mountain), which in 1999 won the 19th National Aboriginal & Torres Strait Islander Art Award.

George Tjungurrayi
George won the Wynne prize in 2004.

Charlie Tarawa Tjungurrayi
Charlie Tarawa (or Tjaruru) Tjungurrayi

Charlie Tarawa was one of the foundation artists of the movement that emerged in Papunya Tula. White art teacher Geoffrey Bardon considered him one of eight artists whose efforts at the foundation of the movement were particularly interesting. The others were Old Walter Tjampitjinpa, Tim Leura Tjapaltjarri, Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Payungka Tjapangati, Mick Namarari Tjapaltjarri, and Johnny Warrangkula Tjupurrula.

Johnny Warrangkula Tjupurrula
Johnny Warrangkula Tjupurrula (died 2001) was a contemporary Indigenous Australian artist, and one of the founding members of the Papunya Tula art movement, that began at Papunya in 1971.

Johnny Warrangkula was born in the early-mid twentieth century. Geoffrey Bardon, in his book Papunya Tula: Art of the Western Desert, places his birth around 1932; the Queensland Art Gallery, in contrast, estimates it at 1918. He had both a stutter and a tremor, with the latter influencing his ability to manage the brush, leading him to adopt a painting style that emphasised "dotting and over-dotting, together with widely varied linear effects".

Johnny Warrangkula was one of the foundation artists of the movement that emerged in Papunya Tula. White art teacher Geoffrey Bardon considered him one of eight artists whose efforts at the foundation of the movement were particularly interesting. The others were Old Walter Tjampitjinpa, Tim Leura Tjapaltjarri, Kaapa Tjampitjinpa, Clifford Possum Tjapaltjarri, Tim Payungka Tjapangati, Charlie Tarawa Tjungurrayi, and Mick Namarari Tjapaltjarri. Close friends with Kaapa Tjampitjinpa, the two men were mischief-makers regularly planning escapades to obtain alcohol from outside the Papunya settlement. The men had contrasting approaches to their work, however, with Kaapa emphasising formal structure in his paintings, while Johnny Warrangkula's efforts were intuitive and created with great energy and detail.