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and created sacred sites. Due to the his striking compositions which featured traditional
Aboriginal figures and ritual imagery, his artwork influenced the contemporary art world. His style, however, is part of a thousand-year-old tradition in Aboriginal cave art and dreaming. His art skills consisted of careful draftsmanship and precision with exquisite details. Painting was an outlet for Tjakamarra who was displaced from his tribal homelands.
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65:. This location is one of the most isolated areas in Central Australia, and he was known to be one of the last people to leave this region. Tjakamarra not only identified himself as a Pintupi speaker, but was also close with speakers of the Ngaatjatjarra language and identified with that group as well.
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After five years of being in
Papunya, Tjakamarra was one of the first artists to paint with acrylics and was able to adapt to the new medium quickly. His paintings were known to tell traditional Tingari stories. These stories featured two characters in human and animal form who traveled the desert
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border. He stayed there for much of the 1980s and sold his paintings independently. In 1987, he made the journey to
Yawalyurru with officers and other Pintupi men. This journey had last six days in the desert which was accompanied with hot weather, insufficient water, and vehicle problems. In the
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The imagery in this piece is connected to the belief of
Tjkumpa, or also known as "dreaming". Through this belief people believed to be connected to ancestors and also their land. The painting tells a story about two bodies that are half possum and half human who have eloped even though it goes
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began encouraging the men to paint using
Western materials. This caused a major stylistic development and movement in Australian art. During his early painting period in the 1970s, Tjakamarra's main political and personal goal was to visit Yawalyurru (a Tingarri site) and protect it from mining
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in the early 1966 from the
Western Desert (relocated by the Weapons Research Establishment). Papunya had been established in the 1960s and was home to the Pintupi people after living semi-nomadic lives. In the early 1970s, he was working in Papunya as a school
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tells the story of an ancestral allusion happening near rock holes. Once again
Anatjari uses the same few colors in his painting and it's a very detailed painting with a stippled background and black and white circles painted with close precision.
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First solo exhibition in New York of 1989 by
Metropolitan Museum of Art, the museum purchased one of Anatjari Tjakamarra's paintings, making it the first western desert painting to be featured in a collection of contemporary art.
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art movement. He was born in the area of
Kulkuta in Pintupi country. Tjakamarra was a well-respected indigenous ritual leader and leading figure in Aboriginal art. His work is featured in major metropolitan museums, including the
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Created by
Tjakamarra during his early years in the Papunya movement, this piece was based on initiation ceremonies where designs were painted onto men and these designs reflected those worn by a ritual leader.
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In this piece, circles that were in the centre represented a water filled rock hole and the diagonal lines had represented sacred objects decorated by Tingarri men which were then later stolen.
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In this Painting, Anatjari uses the colors black, white, and red which gives his painting a sharp and clear composition, this technique is known to be a key feature throughout his works.
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When Tjakamarra was in his late twenties he already had two daughters and two wives, and he did not come into contact with the modern world until he was in his late thirties. He came to
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late 1980s, he had returned close to his birthplace in Kiwirruka and began to work with the Papunya painters. Besides working on paintings, Tjakamarra was involved in maintenance work.
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Anatjari spoke very little English, and when he spoke about his artworks, he did not give much detail. Anatjari Tjakamarra passed away in 1992.
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exploration. In 1971, he became part of the original Papunya painters. Tjakamarra was most active in his paintings from around 1973–1975.
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866:"Anatjari III Tjakamarra, Pintupi people – Emu Story – Search the Collection, National Gallery of Australia"
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In 1995 one of Tjakamarra's earliest paintings was purchased for what was at the time a record of $ 75,000.
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141:. The presence of the water, cave and tjuringa represents the ritual importance of water dreaming.
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Mulford, C. (2017). "Selected artists' biographies: Anatjari Tjakamarra". In Scholes, L. (ed.).
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Big Pintupi Dreaming Ceremony (1972), Kurlkurta (1990), and Women's Dreaming at Tjukula (1991).
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corporateName=National Museum of Australia; address=Lawson Crescent, Acton Peninsula.
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816:"Works matching "Anatjari Tjakamarra" :: The Collection :: Art Gallery NSW"
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Phenomenology/Ontopoiesis Retrieving Geo-cosmic Horizons of Antiquity: Logos and Life
331:"Anatjari Tjakamarra :: biography at :: at Design and Art Australia Online"
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Scholes, L. (2017). "MAGNT's Papunya collection c 1971–1972". In Scholes, L. (ed.).
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The National Gallery of Victoria has three works by Anatjari Tjakamarra's including
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753:. Darwin, NT: Museum and Art Gallery of the Northern Territory. pp. 227–228.
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The National Gallery of Australia has one work by Anatjari Tjakamarra which is
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Tjakamarra's work is held in most major Australian collections, including the
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531:. Darwin, NT: Museum and Art Gallery of the Northern Territory. p. 251.
570:"Myers Intrigue of the Archive, Enigma of the Object – in Tjukurrtjanu.pdf"
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Anatjari Tjakamarra who also went by Yanyatjarri or Anitjarri no.3 was a
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Anatjari Tjakamarra is one of the best-known artists in Aboriginal art.
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894:. Carlton, Victoria, Australia: Fitzroy Bc, Vic., Aus Art Editions.
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in 1989, and another in the same year at the John Weber Gallery in
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against their people's marriage roles, eventually ending in havoc.
471:"National Museum of Australia – Anatjari (Yanyatjarri) Tjakamarra"
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National Museum of Australia;Lawson Crescent, Acton Peninsula.
442:, National Gallery of Victoria, National Gallery of Victoria,
366:"National Museum of Australia – Story of the Women's Camp"
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man born around 1938 in the area of Kulkuta, southeast of
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in the early 1990s; this was the first purchased work of
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195:. The Metropolitan Museum of Art acquired his painting
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Painting Culture: The Making of an Aboriginal High Art
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Pty Ltd. He had his first solo exhibition at Gallery
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Pakarangura, 1972, synthetic polymer powder painting
661:"Anatjari (Yanyatjarri) Tjakamarra circa 1938–1992"
588:"Anatjari (Yanyatjarri) Tjakamarra circa 1938–1992"
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Myers Intrigue of the Archive, Enigma of the Object
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892:The New McCulloch's Encyclopedia of Australian Art
679:"Metropolitan Museum of Art: Anatjari Tjakamarra"
440:Tjukurrtjanu : origins of Western Desert art
216:Museum and Art Gallery of the Northern Territory
957:Indigenous Australians from Western Australia
932:Tjakamarra, circa 1930–1992, Yarranyanga 1989
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183:late in the decade, he began working through
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494:: CS1 maint: multiple names: authors list (
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389:: CS1 maint: multiple names: authors list (
85:Tjakamarra left Papunya at the start of the
633:Tymieniecka, Anna-Teresa (10 August 2011).
546:"Art: Possum Ancestors – Annenberg Learner"
925:Blue-tongue lizard Dreaming at Lungkatanya
725:"DAAO: Anatjari Tjakamarra – collections"
639:. Springer Science & Business Media.
166:Untitled, Body Paint for Initiation, 1972
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145:Possum Ancestors, 1975, Acrylic painting
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301:Papunya Tula : genesis and genius
909:Anatjari Tjakamarra at invaluable.com
791:"Anatjari Tjakamarra | Artists | NGV"
751:tjungunutja from having come together
529:tjungunutja from having come together
299:Perkins, Hetti; Fink, Hannah (2000),
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438:Ryan, Judith; Batty, Philip (2011),
267:Dreaming (Australian Aboriginal art)
977:Artists from the Northern Territory
411:Myers, Fred R. (16 December 2002).
154:Yarranyanga, 1989, Acrylic painting
514:Globalization and Contemporary Art
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972:People from Goldfields–Esperance
962:20th-century Australian painters
613:Art Gallery WA Collection Online
204:contemporary Aboriginal artwork
121:A Cave Dreaming, 1972, Painting
228:Art Gallery of New South Wales
220:Art Gallery of South Australia
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952:Australian Aboriginal artists
919:Anatjari Tjakamarra Biography
870:National Gallery of Australia
16:Australian artist (1930–1992)
704:"Trove: Anatjari Tjakamarra"
224:National Gallery of Victoria
43:National Gallery of Victoria
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516:. Oxford, Wiley-Blackwell.
512:Harris, Johnathan (2011).
110:Man Dreaming Shield, 1972,
39:Metropolitan Museum of Art
417:. Duke University Press.
770:AGSA – Online Collection
927:(a piece by Tjakamarra)
890:Mcculloh, Alan (2006).
820:artgallery.nsw.gov.au
766:"Anatjari Tjakamarra"
77:when school teacher,
32:who was part of the
87:outstation movement
20:Anatjari Tjakamarra
713:– via Trove.
667:. 3 December 2023.
594:. 3 December 2023.
179:After settling at
91:Northern Territory
24:Central Australian
22:(1938–1992) was a
646:978-94-007-1691-9
609:"A cave Dreaming"
550:Annenberg Learner
449:978-0-7241-0345-4
424:978-0-8223-8416-8
310:978-0-7347-6310-5
241:Emu Story (1972).
63:Western Australia
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982:1938 births
947:1992 deaths
335:daao.org.au
230:(2 works).
210:Collections
175:Exhibitions
159:Yarranyanga
135:Pakarangura
941:Categories
875:27 October
850:27 October
618:27 October
480:26 October
475:nma.gov.au
375:27 October
370:nma.gov.au
340:27 October
283:References
226:, and the
181:Kiwirrkura
59:Kiwirrkura
27:Aboriginal
914:Emu story
825:13 August
800:13 August
775:13 August
734:13 August
709:13 August
688:13 August
665:Sotheby's
592:Sotheby's
49:Biography
490:cite web
385:cite web
261:See also
193:New York
139:tjuringa
113:Painting
105:Artworks
75:gardener
41:and the
967:Pintupi
764:st; l.
552:. 2009.
277:Tingari
198:Tingari
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827:2020
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729:DAAO
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690:2020
641:ISBN
620:2023
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