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Multi-award-winning, The Papunya School Book of Country and History is a unique and fascinating account of the history of Western Desert communities from an Indigenous perspective.

140 pp. softcover. Illustrated.

This complete record of the artists and the work from Papunyam is a firsthand account of a contemporary art movement that has worked toward restoring the cultural pride of a deeply spiritual people and providing the rest of the world with new ways of seeing this inspirational art form.

Papunya: A Place Made After the Story is a first-hand account of the Papunya Tula artists and their internationally significant works emanating from the central Western Desert. This momentous movement began in 1971 when Geoffrey Bardon, a hopeful young art teacher, drove the long lonely road from Alice Springs to the settlement at Papunya in the Northern Territory. He left only eighteen months later, defeated by hostile white authority, but a lasting legacy was the emergence of the Western Desert painting style. It started as an exercise to encourage local children to record their sand patterns and games, and grew to include tribal men and elders painting depictions of their ceremonial lives onto scraps of discarded building materials. With Bardon's support, they preserved their traditional Dreamings and stories in paint. The artistic energy unleashed at Papunya spread through Central Australia to achieve international acclaim. These works are now regarded as some of Australia's most treasured cultural, historical and artistic items. The publication of this material is an unprecedented achievement. Bardon's exquisitely recorded notes and drawings reproduced here document the early stages in this important art group. This landmark book features more than five hundred paintings, drawings and photographs from Bardon's personal archive. It tells the story of the catalyst for a powerfully modern expression of an ancient indigenous way of seeing the world.

This work tells the story of how Anangu from five different language groups came to live together at Papunya. From the time of first contact with explorers, missionaries and pastoralists, through to the Papunya art movement and the Warumpi Band, the multi-layered text finally leads us to the development of the unique educational environment that is Papunya School. As an example of two-way learning, it is a profound metaphor for reconciliation. The book is a collaboration involving the staff and students of Papunya School, working together with children's writer Nadia Wheatley and artist Ken Searle. Combining many voices and many hands, it was originally produced as a resource to be used for the Papunya School Curriculum.

4to, 319pp. Colour and black & white illustrations. A very good paperback copy, spine creased.

With diagrams by Judith Ryan. Introduzione di Judith Ryan. Presentazione di Ulli Beier. Numerose illustrazioni e fotografie a colori e in bianco e nero. Bibliografia . 8vo pp. 140 Rilegato tela, sovracoperta (cloth, dust jacket) Molto Buono (Very Good) "The Papunya Painting Movement, born in the Western Desert in Northen Australia. In 1971 when Geoffrey Bardon, a young Sydney art teacher, was posted to the government settlement at Papunya he found more than a thousand Aboriginal people living in a state of dislocation and degradation. Bardon was not the first European to show interest in the traditional sand mosaics of these dispossessed people at Papunya, nor the first to recognise them as evidence of a powerful ancient culture. Anthropologists had studied them over many years, but Geoffrey Bardon's empathy with the artists and his parent tribal elders brought forth revelations in a great surge of creativity hitherto unseen by Europeans".

Papunya: A Place Made After the Story is a first-hand account of the Papunya Tula artists and their internationally significant works emanating from the central Western Desert. This momentous movement began in 1971 when Geoffrey Bardon, a hopeful young art teacher, drove the long lonely road from Alice Springs to the settlement at Papunya in the Northern Territory. He left only eighteen months later, defeated by hostile white authority, but a lasting legacy was the emergence of the Western Desert painting style. It started as an exercise to encourage local children to record their sand patterns and games, and grew to include tribal men and elders painting depictions of their ceremonial lives onto scraps of discarded building materials. With Bardon's support, they preserved their traditional Dreamings and stories in paint. The artistic energy unleashed at Papunya spread through Central Australia to achieve international acclaim. These works are now regarded as some of Australia's most treasured cultural, historical and artistic items. The publication of this material is an unprecedented achievement. Bardon's exquisitely recorded notes and drawings reproduced here document the early stages in this important art group. This landmark book features more than five hundred paintings, drawings and photographs from Bardon's personal archive. It tells the story of the catalyst for a powerfully modern expression of an ancient indigenous way of seeing the world.

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One of the most interesting art movements of modern times began when art teacher Geoffrey Bardon, working in the Papunya settlement 250 miles from Alice Springs in the Western desert of Australia, asked a group of children to paint their school house with the curious design motifs he had noticed. The youngsters asked their elders to do it. From those first five rudimentary school murals, Bardon supplied the Aboriginals with paints, brushes and canvases, spawning the creation of art that has attracted buyers around the world. The idea spread like wild yams in the bush. At first, only men were the painters of the sacred images being transferred from body and rock to two-dimensional surfaces. Today, men and women Aboriginal artists both contribute to this outpouring. This book covers the developments in each settlement as the world's oldest, continuous art evolved into an art that is comfortable on gallery walls everywhere because of its patterns and bold colors. The visuals, arcs, concentric circles, parallel lines point to eternal ideas in the Aboriginal culture, ideograms that bear the weight of 50,000 years and provide us with a new kind of seeing, writes Judith Ryan. (National Gallery of Victoria)

Investigative journalism at its best, this devastating, powerful portrait of an Australian Aboriginal community, once known for its art tradition and now known for its violence and corruption, digs into the core of indigenous issues today"Why don't you check out Papunya? It's the sniffing capital of Australia, it's a Bermuda triangle for taxpayer funds. Nobody in the NT government gives a rats. The council just tossed out World Vision. People are frightened to talk." Award-winning journalist Russell Skelton's five year journey of inquiry that coincided with one of the biggest shifts in indigenous policy in Australian history began on the day he received this email. Set against the backdrop of Papunya, a Northern Territory Aboriginal community whose history showed promise but whose dysfunction is now more prominent that its famous artwork, this book exposes unmitigated misery, shocking levels of domestic violence and sex abuse, and extreme alcohol and substance dependency. Above all, it reveals how systematic failure of indigenous policy betrayed a once secure community. It also introduces politician, activist, and artist Alison Anderson, a woman whose presence has dominated Papunya and the politics of the Northern Territory. This is a powerful and shaming portrait of a community in crisis.

Since the renaissance of traditional Aboriginal art began at the small central Australian desert community of Papunya in 1971, Aboriginal art has become the most dynamic of Australia's visual arts. The crosshatched bark paintings from Arnhem Land, the multi-layered "dot" paintings from central Australia, the ochre paintings of Western Australia's west Kimberley painters, the bright "naif" watercolours of the Fitzroy Crossing artists from the east Kimberley and the widely divergent individual expressions of urban artists are only some of the prolific expression of this rich, evolving tradition. But how has this art come about? What is the cultural wellspring from which it originates? Does "traditional" Aboriginal art still exist? How is the relationship between people and their land expressed in images? Why do some Aboriginal artists use only modern materials and others traditional media such as bark and ochre? And where and how is this art produced, displayed, marketed and sold? This book, heavily illustrated with examples of much of the finest Aboriginal art of the recent past, answers these and many other questions through its exploration of the vastly different Australian landscapes and the historic circumstances of the growth of this vibrant movement.

The Aboriginal community of Ikuntji(Haasts Bluff) in Australia's Northern Territory has long been associated with painting: firstly, through its ties with Albert Namatijira and the watercolor artists of the Hermannsburg School & second, through the renowned work of the Papunya Tula Artists. Now, since the establishment of their own arts center in 1992, Ikuntji artists have emerged from the shadow of their famous neighbors. The artists featured in this book have in a short time built a reputation for a distinct and refreshing style.

Since the renaissance of traditional Aboriginal art began at the small central Australian desert community of Papunya in 1971, Aboriginal art has become the most dynamic of Australia's visual arts. The crosshatched bark paintings from Arnhem Land, the multi-layered "dot" paintings from central Australia, the ochre paintings of Western Australia's west Kimberley painters, the bright "naif" watercolours of the Fitzroy Crossing artists from the east Kimberley and the widely divergent individual expressions of urban artists are only some of the prolific expression of this rich, evolving tradition. But how has this art come about? What is the cultural wellspring from which it originates? Does "traditional" Aboriginal art still exist? How is the relationship between people and their land expressed in images? Why do some Aboriginal artists use only modern materials and others traditional media such as bark and ochre? And where and how is this art produced, displayed, marketed and sold? This book, heavily illustrated with examples of much of the finest Aboriginal art of the recent past, answers these and many other questions through its exploration of the vastly different Australian landscapes and the historic circumstances of the growth of this vibrant movement.