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| Pitjantjatjara Yankunytjatjara Arts | |
|---|---|
| Name | Pitjantjatjara Yankunytjatjara Arts |
| Location | Aṉangu Pitjantjatjara Yankunytjatjara Lands |
| Established | 20th century (consolidated) |
| Type | Indigenous Australian art practices |
Pitjantjatjara Yankunytjatjara Arts Pitjantjatjara Yankunytjatjara Arts refers to the creative practices originating from the Aṉangu Pitjantjatjara Yankunytjatjara Lands and affiliated communities in Central Australia, with interconnections to wider South Australian, Northern Territory and Western Australian Indigenous networks. The artistic output engages with Tjukurpa, Aṟaṟa, and regional songlines while intersecting with institutions such as the National Gallery of Australia, Art Gallery of New South Wales, National Museum of Australia, and collectors including National Gallery of Victoria and Museum and Art Gallery of the Northern Territory.
The arts of Pitjantjatjara and Yankunytjatjara peoples encompass painting, sculpture, textile, ceremonial objects, and performance rooted in Aṉangu law and practice, informed by relationships to Uluru, Kata Tjuta, Maku Tjukurpa, and surrounding sites like Kaḻṯukatjara, Kaltukatjara, Finke River, and Watarru. Exhibitions have featured works alongside artists from Papunya Tula, Utopia (Northern Territory), Hermannsburg (Ntaria), Mparntwe (Alice Springs), and partnerships with galleries including Museum of Contemporary Art Australia, State Library of South Australia, and Art Gallery of South Australia.
Art practices emerged from ancestral narratives tied to the Pitjantjatjara language and Yankunytjatjara language speakers, responding to colonial encounters with explorers such as Ernest Giles, William Gosse, and policies like the Aborigines Protection Board and legislation including the Aboriginal Lands Trust Act 1966 (SA). Community governance involves bodies like the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Executive Board, Ngaanyatjarra Council, and service organisations such as Desart, APY Art Centre Collective, and Indigenous Land Corporation. Historical intersections include missions such as Hermannsburg Mission, media events like the 1979 Aboriginal Land Rights Act (NT) protests, and art movements connected to 1980s acrylic painting boom and collectors like Charles Darwin University acquisitions and curators from Ian Potter Centre.
Traditional media include ochres from named sources like Walungurru (Kintore), Tjukurla, and tools such as possum-skin cloaks associated with Ngapartji Ngapartji and weaving techniques seen in collaborations with Australian National University researchers. Contemporary practice employs acrylic on canvas, bark painting as in collections of the South Australian Museum, lino printing as exhibited at Flinders University, ceramics in studios linked to JamFactory Contemporary Craft and Design, and installations shown at venues like SALT Contemporary Art Space, Tandanya National Aboriginal Cultural Institute, and Casula Powerhouse Arts Centre.
Key community-run art centres operate within APY lands and adjacent regions, collaborating with networks including APY Art Centre Collective, Desart, Kaltjiti Arts, Tjala Arts, Iwantja Arts, Iltja Ntjarra Many Hands Art Centre, Warlukurlangu Artists Aboriginal Corporation, Papunya Tula Artists, Ernabella Arts, Pukatja Arts, and galleries such as Owen Fine Art. These institutions liaise with funding bodies like Australia Council for the Arts, Philanthropy Australia, and programs such as Australia ICOMOS and government agencies like South Australian Museum curatorial teams.
Prominent practitioners include elders and artists linked to major collections: Anmanari Brown, Yaritji Young, Betty Kuntiwa Pumani, Tjayanka Woods, Nici Cumpston (curator connections), Molly Jugadai Napaltjarri, Pansy Napangardi, Eunice Napangardi, Jimmy Pike, Fredrick Nganampa, Keitie Young, Tony Tjamiwa, Kunmanara (Mumu Mike) Williams, Ngupulya Pumani, Piplyn Ngaanyatjarra, Jean Baptiste Apuatimi (cross-regional), Tjunkaya Tapaya, Charlie Tjapangati, Marlene Rubuntja, Makinti Napanangka, Doreen Reid Nakamarra, Barbara Weir, Gloria Petyarre, Naata Nungurrayi, Albert Namatjira (historical influence), Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri, Yatika Starr Fields (contemporary dialogues). Iconic works appear in touring exhibitions at Biennale of Sydney, Tarnanthi, Sydney Biennale, and international fairs such as Documenta and Venice Biennale collaborations.
Recurring themes include country and law as expressed through depictions of Tjukurpa sites like Kuniya Piti, Liru, Warlu, and depictions of flora and fauna including Kangaroo Island, Perentie, Witchetty Grub, alongside motifs representing waterholes, journey lines, and ceremonial objects that resonate with narratives in collections at National Gallery of Australia, British Museum, Metropolitan Museum of Art, and exhibition exchanges with institutions such as Smithsonian Institution and Guggenheim Museum.
Contemporary exchange systems connect artists and collectors via commercial galleries including Gabrielle Pizzi, Tolarno Galleries, Mossenson Galleries, and auction houses like Sotheby's, Christie's with market representation influenced by curators from Ian Potter Museum of Art, Artspace, and community-respected intermediaries such as Dulcie's Gallery. Economic frameworks intersect with policy platforms like Australian Indigenous Art Code and advocacy by organisations including First Nations Legal and Research Services and Reconciliation Australia.
Protocols for custodianship are guided by senior custodians and organisations including the Aṉangu Pitjantjatjara Yankunytjatjara Executive Board, National Congress of Australia's First Peoples, and cultural heritage registers such as Register of Indigenous Collections. Repatriation and cultural property discussions engage museums like the South Australian Museum, National Museum of Australia, and international partners in dialogues alongside legal instruments including the Aboriginal Heritage Act 1988 (SA), Native Title Act 1993, and frameworks promoted by UNESCO and Australian Institute of Aboriginal and Torres Strait Islander Studies.