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Open a larger version of the following image in a popup: Tim Payungka Tjapangarti, Cave Story, 1971

Tim Payungka Tjapangarti

Cave Story, 1971
Synthetic polymer paint on composition board
18 ⅛ x 12 inches (46.04 x 30.48 cm)
Photo: Tony De Camillo for the Herbert F. Johnson Museum of Art, Cornell University
Pintupi Language Group
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Provenance

The Artist, painted November 1971

Given as payment to the first owner for his professional services as a scriptwriter on Geoff Bardon's first film, on the Yuendumu Sports Carnival, The Richer Hours (1971-72)

Sotheby's, Important Aboriginal Art, Melbourne, 28 June, 1999, lot 25

Collection of John and Barbara Wilkerson, New York

Exhibitions

Icons of the Desert: Early Aboriginal Paintings from Papunya, The Herbert F Johnson Museum, Cornell University, Ithaca, New York, 10 January - 5 April 2009; Fowler Museum of Cultural History, University of California, Los Angeles, 3 May - 2 August, 2009; Grey Art Gallery, New York University, New York, 1 September - 5 December, 2009

Tjukurrtjanu: Origins of Western Desert Art, The Ian Potter Centre, National Gallery Victoria, Melbourne, Australia, 30 September 2011- 12 February 2012; Musee du quai Branly, Paris, France, 9 October 2012- 20 January 2013

Abstraction & the Dreaming: Aboriginal Paintings from Australia’s Western Desert (1971 – Present), Nora Eccles Harrison Museum of Art, Utah State University, Utah, 11 September - 12 December 2015

Publications

Sotheby's, Important Aboriginal Art, Melbourne, 28 June, 1999, lot 25

Geoffrey Bardon and James Bardon, Papunya, A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, The Miegunyah Press: Melbourne, 2004, p. 441, painting 412

"The bottom half of this picture represents successive views of a cave in the hills somewhere in Tjapangarti's homeland in Western Australia; the top pattern represents the interior of that same cave since great importance is placed on various caves to which Dreaming ceremonies are connected; it is very common for the Ceremonial Men to be in a cave, often where there is a rockhole. Yet in reality there are very few 'caves' in this area, but there is an incredible knowledge retained by Aboriginal men of where a cave may be, since its Dreaming is a part of their custodianship. Tim Payungka's design is a stylised narrative landscape." (A Place Made After the Story: The Beginnings of the Western Desert Painting Movement, 2004, p. 441)
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