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Open a larger version of the following image in a popup: Yukultji Napangati, Untitled, 2016
Open a larger version of the following image in a popup: Yukultji Napangati, Untitled, 2016

(detail) Yukultji Napangati, Untitled, 2016

Photo: Courtesy of the artist and Salon 94

Open a larger version of the following image in a popup: Yukultji Napangati, Untitled, 2016
Open a larger version of the following image in a popup: Yukultji Napangati, Untitled, 2016
Open a larger version of the following image in a popup: Yukultji Napangati, Untitled, 2016

Yukultji Napangati, Untitled, 2016

Photo: Courtesy of the artist and Salon 94

Yukultji Napangati Pintupi, circa 1971

Untitled, 2016
Synthetic Polymer Paint on Canvas
60.24 x 48.03 inches (153 x 122 cm)
Photo: Courtesy of the artist and Salon 94

Further images

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Provenance

The Artist, painted at Kiwirrkura, Western Australia, 2016

Papunya Tula Artists, Alice Springs, Northern Territory, cat. no. YN1606058

Salon 94, New York, cat. no. YN 10

Collection of Steve Martin & Anne Stringfield, New York

Exhibitions

Twenty Aboriginal Paintings, UOVO Art, New York, 15 - 19 January 2019

60 over 50: 60 Paintings from 50 Years of Australian First Nations Art, UOVO, New York, May 2023

Literature

Steve Martin, Twenty Aboriginal Paintings, UOVO, New York, 2019, p. 11 (illus.)

Vanessa Merlino and Luke Scholes, 60 over 50: 60 Paintings from 50 Years of Australian First Nations Art, UOVO, New York, 2023 (illus.)

This painting depicts designs associated with the site of Marrapinti, west of the Kiwirrkura Community and the Pollock Hills in Western Australia. A large group of ancestral women camped at this rockhole before continuing their travels further east, passing through Wala Wala, Kiwirrkura and Ngaminya. The sinuous lines that culminate in a roundel represent the creek and cave at Marrapinti, as well as the surrounding tali (sandhills). While at the site the women made the nose bones, also known as marrapinti, which are worn through a hole made in the nose web. These nose bones were originally used by both men and women but are now only inserted by the older generation on ceremonial occasions. As the women continued their travels towards the east they gathered the edible berries known as kampurarrpa or desert raisin from the small shrub Solanum centrale. These berries can be eaten directly from the plant but are sometimes ground into a paste and cooked on the coals as a type of damper. (Text from Papunya Tula Artists)

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