Status: Stock
Set of four 50mm x 40mm magnet packaged with display card in clear bag. Each magnet features a painting from the ‘Ýiwarra Kuju – The Canning Stock Route’ exhibition, including;
‘Minyipuru’ by Dulcie Gibbs, Muni Simpson and Rosie Williams
‘Puntawarri, Jilakurru and Kumpupirntily’ by Dadda Samson and Judith Samson
‘Kun Kun’ by Bugai Whyoulter, Nora Nungabar, Nora Wompi and Kumpaya Girgirba
‘Sunday Well’ by Dadda Samson
Status: Stock
77mm diameter mirror packaged with display card in clear bag, featuring Dadda Samson’s painting ‘Sunday Well’. Sunday Well is an important historical location close to Jigalong Aboriginal Community.
“People used to stay here. When people see the whitefella they used to run away, up to the hills and rocks. They were afraid of the whitefellas. My mother and my brothers ran away, right up to the Puntawarri because the whitefellas were shooting at the Martu people. They were sneaking in and the gun went off, and they all ran and just kept running and running until they got to Puntawarri.”
– Dadda Samson
Status: Stock
A fridge magnet featuring the collaborative artwork ‘Puntawarri, Jilakurru and Kumpupirntily” by Martumili Artists, and grandmother and granddaughter, Dadda Samson and Judith Samson. Magnets are 1.5mm thick and superior strength magnet to attach card and heavier papers to your fridge or cabinet.
Puntawarri, Jilakurru and Kumpupirntily are sites in Dadda’s ngurra (home country), which she has painted here with her granddaughter, Judith. Puntawarri is an important cultural area, on the middle stretches of the Canning Stock Route and east of the Jigalong Aboriginal Community, where the artists now live with their family. It is also the site of a now abandoned community, and a creek and lake. Jilakurra (Well 17 on the Canning Stock Route) is a permanent spring, and was a major meeting and ceremonial site in the pujiman (bush dwelling) era. Located here are many significant engravings and rock art, much of which are sacred to Martu people. Kumpupirntily (Lake Disappointment) is a large warla (salt lake) and one of the most sacred and dangerous sites in the far Western Desert. This is where the Ngayurnangalku (cannibal beings) live beneath the lake, surfacing only to feed on human flesh.
Status: Stock
An individual, blank greeting card with envelope featuring a detailed section from the collaborative artwork ‘Minyipuru’ by Martumili Artists Muni Rita Simpson, Rosie Williams and Dulcie Gibbs.
Sisters Muni, Rosie and Dulcie grew up in the Country depicted in this painting. But it is the epic story of the Seven Sisters or Minyipuru, which they have described here. In this story, the old man Yurla, who had been pursuing the sisters, captured one of the women at Parnkarpini, between wells 35 and 36. The Minyipuru tricked him and rescued her.
Poor old fella, he had a rough time. He was trying and trying and trying.
The Minyipuru promised to stay with the old man Yurla but, when he returned from collecting wood, they were floating above his head, teasing him. Yurla made a ladder but the sisters pushed it over and laughed at him. When he collapsed, exhausted, they rescued their sister and flew away.
Status: Stock
1000 piece Jigsaw Puzzle featuring Bugai Whyoulter’s painting ‘Parrngurr Rockhole’ (2015). This artwork was part of the National Musem of Australia’s exhibition ‘Songlines – Tracking the Seven Sisters’.
Parnngurr is an Aboriginal community located 370km east of Newman, at the Southern end of the Karlimilyi area in the Pilbara region of Western Australia. Created during the Return to Country movement of the 1980s, with the recognition of Aboriginal land rights and native title, the community was named after its original primary water source, a nearby rockhole and yinta (permanent water source). Until recently the community was widely known as Cotton Creek, after the European name for the ephemeral creek running alongside the community. Parngurr and its surrounds are physically dominated by distinctively red tali (sandhills), sparsely covered with spinifex and low lying shrub.
Historically and culturally Parnngurr was an important site for Aboriginal people during the pujiman (traditional, desert-dwelling) era. In the epic jukurrpa (dreamtime) story of the Jakulyukulyu, or Minyipuru (Seven Sisters), the sisters stop to rest on the adjacent Parnngurr hill before continuing on their long journey east. Throughout the pujiman period families stopped and camped here depending on the seasonal availability of water, and the corresponding cycles of plant and animal life on which hunting and gathering bush tucker was reliant. At Parnngurr and other similarly significant camp sites families would meet for a time before moving to their next destination.
Parnngurr is Bugai’s father’s Country, as well as her own ngurra (home country). She was born nearby, close to what is now Balfour Downs Station, and travelled extensively through the Parnngurr area and up and down the Canning Stock Route as far as Kunawarritji in her youth. For Bugai, Parnngurr also signifies the location at which her nomadic bush life came to an end; it was here that she and her group were picked up by whitefellas to be taken to Jigalong Mission in 1963. Collectively the group had come to the decision to move to the mission as a result of an extended drought, which had caused a scarcity in food and water resources.
Status: Stock
Exhibition catalogue from the expansive In Cahoots: artists collaborate across Country exhibition at Fremantle Art Centre. The exhibition is the result of 18 months of artists’ residencies in remote and regional Aboriginal art centres across Australia.
Artists from six key Aboriginal art centres invited leading independent artists – both Aboriginal and non-Aboriginal – from around the country to work with them. The resulting collaborative artworks are significant, striking and bold in their inventive use of materials.
Featuring sculptural works, installations and films drawing together the ideas of artists from diverse backgrounds, In Cahoots presents these fascinating, potent collaborations happening across Country today.
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A lavishly illustrated survey of Aboriginal art and the regions it is produced around Australia including Central and Western Deserts; The Kimberley and West; Top End and Arnhem Land; Queensland; Torres Strait Islands; Tasmania and southern states.
From Alice Springs to Aurukun, Kaltjiti to Kakadu, Papunya to Peppimenarti and throughout Australia, McCulloch’s Contemporary Aboriginal Art is the complete guide to the Aboriginal art of Australia featuring:
• extensive profiles on more then 80 art regions, art centres and artists
• more than 400 illustrations of artwork, landscape and artists in their country
• a comprehensive introduction detailing the history of contemporary Aboriginal art
• location maps
• buyer’s guide
• an exploration of the new media and styles of city-based artists
Status: Stock
Rectangular stainless steel earrings printed with a detailed section from the collaborative work ‘Ýarkaalpa Hunting Ground’. Note that each pair of earrings from this collection vary, as they are comprised from different sections of the original artwork. This item is handmade in Australia. Each piece is engraved with details of the artist and their artwork.
‘Ýarkaalpa Hunting Ground’ is a collaborative work painted by Martumili Artists Kumpaya Girgiba, Yikartu Bumba, Ngamaru Bidu, Nancy Taylor Karnu, Janice Nixon Yuwali, Reena Rogers, Thelma Judson and Nola Taylor.This painting portrays physical elements of Martu Country, such as the dominant tali (sandhills), warta (trees, vegetation), and water sources. Rock holes, waterholes, soaks and springs were all extremely important sites for Martu people during the pujiman (nomadic bush) era, with many important jukurrpa (dreamtime stories) chronicling the creation of these landmarks. In the past the Martu lived nomadically, moving from water source to water source, and hunting and gathering bush tucker as they went. They would traverse very large distances annually, visiting specific areas in the dry and wet season depending on the availability of water. As they travelled and hunted they would also burn areas of country creating a larger diversity of plant and animal life.
Status: Stock
Depicted in the photograph featured on this badge are Kumpaya Girgaba and Ngamaru Bidu having just caught a large parnajarrpa (goanna).
Bush tucker continues to be regularly eaten by Martu people, making up about half of peoples’ diets. Martu regularly hunt for marlu (plain kangaroo), kirti-kirti (hill kangaroo), parnajarrpa (goanna) and kipara (bush turkey). Smaller creatures such as wuukarta (honey ants) and lungki (witchety grubs) are a delicacy and are highly sort after. Seeds, fruits and vegetables gathered included jinjiwirrl (seed), quandong, warmula (bush tomato), kakula (bush cucumber) and minyarra (bush onions).
Status: Stock
Depicted in the photograph featured on this badge are Kumpaya Girgaba and Ngamaru Bidu having just caught a large parnajarrpa (goanna).
Bush tucker continues to be regularly eaten by Martu people, making up about half of peoples’ diets. Martu regularly hunt for marlu (plain kangaroo), kirti-kirti (hill kangaroo), parnajarrpa (goanna) and kipara (bush turkey). Smaller creatures such as wuukarta (honey ants) and lungki (witchety grubs) are a delicacy and are highly sort after. Seeds, fruits and vegetables gathered included jinjiwirrl (seed), quandong, warmula (bush tomato), kakula (bush cucumber) and minyarra (bush onions).