Literatur in unserem Bestand
(A-L)

Bardon, Geoffrey und Bardon, James: Papunya. A Place Made After the Story. The Beginnings of the Western Desert Painting Movement, Melbourne 2004, ISBN 052285110X

Inhaltsverzeichnis        ¦         Klappentext        ¦         Buchbesprechung

Inhaltsverzeichnis

Hetti Perkins: Foreword -vii-

Robert Edwards: Foreword -viii-

Acknowledgements -ix-

Explanatory Notes -xii-

James Bardon: Preface -xiii-

Paul Cater: Introduction: The Interpretation of Dreams -xiv-

Geoffrey Bardon: Introduction: A Way into the Continent -xxii-

The Beginnings of the Western Desert Painting Movement -2-

The Children Come First, February-June 1971 -3-

The Men and the Murals, June-August 1971 -12-

The Men's Story, April-December 1971 -20-

The Great Painting Room: Like Warriors of Old, February-July 1972 -27-

The Making of Papunya Tula, September 1971-July 1972 -35-

The Structure and Meaning of the Paintings -40-

Meaning, Approach and Archetypes -41-

Hieroglyphs -46-

Subject Matter and Meaning and the Importance of the Idea of Story -48-

Water Dreamings -49-

Travelling Dreamings -50-

Fire, Spirit, Myth and Medicine Dreamings -51-

Bush Tucker Stories -52-

Women's Dreamings -53-

Ritual Dance Dreamings -53-

My Country (Homeland) Dreamings -54-

The Children's Stories -64-

The Lives of the Painters -66-

Charlie Tarawa (Tjaruru) Tjungurrayi -68-

Uta Uta Tjangala -69-

Charlie Tjakamarra -70-

Anatjari No. I Tjampitjinpa -71-

Anatjari No. III Tjakamarra -71-

Shorty Lungaka Tjungurrayi -72-

Yala Yala Gibbs Tjungurrayi -73-

Old Walter Tjampitjinpa -74-

Tim Payungka Tjapangati -75-

Freddie West Tjakamarra -76-

David Corby Tjapaltjarri -76-

Mick Namerari Tjapaltjarri -77

Turkey Tolson Tjupurrula -78

Johnny Scobie Tjapanangka -79-

Johnny Warrangkula Tjupurrula -79-

Old Tutuma Tjapangati -81-

Clifford Possum Tjapaltjarri -82-

Old Mick Tjakamarra -83-

Long Jack Phillipus Tjakamarra -83-

Bill Stockman Tjapaltjarri -84-

Kaapa Tjampitjinpa -85-

Dinny Nolan Tjampitjinpa -86-

Tim Leura Tjapaltjarri -87-

Afterword: At Papunya, 1990-1991 -90-

Archetypes and Hieroglyphs -94-

The School and the School Murals -130-

Water Dreamings -156-

Travelling Dreamings -206-

Fire, Spirit, Myth and Medicine Dreamings -238-

Bush Tucker Stories -310-

Women's Dreamings -362-

Ritual Dance Dreamings -380-

My Country (Homeland) Dreamings -418-

The Children's Stories -474-

Jennifer Isaacs: Epilogue: Encounters with Geoff Bardon -502-

Judith Ryan: Valedictory: Remembering Geoffrey Bardon -505-

Glossary -507-

Bibliography -509-

Index of Paintings -514-

Index of Artists -520-

General Index -526-

Klappentext

In 1971, a hopeful young art teacher drove the long, lonela road from Alice Springs to the Aboriginal outpost settlement at Papunya. His name was Geoffrey Bardon. Eighteen months later, he left Papunya, defeated by a hostile white authority. But his legacy was the beginnings of the Western Desert Painting Movement. What started as an excercise to encourage the Aboriginal schoolchildren to record their sand patterns and games grew to involve, at the peak of creativity, as many as 30 tribal men and elders. With Bardon's encouragement, these men worked to preserve their traditional Dreamings and stories in paint. The artistic movement unleashed at Papunya spread over Central Australia and has since achieved international acclaim. The Western Desert Painting Movement provided the rest of the world with new ways of seeing. 'Papunya: A Place Made After the Story' is a first-hand acccount of the artists and the works emanating from Papunya. Bardon's exquisitely recorded notes and drawings are here reproduced showing his extensive documentation of the early stages of the painting movement. This book features over 500 paintings, drawings and photographs from Bardon's personal archive. Many of the images have never been seen before and many of the paintings are now lost. The publication of this material is an unprecedented achievement, and Bardon can now be seen as the catalyst he was for a powerfully modern expression of an ancient Indigenous way of seeing the world.