Our Beginnings

In 1972 the male elders of the various language groups then resident at Papunya instigated the now renowned Papunya Tula Artists to sell and market their paintings on their behalf. In the early 1990’s Papunya Tula moved it’s operation to Kintore and Kwiirrkurra, west of Papunya. Warumpi Arts was established in Alice Springs by the Papunya Community Council in 1994. The closure of Warumpi Arts in 2004 by the Council left the majority of Papunya artists with no representation and at the mercy of private dealers, many of who are unethical in their business practices.

In October 2005 the Papunya artists approached Professor Vivien Johnson of the College of Fine Arts (COFA), University of NSW to help them establish, for the first time, a ‘community-based art centre’ in Papunya. The project’s future was initially uncertain, but through the commitment of the artists and community we have evolved into a ‘fully fledged’ art centre. We are steadily building the reputation of Papunya Tjupi and its artists and achieving financial security through sales with the assistance of external funding.

Support for the new art centre was also received from the Papunya Community Council, government agencies and regional representative bodies. Desart (Association of Central Australian Aboriginal Art and Craft Centres), assisted by engaging consultant, Ms Christine Godden, to source funding. Through Ms Godden’s persistence in 2007 the federal government provided initial funding through the National Arts and Crafts Industry Support fund and minor project funding was received from the Northern Territory government.

The calibre, skills and experience of the artists was confirmed by a near sell out exhibition in Sydney in September/October with 35 artists participating. The exhibition comprised works by senior artists such as Long Jack Phillipus, Michael Jakamara Nelson and William Sandy together with many young emerging artists. With the proceeds from this exhibition, and the start up funding, the art centre was able to commence operation in late November 2007. For the first six months the art centre operated out of a house rented by COFA which also served as the set-up manager’s accommodation. By May 2008 when Sara Twigg-Patterson left this position, temporary premises had been found for the art centre. The new managers Kasumi Ejiri and Simon Taylor, both COFA graduates, started in June 2008 and in less than a year, with Ms Godden’s assistance now as a Desart project officer and the generosity of Papunya Council and CEO, have secured and renovated a large permanent premises for the art centre and will soon commence upgrading the house also made available for the art centre managers by the community.

The community has been asking for an art centre since the founding artists of the Papunya art movement submitted a funding application to the Aboriginal Arts Board back in 1975. The artists had a strong desire to encourage the continuation of traditional craft and cultural law through arts practice. Thirty or so years later the urgent need for adequate facilities has still not been addressed. Yet their descendants and the community carry on their desire to teach tjukurrpa through painting despite having no facility and periodic support.

The art centre is not only about producing art and having a building. We are the only community-based activity in Papunya that can offer valuable cultural, socio-economic and educational benefits few community organisations are capable of matching.

Papunya is the world famous birth place of the Western Desert Art movement and as such is lucky in being a particularly culturally rich and vibrant area.