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He became the only artist to receive all three awards. Namarari was awarded the National Aboriginal Art Award in 1991 and, in 1994, was a co-winner of the Alice Prize and became the inaugural recipient of the Australia CouncilвЂ™s prestigious Red Ochre Award for lifetime achievement. In 1981, Namarari, along with two other senior Pintupi artists, were invited, at the request of former Papunya-associated people, to paint and show their work at an exhibition in Sydney. In addition to the Dreaming stories of the Moon, he painted Dingo, Wind, Kangaroo, Mallee-fowl, Crow, Tingari Men, Hopping Mouse, and Bandicoot Dreamings. Because of the unusually large range of totemic sites for which he held responsibilities, NamarariвЂ™s later works varied widely in their depictions and in their artistic styles. By the late 1990s, Namarari was creating works often using white and yellow paint stipples applied with his fingertips.

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Using such tradition patterns, he developed a image series of red and white triangular and rectangular forms. NamarariвЂ™s typical work of the 1980s were gracefully controlled renditions of the classical Tingari design of linked concentric circles, which was one of that periodвЂ™s keystones of Western Desert iconography. He also created hypnotic depictions of his birthplace, Marnpi, in which he used white pulsing lines to draw the viewerвЂ™s eye into the ancestral windвЂ™s vortex generated at the site. Namarari explored figuration in this early work, in which he gave equal emphasis to both the depictions of ceremonial performers and the details of the ceremonial ground with its associated sacred objects. His early works have a bare background of a single color, most often black or rich red-brown, with most depictions related to Aboriginal Dreaming stories of the Moon. In 1971 encouraged by Geoff Bardon, one of the founding members of the Papunya Tula Artists, Namarari, at the age of forty-five, began painting at Papunya. With the establishment of cattle stations at Haasts Bluff in the 1950s and, later, at Papunya in the 1960s, Namarari and his wife, Elizabeth Nakamarra Marks, eventually moved closer to their traditional country they would later have one daughter, Angeline Nungurrayl. At the age of eleven, Namarari began stock work for cattleman Billy MacNamara at a cattle station located near the early settlement of Areyonga, where he later became initiated in a ceremony that signified his manhood. While attending the school, he became acquainted with the work of Aboriginal artist Albert Namatjira and his fellow Western Aranda landscape painters. In 1932, Namarari had his first associations with Australians of European background and began to attend the Hermannsburg Mission School. Following the murder of his father by a Aboriginal avenger group and his motherвЂ™s resulting suicide by fire, Namarari, along with his sister, fled the desert and traveled east to the safety of the Lutheran Hermannsburg Mission. While many of his peers painted according to stylized conventions, NamarariвЂ™s work is distinguished by an extraordinary range of visual inventions.ДЄs a boy, Namrari was taken by his parents on traditional travels throughout the local area, including north to Nyunmanu, a major dingo dreaming site, south to Lake Neal, and northwest to the Warnman Rocks and Warhungurru, a remote settlement in the Kintore Range of the Northern Territory.

He was one of the foundation members of the art movement that emerged in Papunya Tula. Mick Namarari Tjapaltjarri, вЂњTingariвЂќ, 1988, Acrylic onВ Belgian Linen, 121 x 180 cm, Private CollectionД«orn at Marnpi located in AustraliaвЂ™s Northern Territory in 1926, Mick Namarari Tjapaltjarri is one of the most important painters to emerge from AustraliaвЂ™s Western Desert.

Mick Namarari Tjapaltjarri, вЂњUntitled (Yam Story)вЂќ, 1972, Acrylic on Board, 65 x 44 cm, Private Collection

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