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Barbara Reid Napangarti B.1962

Ancient Culture of 60,000 years gave the World its most exciting Contemporary art

If you love Art of impeccable provenance, the art you want is at Galeria Aniela

Barbara Reid Napangarti also known as Kai Kai Reid/Napangarti is a prominent Australian Aboriginal artist. She is the daughter of the late highly renowned Australian National Gallery artist, Ningura Napurrula, also in Musée du quai Branly Paris. The important women's stories that Barbara paints today were passed onto her by her famous Aunt, the late Emily Kame Kngwarreye, one of Australia's most famous artists. Yala Yala Gibbs Tjungurrayi (1928-1998) a celebrated Australian artist, held at National Gallery of Victoria was Barbara's father. AWARD: 2000 held at Art Award National Aboriginal Torres Strait Islander Museum Art Gallery of NT. Barbara Napangarti Reid work has the physical presence of the much contemporary work of art. Her paintings explain beautifully the places, the lands and the songs. Barbara work is the depiction of puli – rock formations, and tuli – sand hills.

AWARDS	Biography	COLLECTIONS	*exhibitions*

Barbara Reid Napangarti
Minyma Women Healing Ceremony illus.p.256
Synthetic polymer paint on Belgian linen
Image size: 120 cm x 75 cm
Framed size: 160 cm x 115 cm

Price: Enquire

Ilust. Aboriginal Artists page 256

Barbara Reid Napangardi
Minyma Women Healing Ceremony illus.p.256
Synthetic polymer paint on Belgian linen
Image sizes: 120 cm x 75 cm
Framed Size: 160 cm x 115 cmn

Price: Enquire

Ilust. Aboriginal Artists page 256

Illustrated Aboriginal Artists page 256

Prices subject to change without a prior notice

Barbara Reid
Apple Ceremony
Acrylic in linen
172 x 122 cm

Price: SOLD

Barbara Reid
Rocks Sand Hills
Acrylic on linen
180 x 75 cm

Price: SOLD

Barbara Reid
Apple Ceremony
Acrylic on linen
120 x 60 cm

Price: SOLD

Barbara Reid
Apple Ceremony
Acrylic on linen
120 x 50 cm

Price: SOLD

Barbara Napangarti Reid Biography

Barbara Napangarti Reid (Barbara Napangarti Rei) was born around 1962 at Paaya near Tjukurla region of the Gibson Desert in the Ngannyatjarra lands of Western Australia. Barbara is a highly respected Papunya Tula artist who speaks 3 languages.

AWARD: 2000 held at Art Award National Aboriginal Torres Strait Islander Museum Art Gallery of NT.

Barbara Napangarti Reid work has the physical presence of the much contemporary work of art. Her paintings explain beautifully the places, the lands and the songs to which she is custodian. Characteristic for Barbara is the depiction of puli – rock formations, and tuli – sand hills.

Barbara's father, Yala Yala Gibbs Tjungurrayi (1928-1998) work is held in National Gallery of Victoria and mother Ningura Napurrula (1938-2013) Australia's most renowned artist is represented in the Europe’s most important public museum Musée du quai Branly in Paris. Barbara inherited the artistic gene from her creative family.

Barbara work has strong links with the Papunya Tula Movement her family left Kintore and Kiwirrkurra to return to their homelands in the mid 1980s.

As a small child Barbara, her mother Ningura Napurrula and her father Yala Yala Gibbs Tjungurrayi and also Barbara's father other wife, left Mungurry on foot to journey through Tjukurla on to Lupul and then on to see Uluru. It was a very long journey to the settlement at Papunya they lived there until Barbara was about sixteen, then she left Papunya and came into Alice Springs.

In 1987 Barbara Reid began working for Alice Springs Centre for Aboriginal Artists, represented by the Alice Springs Centre. She then moved to Adelaide where she met her partner Robert and had her first child, Suzie. Barbara and family have now moved back to Alice Springs where she paints in the studio of Gallery Gondwana.

In 2000 Barbara Reid Napangarti painting was selected for one of the most prestigious art awards in Australia, the 17th NATSIAA National Aboriginal and Torres Strait Islander Art Award.

Barbara Reid Napangardi beautiful paintings of of the land and songs, have the physical presence of the much contemporary work of art.

Barbara Reid Napangarti artistic Style

Barbara Reid work is highly sought after by collectors worldwide. Barbara Reid is working in a individualistic style vividly depicting the country of Tjukurla in the Gibson Desert. Barbara’s use of bold, bright colours and flowing lines, coupled with thick layers of paint, is one of her trademarks.

Barbara style is an good example of the multivalent nature of Aboriginal paintings, her designs in the paintings have a number of interrelated symbolic meanings. Barbara paintings explore Tjukurla area the side of unique country dominated by
expansive Rock formation call 'Puli' and Sand Hills 'Tuli'.

'Puli' is the Rock Formation related to the formation of the natural environment around Tjukurla

'Tuli' is related to Sand Hills of the natural environment around Tjukurla in the Gibson Desert.

Minyma

Barbara Napangarti Reid also paints 'Women of the Tingari Dreaming' they are particularly important Sacred Women business stories of Minyma. Minyma Tingari represents aspects of the secret and sacred Tingari Cycle, a spiritual amalgam that incorporates story, song and ceremony.

Minyma narratives revolve around the role of the woman as healer and provider within Ngaanyatjarra society. All women go through ‘rites of passage’ and learn their own gender specific obligations.

Barbara Reid also paints the 'Pintalpa' dreaming, a story about a native bush apple and she depicts ‘Puli’ Rock Formations, and ‘Tuli’ Sand Hills, those features that are so much a part of the land from that she comes from.

The stories revolve around the role of the woman as healer and provider within traditional Ngaanyatjarra society. The bold designs of Barbara Reid 'Women Ceremony' is depicting women that are performing a healing ceremony.

Patterns must conform to the ceremony being performed. Women are not at liberty to adorn themselves with designs of free will but with 'body painting' that depicts the linear designs as those illustrated in the ground paintings.

Women are surrounded by protective windbreaks symbolized by oval shapes. Elaborate ground constructions (sand paintings) are also made.

Barbara Reid paintings describes the role of women as healers and providers within the society. Barbara Reid use of bold strong colours and flowing lines is the artist trademark, often coupled with thick layeres of paint and a number of interrelated symbolic meanings.

Aboriginal paintings are based on myths of the Dreamtime. In modern representation, the sacred aspect of the painting is not always revealed, but the meaning remains, transmitted through symbols which are easily understood.

Barbara Reid paintings explain the 'women's business' story, an initiation ceremony for women. The women may be past initiates, or young women awaiting instruction from older women. Initiates are taught their roles as nurturers of the land and keepers of the law by which life's rules and regulations are set. This particular ceremonial site is near Utopia.

The women are sitting at a ceremonial site, painting their bodies with markings in preparation for the ceremony.

Ochres and Spinifex ashes are mixed with Kangaroo or Emu fat to make the body paint. Body painting ranges from simply smearing clay across the face, to intrinsic full body patterning. The half circular, shell like shapes depict the women, fully prepared and painted performing the ceremony.

Each person has particular 'Dreaming' (a story) to which they belong and they have special ceremonial dances and songs that combine together to form a unique spiritual ceremony that makes up the lives of the Aboriginal people. All things related to the land and thus the land is of great importance.

The land is the keeper of the 'Dreamings' and must be kept safe for all time so that the Dreaming stories, which are told in the paintings, can be preserved. While many ceremonies are open or public, many are secret to varying degrees.

The categories of people who can be present are restricted. Groups such as women, girls and uninitiated men and strangers would all have limitations placed on them in relation to men’s ceremonies.

Men, boys and uninitiated girls would have similar restrictions placed on them in relation to women's ceremonies. Ceremonies always involve song, dance and body decoration.

The ownership, management and performance is dependent upon knowledge and status.

Body painting carries deep spiritual significance for the Aboriginal people. They recognize the creative nature of this activity, which uses the human body itself as a living canvas for artistic expression.

The use of particular designs and motifs denotes social position and the relationship of the individuals to their family group and to particular ancestors, totemic animals and tracts of land.

In many situations individuals are completely transformed so they 'become' the spirit ancestor they are portraying in the dance.

COLLECTIONS

Barbara Reid work acquired by major public and private collections in Australia and abroad, commands the attention of discerning international collectors as well as Australian buyers.

University of Miami Florida

Richard Kelton Foundation

Donald Kahn Collection Lowe Art Museum Florida

Homes a Court Collection Perth

Art Gallery of Western Australia

National Art Gallery of New Zealand

Art Gallery of South Australia

Queensland National Art Gallery

Museum and Art Gallery of the Northern Territory

Art Bank Sydney

Australian National University

Art Museum and city Gallery Flinders University

Regional Galleries in America, Indonesia and Europe.

AWARDS

2000 selected 17th NATSIAA Art Award Museum and Art Gallery of the Northern Territory

NATSIAA is the National Aboriginal and Torres Strait Islander Art Award, one of the most prestigious art awards in Australia. Established in 1984 by the Museum and Art Gallery of the Northern Territory, awards annually, it is sponsored by Telstra, so is commonly known as the Telstra Award.

The competition aim is to showcase the best Indigenous art from around the country, it is open to all adult Aboriginal and Torres Strait Islander artists. The first prize is awarded to the work considered the most outstanding in the exhibition.

SELECTED Major Exhibitions

2001 Alliance Francaise de Canberra;

Sand Spinifex & Salt Leading Central Desert Painters Japingka Gallery

2000 17th National Aboriginal & Torres Strait Islander Art Award Darwin, North Territory

2000 Japinka Gallery Perth

2000 Vivian Anderson Gallery Melbourne

2000 Museum and Art Gallery of the Northern Territory Darwin

2000 Gallery Gondwana, Alice Springs NT - SOURCING THE BEST IN CONTEMPORARY ABORIGINAL PAINTINGS, AUSTRALIAN DESIGN, AND ARTS FROM THE PACIFIC REGION)

1998 Museum and Art Gallery of the Northern Territory Darwin touring exhibitions in America and Indonesia Australian Regional Galleries

Source & FURTHER REFERENCES

Australian Aboriginal Artist dictionary of biographies Kreczmanski, Janusz B and Birnberg, Margo (eds.): Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert and Kimberley Region JB Publishing Australia, Marleston, 2004.

Aboriginal Artists of the Western Desert - A Biographical Dictionary by Vivien Johnson, published by Craftsman House 1994

The Oxford Companion to Aboriginal Art and Culture edited by Sylvia Kleinert and Margo Neale published by OUP 2000

Aboriginal Artists: Dictionary of Biographies: Central Desert, Western Desert & Kimberley Region JB Publishing Australia, Marleston, 2004

Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project, 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody

A. 1990 Utopia, a picture Story, 88 Silk Batiks from the Robert Homes a Court Gallery and gallery Collection, Heytesbury Holdings LTD Perth NATSIVAD database, Latz, P. 1995, Bushfires & Bushtucker, IAD Press, Alice Springs

Brody, A. 1989 Utopia women’s Paintings: the First Works on Canvas, A summer Project 1988-89 exhib. Cat. Heytesbury Holdings, Perth Brody

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NATSIAA National Art Award

List of winners

2016: Harold Thomas – Tribal Abductions, Acrylic on linen

2015: Jukuja Dolly Snell – Kurtal, Acrylic on linen

2014: Tony Albert - We Can Be Heroes, photograph

2013: Jenni Kemarre Martiniello - Golden Brown Reeds Fish Trap, hot blown glass, canes

2012: Timothy Cook - Kulama, natural ochres on canvas

2011: Dickie Minyintiri - Kanyalakutjina (Euro tracks), synthetic polymer paint on canvas

2010: Jimmy Donegan - Papa Tjukurpa, Pukara, synthetic polymer paint on canvas

2009: Danie Mellor - From Rite to Ritual, mixed media on paper

2008: Makinti Napanangka - no title, synthetic polymer paint on linen

2007: Dennis Nona - Ubirikubiri, bronze

2006: Ngoia Napaltjarri Pollard - 23rd Telstra NATSIAA Telstra National Aboriginal & Torres Strait Islander Art Award - the 1st Prize $40,00 - Swamps west of Nyirripi, acrylic on Belgian linen

2005: Blackstone Tjanpi Weavers: Kantjupayi Benson, N. Donegan, Angaliya Mitchell, Margaret Donegan, Melissa Donegan, Mary Smith, Freda Lane, Diedre Lane, Elaine Lane, Wendy Lane, Janet Lane, Janet Forbes, Shirley Bennet, Gail Nelson, Angela Lyon, Sarkaway Lyon, Ruby Forbes and Jean Lane - Tjanpi Grass Toyota, desert grass, jute string and mixed media

2004: Gulumbu Yunupingu - Garak, The Universe, natural pigments on wood (three hollow logs)

2003: Richard Bell - Scientia E Metaphysica (Bell's Theorem), synthetic polymer paint on canvas

2002: Gawirrin Gumana - Birrkuda ringgitj (Wild honey design), natural pigments on wood

2001: Dorothy Napangardi - Salt on Mina Mina, synthetic polymer paint on linen

2000: Kenny Williams Tjampitjinpa - Snake Tjukurrpa, synthetic polymer paint on linen

1999: Long Tom Tjapanangka - Ulampuwarru (Haasts Bluff Mountain), synthetic polymer paint on linen

1998: Jody Broun - White Fellas Come Talk About the Land, synthetic polymer paint on canvas

1997: Yanggarriny Wunungmurra - Gangan, natural pigments on bark

1996: Kathleen Petyarre - Storm in Atnangker country II, synthetic polymer paint on linen

1995: Pantjiti Mary McLean - Ngura walkumunu (Being in a good camp) synthetic polymer paint on canvas

1994: Daisy Andrews - Lumpu lumpu (wet time) landscape, synthetic polymer paint on paper

1993: Paddy Fordham Wainburranga - Eagle Hawk and Crow, natural pigments on paper

1992: Les Midikuria - Borlong the rainbow serpent, natural pigments on bark

1991: Mick Namarari Tjapaltjarri - Bandicoot Dreaming, synthetic polymer paint on canvas

1990: Mutitjpuy Mununggurr - The Djang'kawu at Balana, natural pigments on bark

1989: Pansy Napangardi - Yipala bush bananas, synthetic polymer paint on canvas

1988: Pauleen Woods Nakamarra - Yarla, Yam Dreaming, synthetic polymer paint on canvas

1987: Djardi Ashley Wodalpa - Blue tongue lizard, natural pigments on bark

1986: Frank Jakamarra Nelson - Living together, working together, synthetic polymer paint on canvas

1985: Djawida Nadjongorle - Nawurra, natural pigments on bark (joint winner)

1985: Uta Uta Tjangala - Tjanangkamurramurra, synthetic polymer paint on canvas (joint winner)

1985: Kaye Haywood - Untitled, batik on silk (joint winner)

1984: Michael Nelson Tjakamarra - Three ceremonies, synthetic polymer paint on canvas

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