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Billy Stockman Tjapaltjarri 1925-2015

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

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

Billy Stockman Tjapaltjarri is one of Australia's most exceptional artists, he was one of the original founders of Papunya Tula Artists cooperative and the Chairman (1976–77) on the Arts Board (1975–79).

Billy Stockman work is held in the important public museums collections including National Art Gallery of New Zealand, Museum and Art Gallery of the Northern Territory, Art Gallery of South Australia, Lowe Art Museum, University of Miami.

National Gallery of Victoria paid $200,500 for Wild Potato. National Museum of Australia acquired Boomerang Dreaming and Budgerigars in the Sand-hills. Art Gallery of NSW obtained Ilpitirry 1985.

AWARDS	Biography	COLLECTIONS	EXHIBITIONS

Billy Stockman Tjapaltjarri
Hunting 1992
Synthetic polymer paint on Belgian linen
Image Size: 98 x 69 cm
Framed size: 128 x 100 cm
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Billy Stockman Tjapaltjarri
Hunting 1995 IIlust.
Synthetic polymer paint on linen
Image size: 92 x 63 cm
Framed size: 123 x 95 cm
Enlarge

Price: enquire

Price subject to change without a prior notice

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Hunting-1992

Billy Stockman Tjapaltjarri 1925-2015
Hunting 1992

Synthetic polymer paint on Belgian linen
Image size: 98 cm x 69 cm
Framed size: 128 cm x 100 cm

Price: enquire

Related works

Hunting Ceremony 1992 Framed Size:
FRAMED in the quality timber frame

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Hunting-1995

Billy Stockman Tjapaltjarri 1925-2015
Hunting 1995 IIlustrated

Synthetic polymer paint on Belgian linen
Image size: 92 cm x 63 cm
Framed size: 123 cm x 95 cm

Illustrated page 30, 'The Tjulkurra' Billy Stockman Tjapaltjarri ISBN 1-876622-37-7

Price: enquire

Related works

Hunting 1995 Framed size:
FRAMED in quality timber frame

Hunting 1995 illust. page 30 'The Tjulkurra' Billy Stockman Tjapaltjarri, ISBN 1-876622-37-7

The concentric circle design depict the ceremonial ground designs celebrating The mythology of Hunting at a place in the artist's homeland called Tjikarri Mt Liebig.

Mount Liebig is a mountain with an altitude of 1524 m (5,000 ft) in the southern part of the Australian Northern Territory. It is one of the highest peaks of the MacDonnell Ranges and was named by the explorer Ernest Giles after the German chemist Justus von Liebig. Nearby settlements include Haasts Bluff.

Notable artists who have lived in the region include Ngoia Pollard and Nora Andy Napaltjarri (Ngoia Pollard Napaltjarri biography)

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Auction Results

Under freedom of information we compiled the relevant information.

Billy Stockman Tjapaltjarri 1925-2015

Billy Stockman is one of Australia's most exceptional artists. His paintings provide an important link to 60 thousand years of Aboriginal Dreamings and the historic moment at Papunya. He was the great Master and the original founder of the seminal ‘art mob’ responsible for the Aboriginal Art Movement at Papunya from the 1970’s.

Image	Details - Billy Stockman Tjapaltjarri 1925-2015	Price excl. GST
	Wild Potato (Yala) Dreaming 1971 Synthetic polymer paint on composition board, bears number 2 CON 49 on reverse 54.5 x 46 cm Est: $20,000-30,000, Sotheby's, Important Aboriginal Art, Melbourne, 29/06/1998, Lot No. 25; purchased by National Gallery of Victoria Provenance: Consignment 2, painting no. 49 to the Stuart Art Centre, Alice Springs. Private collection, Queensland. Reference: Featured Architectural Digest, May 1998, full page colour illustration There is another painting on the reverse by an unknown artist, probably by one of the eleven artists listed as having painted for consignment 2 This painting is to be sold with an accompanying hand drawn diagram of the work with identifying annotations	$201,500

	Travels of the Spider Ancestors 1991 Synthetic polymer paint on linen, inscribed verso: SN 80, 180 x 148 cm, Est: $35,000-45,000, Lawson~Menzies (now trading as Menzies), Contemporary, Modern Australian and Important Abor, Sydney, 19/06/2008, Lot No. 262 Provenance: Jinta Desert Art Gallery, Sydney (accompanied by certificate of authenticity, cat.SN-80). Private collection, Sydney	$36,000

	Carpet Snakes at Ilpitteri, 1988 Acrylic on cotton canvas, Cornette de Saint Cyr, Contemporary Australian Aboriginal Art, Lot No. 80 Painted in 1988 for Rosemary Penrose in Alice Springs Ancient Earth Indigenous Art, Hahndorf, South Australia The Austcorp Group Limited Art Collection Sotheby's Aboriginal and Oceanic Art auction 23/11/2009 The Collection of Arnaud Serval, Paris France	€22,669 / $30,292

	Untitled (Ngatitjirri Dreaming at Ilpitirri) 1973 Synthetic polymer paint on composition board, Est: $15,000-20,000, Sotheby's, Important Aboriginal Art, Melbourne, 05/06/2012, Lot No. 22	$30,000

	Woman's Bush Tucker Story 1972 Synthetic polymer paint on board, 69 cm x 61 cm Lawson~Menzies (trading as Menzies), Aboriginal Fine Art, Sydney, 23/05/2007, Lot No. 132	$30,000

	Water Dreaming with Rainbows and Rain, 1972 Synthetic polymer powder paint on composition board, 86.5 cm x 53 cm Lawson~Menzies (now trading as Menzies), Aboriginal Fine Art, Sydney, Lot No. 90	$30,000

	Totemic Possum Dreaming 1973 Synthetic polymer powder paint on board, 92 cm x 64 cm Deutscher~Menzies, 19th and 20th Century Australian & International Paintings, Sculpture and Works on Paper, Melbourne, Lot No. 4	$28,750

Biography

Billy Stockman Tjapaltjarri Biography Aboriginal Artists dictionary of biographies page 376

Billy Stockman Tjapaltjarri's was raised on Napperby Station by his auntie, the mother of Clifford Possum Tjapaltjarri.

In 1971 Geoffrey Bardon a white school teacher assigned to the Papunya School began a project of painting a mural using the aboriginal colours and traditional iconography.

Papunya Tula Artists cooperative was founded in November 1972 began the famous Aboriginal art movement of Papunya-Tula artists. Papunya Tula Artists was fully owned and operated by Aboriginal people from the Western Desert of Australia.

Billy Stockman Tjapaltjarri was one of the original founders of Papunya Tula Artists cooperative and served as a chairman (1976–1977), Kaapa Tjampitjinpa was the first chairman.

Kaapa Tjampitjinpa, Billy Stockman Tjapaltjarri and Long Jack Tjakamarra created a mural Honey Ant Dreaming.

Billy Stockman took over the project which became the first piece of Central Desert Art to be exhibited. Billy Stockman is credited with being the man who painted the 'Honey Ant Dreaming' on the wall of the Papunya School at Geoff Bardon's request.

These three artists (Billy Stockman Tjapaltjarri, Kaapa Tjampitjinpa and Long Jack Tjakamarra) held vitally important tribal positions and used the existing system of desert culture symbols to depict their Dreamings and their relationship with the land.

Billy Stockman Tjapaltjarri emerged as one of the most important artists. Billy paintings provide a link with the historic moment at Papunya and 60 thousand years sacred Aboriginal Dreamings.

The powerful and heroic dreaming symbols of Billy Stockman paintings are charged with authority and religious knowledge. The ebullient texture of his work is anchored by a metaphysical core and a deep affinity with the land.

Billy's work has been seen around the world in several travelling exhibitions, as well as being featured in many Galleries and Collections throughout Australia.

In 1988 he was involved with the opening and exhibited in New York for the Dreaming: Art of Aboriginal Australia'. This exhibition travelled to Papua New Guinea, New Zealand and the 'All Black Festival' in South Africa.

National Gallery of Australia in Canberra has acquired his painting as well as the New South Wales Art Gallery, Art Gallery of South Australia, University of WA Anthropology Museum.

In 1977 Billy Stockman attended the World Black and African Festival of Arts and Culture in Nigeria, which featured Papunya Tula art. He continued to paint until the late 1990s.

Billy Stockman represented Papunya Tula Artists on several international cultural exchange projects and also travelled to New York in 1988 for the opening of Dreamings: The Art of Aboriginal Australia.

Billy Stockman travelled to New York in 1988 for the opening of the "Dreaming" show at the Asia Society and along with Michael Nelson Jagamarra, created "Sand" painting.

Collections

National Gallery of Victoria bought Billy Stockman Tjapaltjarri's Wild Potato Dreaming

National Museum of Australia acquired Billy Stockman's Budgerigars in the Sand-hills.
The painting represents the travels of a group of Budgerigar ancestors during the Dreaming. On their journey, they stopped to camp in sandhill country near Mount Denison. The camps are depicted as concentric circles superimposed on a background mosaic of sand dunes, broken by patches of desert plants.

Art Gallery of NSW acquired Billy Stockman Tjapaltjarri Ilpitirri 1985

National Gallery of Australia purchased Stockman Boomerang Dreaming painting in 2013.

National Art Gallery of New Zealand

Australian National Gallery of Victoria

Art Gallery of Western Australia Perth

National Gallery of Victoria Melbourne

Artbank Sydney

National Gallery of Australia Canberra

Museum and Art Gallery of the Northern Territory

Art Gallery of South Australia Adelaide

Lowe Art Museum, University of Miami

Christensen Collection

Museum of Victoria Melbourne

Flinders University

Art Museum Adelaide

Australian Department of Archaeology and Anthropology

National University, Canberra

Australian Qantas Collection,

Donald Kahn collection Museum of Victoria Melbourne

Campbelltown City Art Gallery

South Australian Museum Adelaide

The Kelton Foundation Santa Monica USA

Holmes a' Court Collection Perth

Billy Stockman Tjapaltjarri focus on the spiritual content of Aboriginal society. Billy is able to incorporate this strong foundation with a modern definition for all to understand and benefit from.

It is important to the artist that the spirit of Jukurrpa is revived to aid in the healing of the entire planet. A proud family man Billy Stockman Tjapaltjarri is from the Anmatyerre people in Central Australia.

Billy Stockman was an infant survivor of the 1928 Coniston Massacre. His mother and a brother were shot by Constable Murray's revenge party: 'All the people were running. I was a little one in a coolamon. My mother put me under a bush… (Vivien Johnson, 2008)

Billy Stockman was born at Ilpitirri near Mt Dennison, north-west of Yuendumu, the year before the Coniston Massacre savaged his family. He was rescued as an infant and raised by Clifford Possum Tjapaltjarri's parents and grew up on Napperby Station, where as his name clearly states, he worked as a stockman. In about 1955 he moved to Haasts Bluff where he married a daughter of Uta Uta Tjangala's brother.

Like Kaapa Tjampitjinpa and Clifford Possum, Billy Stockman was a wood carver before he became a leading figure in the first few years of the painting movement.

Together with Kaapa, Long Jack Phillipus and others, he participated in the painting of the Honey Ant Mural and he was one of the most enthusiastic artists in the Men's Painting Room. He painted Yam, Wallaby, Budgerigar, Spider, Rainbow and Water Dreamings and was one of the first to begin painting large-scale canvases.

AWARDS

Billy Stockman Tjapaltjarri is one of Australia's most exceptional artists and one of the legendary founders responsible for of Aboriginal Art Movement from 1972 is renowned internationally.

Billy Stockman Japaltjarri was able to promote Aboriginal culture throughout the world through his paintings helping to develop the resurgence of the Dreaming as well as a healthy economic base for the Aboriginal communities.

Billy Stockman work sprung from the world's oldest continuous culture, that still stands alone and its very essence is one of intrinsic spirituality. The powerful and heroic dreaming symbols of his paintings are charged with authority and religious knowledge. The ebullient texture of his work is anchored by a metaphysical core and a deep affinity with the land. It is important that the spirit of Jukurrpa is revived to aid in the healing of the entire planet. Focusing on the spiritual content of Aboriginal society Billy is able to incorporate this strong foundation with a modern definition for all to understand and benefit from.

As a founder of the Contemporary Art Movement and as a senior custodian of his land and dreaming stories, Billy has been active in communicating his traditional beliefs to the outside world.

Billy's work has been seen around the world in many traveling exhibitions, as well as being featured in many Galleries and Collections through out Australia.

In 1988 he was involved with the opening and exhibited in New York for the "Dreamings: Art of Aboriginal Australia'. This exhibition traveled to Papua New Guinea, New Zealand and the 'All Black Festival' in South Africa.

National Gallery of Australia in Canberra has acquired Billy Stockman Tjapaltjarri painting as well as the New South Wales Art Gallery, Art Gallery of South Australia, University of WA Anthropology Museum.

Exhibitions:

1971, Art Gallery of Western Australia, Perth Western Australia

1974, Anvil Art Gallery, Albury, New South Wales

1977, Nigerian Festival, Lagos, Nigeria

1977, Christ College, Oakleigh, Victoria

1982, Georges Exhibition, Melbourne, Victoria

1983, Mori Gallery, Sydney

1984, Anvil Art Gallery, Albury, New South Wales

1985, Dot and Circle, a retrospective survey of the Aboriginal paintings of Central Australia, Royal Melbourne Institute of Technology Melbourne

1985, The Face of the Centre: Papunya Tula Paintings

1971-1984, National Gallery of Victoria, Melbourne

1987 A selection of Aboriginal Art owned by the ANU, Drill Hall Gallery, Australian Capital Territory

1988 The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally

1989 A selection of Aboriginal Art owned by the ANU, Drill Hall Gallery, Australian Capital Territory

1991 Alice to Penzance, The Mall Galleries, The Mall, London

1991 Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA

1991 Canvas and Bark, South Australian Museum, Adelaide

1991 The Painted Dream: Contemporary Aboriginal Paintings from the Tim and Vivien Johnson Collection, Auckland City Art Gallery

1991 Te Whare Taonga o Aoteroa National Art Gallery, New Zealand

1992 Tjukurrpa, Museum fur Volkerkunde, Basel

1993 Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia

1993 Art Gallery of Western Australia, Perth Western Australia

1994 Dreamings - Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich

As a founder of the Contemporary Art Movement and as a senior custodian of his land and dreaming stories, Billy has been active in communicating his traditional beliefs to the outside world. Billy's work has been seen around the world in several travelling exhibitions, as well as being featured in many Galleries and Collections through out Australia. Billy Stockman Tjapaltjarri, a proud man from the Anmatyerre people in Central Australia.

Billy Stockman Tjapaltjarri - Wikipedia, encyclopaedia

In 1988 Billy Stockman was involved with the opening and exhibited in New York for the "Dreamings: Art of Aboriginal Australia'. This exhibition traveled to Papua New Guinea, New Zealand and the 'All Black Festival' in South Africa.

National Gallery of Australia in Canberra acquired Billy Stockman painting as well as the New South Wales Art Gallery, Art Gallery of South Australia, University of Western Australia Anthropology Museum.

*Billy Stockman*** was one of the original founders of the Papunya community in the Central Desert. His role in this community varied he has been helping the Pintupi people settle in to community life, then as one of the founders of the aboriginal art movement in 1971.

In 1971 Geoffrey Bardon a white school teacher assigned to the Papunya School began a project of painting a mural using the aboriginal colors and traditional iconography. Along with Long Jack Phillipus and two other artists, Billy Stockman, took over the project which became the first piece of Central Desert Art to be exhibited. This painting represented the "Honey Ant Dreaming". These artists held vitally important tribal positions and were instrumental in the instruction of young Aboriginal men. Instead of imposing European notions of perspective on their paintings, the men used the existing system of desert culture symbols to depict their Dreamings and their relationship with the land. This was an experiment which had staggering results. This genesis of the contemporary art movement empowered a renewed sense of pride and cultural identity among the Aboriginal people of the region. Billy Stockman soon emerged as one of the most prolific and important artists of his time.

Along with Long Jack Phillipus, Billy Stockman assisted Kaapa Mbitjana painting the Honey Ant Mural Dreaming on the school walls in 1971.

It was the culmination of a project initiated by art teacher Geoff Bardon and being a design of great power and relevance to all of the tribes of the Western Desert it generated much excitement and discussion through-out the settlement.

The Honey Ant is the image of the ancestors, emerging from the ground, creating landforms while moving across it and finally returning underground, ever afterwards to be celebrated in story and ceremony.

Because different tribal groups were crammed together at Papunya, it was a volatile environment and so it was important to produce designs that would not aggravate the reactive atmosphere. As the painting project continued to grow, Bardon says it was Billy Stockman in particular who understood the necessity of choosing un-controversial subjects such as food gathering or children’s stories.

He communicated Bardon’s concerns to the steadily growing group of painting men who nevertheless had to regularly restrain a wish to paint more momentous subjects. As paintings began to sell in Alice Springs the demarcation between sacred and secular became clearer to the men and strategies were devised to avoid infringing tribal laws.

The rules of production and reception in such intercultural transactions however continue to pose difficulties, as they still do for many indigenous cultures.

Billy Stockman’s work was among the first to stir the purchasing public’s interest. He made a point of thanking Bardon personally and began to apply himself with great enthusiasm to painting. All of the men were greatly encouraged by the money received from the sale of their paintings. It was a way of improving the life of their families but also re-kindled a sense of self and community esteem among the men who had, to a degree, been estranged from their once important tribal positions. Senior men were instrumental in advising on symbols, stories and meanings during the creative process.

Billy Stockman had a way of focusing on simple, self-contained vignettes. They often contained stylised, naturalistic plants and animals and a symmetry and decorative quality that appealed to buyers. This talent followed from his skill as an accomplished wood-carver. Like many stockmen, he had learned to whittle wood and as Bardon commented 'could turn a beanwood branch into two or three snakes in a complex inter-twining design' (2004: 31).

As the art movement gathered momentum, his life as a stockman had also prepared him for negotiating with the world of the ‘whitefella’.

Billy Stockman held many official positions, playing a critical role in the newly established Aboriginal Arts Board during the 1970’s and a stint as chairman of Papunya Tula Artists. He became a campaigner for the outstation movement and was one of the first to move to his own station at Illili, West of Papunya.

Here, he continued painting his Dreamings and instructed younger artists on the ancient knowledge, in particular the Budgerigar, Water, Snake and Wild Potatoe Dreamings of his own country. He and his wife Intinika have two sons and two daughters, of whom one, Gillian, has also become a painter.

Declining health brought about his retirement to the Hetti Perkins Hostel in Alice Springs. He remained an inspiring figure and authority for the Western Desert people until his death in 2015, a reliable, responsible and caring man who Bardon described as 'embodying all that was loving and trusting in traditional family life' (Bardon 2004: 85).

Bibliography Literature Source & FURTHER REFERENCES\

Billy Stockman Tjapaltjarri biography page 376 Australian Aboriginal Artist dictionary of biographies, Central Desert, Western Desert and Kimberley Region. Authors: Janusz Kreczmanski & Birnberg, Margo: JB Publishing Australia, Marleston, 2004.

Billy Stockman Tjapaltjarri, Hunting 1995 Illustrated page 30, 'The Tjulkurra' Billy Stockman Tjapaltjarri ISBN 1-876622-37-7

Billy Stockman Tjapaltjarri biography page 376
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

Bardon, G. 2004. Papunya: A Place Made After the Story: The Beginnings of Western Desert Painting Movement. Victoria. Melbourne University Publishing.
Perkins, H & Fink, H. 2000. Papunya Tula, Genesis and Genius. Sydney. Art Gallery of New South Wales.
Kleinert, Sylvia & Neale, Margo . 2000. The Oxford Companion to Aboriginal Art and Culture. Melbourne. Oxford

Australian Aboriginal Art from the Collection of Donald Kahn; 1991
Lowe Art Museum, University of Miami, USA
Bardon, G., 1979, Aboriginal Art of the Western Desert, Rigby, Adelaide. (C)
Berndt, R. M. and Berndt, C. H. with Stanton, J., 1982
Aboriginal Australian Art, a Visual Perspective, Methuen Australia Pty Ltd, Sydney
Brody, A., 1985, The face of the centre: Papunya Tula paintings
1971-1984, National Gallery of Victoria, Melbourne
Bardon, G., 1991, Papunya Tula Art of the Western Desert
McPhee Gribble, Ringwood, Victoria. (C)
Caruana, W., 1993, Aboriginal Art, Thames and Hudson, London. (C)
Isaacs, J., 1989, Australian Aboriginal Paintings, Weldon Publishing, New South Wales
Johnson, V., 1994, The Dictionary of Western Desert Artists
Craftsman House, East Roseville, New South Wales. (C)
Maughan, J., and Zimmer, J., (eds), 1986, Dot and Circle, a Retrospective Survey of the Aboriginal Acrylic Paintings of Central Australia, exhib. cat., Communication Services Unit
Royal Melbourne Institute of Technology, Melbourne. (C)
Schulz, D., 1994, Lines from the Dreamtime, The Australian Way, Qantas in flight magazine, May 1994
West, M.K.C., (ed.), 1988, The Inspired Dream, Life as art in Aboriginal Australia, exhib. cat., Queensland Art Gallery, Brisbane
1993, Tjukurrpa Desert Dreamings, Aboriginal Art from Central Australia (1971-1993), exhibition cat., Art Gallery of Western Australia, Perth

Amadio, N. und Kimber, R., Wildbird Dreaming. Aboriginal Art from the Central Deserts of Australia, Greenhouse Publ., Melbourne 1988; Auckland City Art Gallery, Auckland 1990, Ausst. Kat.; Australian Aboriginal Art from the Collection of Donald Kahn. Lowe Art Museum, University of Miami (Hrsg.), 1991, Ausst. Kat.; Droombeelden - Tjukurrpa. Groninger Museum (Hrsg.), Groningen 1995, Ausst. Kat.; Isaacs, J., Australia´s Living Heritage. Arts of the Dreaming, Lansdowne Press, Sydney 1984; Isaacs, J., Australian Aboriginal Paintings. Lansdowne, Sydney 1989, ISBN 186302011X; Johnson, V., Aboriginal Artists of the Western Desert. A Biographical Dictionary, Craftsman House, East Roseville 1994, ISBN 9768097817; Modern Art - Ancient Icon. The Aboriginal Gallery of Dreamings (Hrsg.), o.O. 1992, ISBN 0646080520; Nangara. The Australian Aboriginal Art Exhibition from the Ebes Collection. The Aboriginal Gallery of Dreamings (Hrsg.), Melbourne 1996, Ausst. Kat.; Stourton, P. Corbally, Songlines and Dreamings. Lund Humphries Publ., London 1996, ISBN 0853316910; The Painted Dream. Contemporary Aboriginal Paintings. Johnson, V. (Hrsg.), Auckland City Art Gallery, Auckland 1991, Ausst. Kat.; Tjinytjilpa. The Dotted Design. Aboriginal Art Galleries of Australia (Hrsg.), Melbourne 1998, Ausst. Kat.; Traumzeit - Tjukurrpa. Kunst der Aborigines der Western Desert. Die Donald Kahn-Sammlung, Danzker, J.B. (Hrsg.), Prestel, München und New York 1994, Ausst. Kat.; Voices of the Earth. Paintings, Photography and Sculpture from Aboriginal Australia. Gabrielle Pizzi (Hrsg.), Gallery Gabrielle Pizzi, Melbourne 1996, Ausst. Kat., ISBN 0646288954.

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Fine Art is one of the most enjoyable and viable investments, essential to wellbeing

Billy Stockman Tjapaltjarri focus on the spiritual content of Aboriginal society. Billy is able to incorporate this strong foundation with a modern definition for all to understand and benefit from.

It is important to the artist that the spirit of Jukurrpa is revived to aid in the healing of the entire planet. A proud family man Billy Stockman Tjapaltjarri is from the Anmatyerre people in Central Australia.

Billy Stockman was one of the original founders of the Papunya community in the Central Desert. His role in this community varied he has been helping the Pintupi people settle in to community life, then as one of the founders of the aboriginal art movement in 1971.

*Billy Stockman*** was one of the original founders of the Papunya community in the Central Desert. His role in this community varied he has been helping the Pintupi people settle in to community life, then as one of the founders of the aboriginal art movement in 1971.