Born: 1933 – 2002
Region: Western Desert, NT
Community: Papunya, Papunya
Outstation: Mount Wedge, Napperby Station
AIAM Overall Ranking: 4
AIAM Market Ranking: 18 (2017)
Clifford Possum TJAPALTJARRI | Two Jungala Brothers (Wrath of God – Bushfire Dreaming)
Clifford Possum TJAPALTJARRI | Warri Warri
Clifford Possum TJAPALTJARRI | Women’s Dreaming
Clifford Possum TJAPALTJARRI | Worm Dreaming
Clifford Possum was the first recognised star of the Western Desert art and one of Australia’s most distinguished painters of the late twentieth century. After his father, Tjatjiti Tjungurrayai, passed away during Clifford’s youth in the 1940’s, his mother, Long Rose Nangala, settled at Jay Creek with her second husband, One Pound Jim Tjungurrayai. One Pound Jim, a legendary figure in Central Australia, acted as guide to early travellers and anthropologists and became the Aboriginal face of the centre after his portrait featured on the stamp used by the postal service between 1950 and the introduction of decimal currency in 1966. It was under his tutelage, described as ‘beautiful palimpsests’ of his extensive multiple Dreaming sites, seen from shifting viewpoints in space. Clifford’s works at this time enabled the ‘unfamiliar viewer to see these sites as a fusion of the abstract diagrams of ancestral passage in the traditional expressive forms of the Western Desert, with the maps of Europeans’ (Johnson 2003: 79), a form very familiar to the Western onlooker.
As he developed his art practice, Clifford introduced Western iconography and figurative imagery to convey certain elements in his narratives. This played a dual role in both making them more intelligible to western audiences, and allowing him to create imaginative compositions within the parameters of the ‘law’. Possum was acutely aware, as one of the founders of the desert paining movement, that to give away too much ancestral meaning could at that time have risked his life.
He employed a set of his own invented, secular, non-traditional motifs in what would become a recurrent theme in his art, the ‘Man’s Love Story.’ This story is a story of the Tjungurrayai man who desired, against kinship rules, a Napangardi woman, and wooed her by spinning hair string while singing love songs. This and other works from the start of the 1980’s onwards are characterised by a complex of designs rendered with modulated tone and broken colour. The fractured shaping of the in-filled fields of dots achieves an extraordinary visual effect, ‘flat but with a thin three-dimensional disguise’ (Bardon 2004: 82). It was only towards the end of Clifford’s life that there was a dramatic reduction in his palette. His most emblematic final works are bleak depictions in black and white; boys skeletal remains float starkly on unadorned backgrounds as if ethereally infused with the artist’s ‘own impending sense of death’ (Nicholls 2004: 24).
The retrospective of his work that toured extensively throughout Australia from 2002 included works spanning the artist’s 30 year career with the wonderful examples of his early smaller works of 1972-1973, and the dramatic skeletal sketches of the final years acting as the bookends to a great artistic adventure. While Clifford himself may have pointed to his private audience with Queen Elizabeth II as the highlight of his career, the low point was most likely his discovery of an exhibition full of fakes in Sydney in the late 1990’s and the adverse publicity that this attracted. Despite the fact that he is still the only Papunya Tula artist that has been honoured with a solo retrospective by a major institution, he forsook his association with the organization almost entirely by the mid 1980’s. He returned to his Anmatjerre homeland at Mount Allan and began selling his works directly to the government marketing company, Aboriginal Arts Australia, in Alice Springs. He also signed and passed off as his own many other works that had been produced by Michael Tommy, Brogus Tjapangarti and other countrymen in order to maximise their income. In the late 1980’s he produced a large body of works for John O’Laughlan who acted as his agent and travelled with him to his exhibition at Rebecca Hossack Gallery in London.
Clifford worked for a time with disgraced dealer Chris Peacock in Adelaide whose company TOAC printed the logo ‘Bush Myths’ on the back of all canvases. Peacock worked with many artists who painted outside of the art centre system including Emily Kngwarreye. He was reported to have used stand over tactics and violent threats in forcing Possum to sign paintings that were not entirely his own. However the truth is elusive as sadly, by this time, Clifford was addicted to alcohol and gambling and was producing a large number of perfunctory minor works, signing paintings that he ‘owned’ but which he did not actually paint and others that were not entirely executed by his own hand. Through the early 1990’s he lived and travelled with his daughters Gabriella and Michelle and his son-in-law Heath Ramzan as well as others. He worked for a variety of dealers including Michael Hollows at his Aboriginal Desert Dreaming Gallery, Peter Los in Alice Springs and Semon Deeb at Jinta Gallery in Sydney. He painted for Frank Mosmeri in Broadmeadow and Des Rogers in Sunbury on the outskirts of Melbourne, and Swiss collector Arnaud Serval, who seemed to share a good relationship with the artist and ensured the works he handled were entirely in Clifford’s own hand. No doubt there were a great many others, as Clifford was a born entrepreneur and was in constant need of money.
For a time his affairs were managed by Joy Aitken who sold amongst the genuine paintings, individually painted by Clifford and his daughters, many collaborative works where the daughters assistance was never acknowledged. Leaving Aitken with numerous canvases in various states of completion there is little doubt that out of desperation, given the financial difficulties involved in keeping the ‘Possum Shop’ going, she crossed the Rubicon and completed the dotting on many of these works herself. Clifford’s career and standing reached its nadir when a solo exhibition organised for an important Sydney gallery in the late 1990’s was exposed as being almost entirely composed of fakes. The works had been commissioned by the late Patrick Corbally Stoughton from Alice Springs based dealer John O’Laughlan who was found guilty of fraudulent involvement. When Clifford came down to view the exhibition he visited the Art Gallery of NSW and other institutions pointing out countless works purported to have been created by him but which he denied having painted. In abandoning the communal identity of the Papunya movement in favour of personally negotiating with the dominant western mainstream, the motivation of his painting practice became blurred in favour of his fame as a personality. In this regard his life was not dissimilar to that of Albert Namatjira who died 40 years earlier, before the Papunya movement had even begun. Both began their lives in a creek bed, light years from the international art circles in which they would later move with such fearless assurance. Clifford was actually asked by Namatjira to continue in his footsteps (Johnson 2002: 243), although undoubtedly he did not mean that he should do it quite so literally. Although physically unwell and with failing eyesight Clifford Possum lived throughout his final years in a loving relationship with Milanka Sullivan at Warrandyte in the hills outside of Melbourne and created many of his finest late career works in her care. Sullivan has continued to work since Clifford’s death in 2002 authenticating his paintings and uncovering suspect and fake works and writing a book that she maintains will re-establish Clifford’s reputation as Aboriginal Australia’s finest painter. No life was written larger across the page of the Aboriginal Art Movement than that of Clifford Possum Tjapaltjarri.
During a career, which lasted more than 30 years, he produced a number of masterpieces that will come to be seen by Australians as amongst the most important works created in this country’s artistic history. His inclusion in major national and international exhibitions and his presence in the literature rivals that of any other Australian Aboriginal artist. He received an order of Australia for his contribution to the Western Desert art movement, was chairmen of Papunya Tula in the late 70’s and early 80’s, had a private audience with Queen Elizabeth II in 1990, and was the first real Ambassador for Aboriginal art around the world. He was honoured posthumously by a solo retrospective by the Art Gallery of South Australia which toured state galleries and, moreover, was the subject of two books on his life and work written by Vivien Johnson, his long time friend and biographer.
Carved Wooden Artifacts, Carved and Painted Animals, Synthetic Polymer Paint on Linen and Canvas, Works on Paper
Body Paint Designs, Bush Banana, Bush Food , Bush Turkey, Bushfire, Centipede (Kanparrka), Emu, Fish, Frogs, Frogs, Goanna, Grass Seed , Honey Ant, Kangaroo, Lightening, Love Magic, Malierra Ceremony, Men’s Love Story, Possum, Rain, Rock Wallaby , Seed , Snake , Two Brothers, Two Women (Kunga Kutjarra), Wild Cucumber, Wild Plum, Wildflowers, Witchetty Grub , Worm
Conniston, Mount Denison, Mount Allan Station, Napperby Creek
• Artbank, Sydney
• Art Gallery of New South Wales, Sydney
• Art Gallery of South Australia, Adelaide
• Art Gallery of Western Australia, Perth
• Berndt Museum of Anthropology, University of Western Australia
• Broken Hill Art Gallery
• Donald Kahn collection, Lowe Art Museum, University of Miami
• Flinders University Art Museum, Adelaide
• National Gallery of Australia, Canberra
• National Gallery of Victoria, Melbourne
• Pacific Asia Museum, Los Angeles
• Parliament House Art Collection, Canberra
• Queensland Art Gallery, Brisbane
• South Australian Museum, Adelaide
• The Holmes a Court Collection, Perth
• The Kelton Foundation, Santa Monica, U.S.A.
2002, Medal of the Order of Australia
1991, Mural, Alice Springs airport
1991, Strehlow Research Foundation, Alice Springs
1985, Mural design, Araluen Centre, Alice Springs
1983, Alice Prize, Alice Springs, NT
1970s and 1980s, Chairman of Papunya Tula Artists Pty Ltd
1987, Paintings of Clifford Possum Tjapaltjarri, Avant Galleries, Melbourne
1988, Clifford Possum Tjapaltjarri Paintings 1973-1986, Institute
of Contemporary Arts, London
1990, Rebecca Hossack Gallery, London
2017, Gems of the Stockroom, Kate Owen Gallery, New South Wales, Australia.
1974, Anvil Art Gallery, Albury, New South Wales, Australia.
1980, The Past and Present of the Australian Aborigine, Pacific Asia Museum, Los Angeles
1980, Papunya Tula, Macquarie University Library, Sydney.
1981-82, Aboriginal Australia, National Gallery of Victoria, Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery
1982, Perspecta (with Tim Leura), Sydney.
1983, XVII Bienal de Sao Paulo, Sao Paulo.
1984, Painters of the Western Desert: Clifford Possum Tjapaltjarri, Paddy Carroll Tjungurrayi and Uta Uta Tjangala, Adelaide Arts festival
1984, Aboriginal Art, an Exhibition Presented by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra
1985, Dot and Circle, a retrospective survey of the Aboriginal acrylic 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, Circle Path Meander, National Gallery of Victoria, Melbourne
1987, Aboriginal Art from the Central Desert and Northern Arnhem Land, Community Arts Centre, Brisbane
1988, Dreamings, the art of Aboriginal Australia, The Asia Society Galleries, New York.
1988, The Fifth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin
1989, A Myriad of Dreaming: Twentieth Century Aboriginal Art Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art]
1989, Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra
1989, Papunya Tula: Contemporary Paintings from Australia’s Western Desert,
John Weber Gallery, New York,
1990, l’ete Australien a’ Montpellier, Musee Fabre Gallery, Montpellier, France.
1990, Songlines, Rebecca Hossack Gallery, London
1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, Harvard University, University of Minnesota, Lake
Oswego Center for the Arts, United States of America
1991, Aboriginal Art and Spirituality, High Court, Canberra
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.
1992, Crossroads-Towards a New Reality, Aboriginal Art from Australia, National Museums of Modern Art, Kyoto and Tokyo
1993, Tjukurrpa, Desert Dreamings, Aboriginal Art from Central Australia
(1971-1993), Art Gallery of Western Australia, Perth WA
1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark
1994, Dreamings – Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich
1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.
1994, Yiribana, Art Gallery of New South Wales, Sydney.
Johnson, Vivien. 2003. Clifford Possum Tjapaltjarri. South Australia. Art Gallery of South Australia. Johnson, Vivien. 2002. Clifford Possum Tjapaltjarri c. 1932 – 21 June 2002 Obituary. Australia. Art & Australia 40(2) 243-244. Johnson, Vivien. 2008. Lives of the Papunya Tula Artists. Australia. IAD Press. Bardon, G. 2004. Papunya: A Place Made After the Story: The Beginnings of Western Desert Painting Movement. Victoria. Melbourne University Publishing. Bardon, G. 2004. Papunya: A Place Made After the Story: The Beginnings of Western Desert Painting Movement. Victoria. Melbourne University Publishing. Hill, P. 8 May 2004. Spiritual Maps. Australia. Sydney morning Herald. Lock-Weir, T. June 2003. Clifford Possum, the divine navigator. Australia. Art & Australia 40(2) 602-609. McNamara, A. Summer 04/05. No Two Ways About It: On The Clifford Possum Tjapaltjarrii Retrospective. Australia. Eyeline 56(13-17). Kate Owen Gallery. A Publication of Clifford Possum Tjapaltjarri by Adrian Newstead – © 2015 AIAM100.com