There are numerous comparisons, similarities and differences to be noted between Clifford Possum Tjapaltjarri and Emily Kame Kngwarreye none more than their art work. Both being from the central desert region of the Northern Territory, Australia and the Anmatyerre language group both Clifford and Emily share simular life experiences, beliefs of the dreaming, geography and views of their country. Both artists produced their work in a matching time and place with simular preferred mediums and both had numerous collections exhibited both nationally and internationally. Yet their subject matter and their style of painting differed dramatically, Clifford painting the Dreaming and Emily focusing on her local landscape. Furthermore, until very
…show more content…
The spirited paintings Emily painted were in response to the land of her birth using the shapes and patterns of the contours of the landscape as well as the cycles of the seasons and parched land of the Northern Territory (). Furthermore, she included the flow of flooding waters and sweeping rains in her paintings unlike Tjapaltjarri who painted the Dreaming Kngwarreye’s inspiration came from her land including things like the patterns of seeds and the shapes of plants as well as the spiritual forces which permeate the Australian country, Kngwarreye's vision of the land was undeniably unique (Caruana 1999). Thus, leading to her work becoming recognised both nationally and internationally and is included in several public and private collections around the world (Caruana 1999). Consequently, some of the more memorable collections were when she represented Australia at the Venice Biennale and in 1997 Queensland Art Gallery staged a major retrospective collection of Emily’s work throughout Australia and travelled from the National Museum in Canberra to Osaka and Tokyo, Japan (Museum of contemporary art Australia 2017). The national and international recognitions of both Kngwarreye and Tjapaltjarri lead to their success in the art
The spirited paintings Emily painted were in response to the land of her birth using the shapes and patterns of the contours of the landscape as well as the cycles of the seasons and parched land of the Northern Territory (). Furthermore, she included the flow of flooding waters and sweeping rains in her paintings unlike Tjapaltjarri who painted the Dreaming Kngwarreye’s inspiration came from her land including things like the patterns of seeds and the shapes of plants as well as the spiritual forces which permeate the Australian country, Kngwarreye's vision of the land was undeniably unique (Caruana 1999). Thus, leading to her work becoming recognised both nationally and internationally and is included in several public and private collections around the world (Caruana 1999). Consequently, some of the more memorable collections were when she represented Australia at the Venice Biennale and in 1997 Queensland Art Gallery staged a major retrospective collection of Emily’s work throughout Australia and travelled from the National Museum in Canberra to Osaka and Tokyo, Japan (Museum of contemporary art Australia 2017). The national and international recognitions of both Kngwarreye and Tjapaltjarri lead to their success in the art