Turkey Tolson Tjupurrula

Turkey Tolson Tjupurrula (sometimes just Turkey Tolson; – 10 August 2001 His mother was one of Toba's three wives: the other two (his stepmothers) were the artists Wintjiya Napaltjarri and Tjunkiya Napaltjarri. He had five half-siblings, the children of Toba and Wintjiya: Bundy (born 1953), Lindsey (born 1961 and now deceased), Rubilee (born 1955), Claire (born 1958) and Eileen (born 1960).

'Tjupurrula' (in Pintupi) (also commonly seen as 'Jupurrula', this being the Warlpiri spelling) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although they may be used as terms of address, they are not surnames in the sense used by Europeans. Thus 'Turkey Tolson' is the element of the artist's name that is specifically his.

As a young man, Turkey Tolson worked in construction and as a stockman around Haasts Bluff, and was a skilled spear-thrower. He married and with his family moved to Papunya, Northern Territory at the time of its construction. His first wife died, and after remarrying to Mary Napanungka in 1984 he moved to Kintore, which lies within his family's traditional country. Later in life he suffered heart trouble, and was in Alice Springs receiving dialysis treatment at the time of his death on 10 August 2001.

Art Contemporary Indigenous Australian art arose in western desert communities when Indigenous men at Papunya began painting in 1971, assisted by teacher Geoffrey Bardon. Soon afterwards they established Papunya Tula, a company owned and controlled by the artists, which went on to be Australia's pre-eminent Indigenous art centre. Turkey Tolson was one of the first to paint – his name appears in the company's records in 1973; Kampurrarrpa (Kampurarrpa) (1976) Two Women Mythology at Putja Rockhole (1977), and Tjunyinkya (1977), all held by the National Museum of Australia, and all painted in synthetic polymer paint. Turkey Tolson collaborated with Johnny Scobie Tjapanangka, a fellow Papunya artist, in creating the last of the works.

After his father's death, the artist took over ceremonial responsibility for his country. This shift to a senior place in the community was associated with a looser style and a more individualised iconography. It was during this period that he created the work Straightening spears at Ilyingaungau (1990), held by the Art Gallery of South Australia. This painting was described by both art expert Vivian Johnson and critic Susan McCulloch-Uehlin as his masterpiece, The case raised important questions about the nature of Aboriginal art, and about the "corrupting" effects of the art market. Anthropologist Fred Myers analysed the case, and concluded that the issue was not that Turkey Tolson was painting for money, or even being paid money. Rather, "Turkey's work is threatened by corruption because the conditions of his presence in Alice Springs – his need for more regular income and his dealer's need for 'product' – draw him away from the experiences that inform his painting."

Major exhibitions in which Turkey Tolson's work has featured have included Papunya Tula: Out of the Australian desert at the National Museum of Australia in 2010, and Almanac: The gift of Ann Lewis AO at the Museum of Contemporary Art, Sydney, also in 2010. The following year, his painting Spear straightening ceremony (1993) was included in a Newcastle Region Art Gallery exhibition, Speaking in Colour.

Major collections Art Gallery of New South Wales Art Gallery of South Australia National Gallery of Australia National Gallery of Victoria National Museum of Australia