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Dutifully recording as much information about their meaning as he could, Ronald Berndt and the men who made these drawings captured an extraordinary record of the Country, ancestors, history and ceremonies of the region.\u003cbr\u003eThe collection is cared for today by the Berndt Museum at the University of Western Australia. Apart from a handful of drawings, most of the collection has never been seen. Birrundudu Drawings brings to the world for the first time these remarkable art works.\u003cbr\u003eThese 810 drawings sat in silence for the eighty years since they were created: first in the Berndts’ home and then at the museum. Some of these silences are interrogated in this book. Others will take longer to resolve. What is beyond doubt is the fact that the Birrundudu Drawings represent a monumental body of Aboriginal knowledge and creativity. The drawings are not simply important because they have never been seen, nor because there are so many of them. They are important because of the convergence of these two aspects – their scale combined with their novelty has transformative potential in the narratives of Aboriginal art and Australian history.\u003c\/p\u003e\n\u003cp\u003eA breathtakingly beautiful and history-swerving body of work.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBirrundudu Drawings\u003c\/em\u003e reflects knowledge from cultural leaders, custodians and descendants of the original artists. It includes contributions from Robert McKay, George Lee, Margaret Wein, Jimmy Tchooga, James Elliot and many others, along with essays from the editorial team. The book was edited in collaboration with custodians by John Carty, Jason Gibson, Stephen Gilchrist, Jessyca Hutchens, Alistair Paterson, and Luke Scholes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDetails:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWith contributions from John Carty, Jason M. 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Kaapa Tjampitjinpa, Tim Leura Tjapaltjarri, Clifford Possum Tjapaltjarri and Johnny Warangula Tjupurrula were central to the formulation of a radical new form of desert art. Standing out among an exceptional cohort of painting men at Papunya (a remote government settlement in Central Australia) this ‘gang of four’ closely related artists deployed their inherited iconography while exploring poetic possibilities offered by paint on canvas. Each was responsible for innovations that still influence contemporary desert art. Papunya Tula art did not emerge from barren ground, and John Kean’s fine-grained study reveals the artform’s surprising sources, from its wellspring in the ceremonies of Central Australia to the popular culture of the mid-twentieth century. 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