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Aboriginal and Torres Strait Islander art

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Title

Limmen Bight River Country


Artist

Ginger Riley Munduwalawala

Australia

circa 1936 - 01 Sep 2002

Language group

Marra, Gulf region


About

Traditional in subject matter and experimental in style, the paintings of Ginger Riley Munduwalawala are impressive pictorial presences, not least because of their scale and dramatic colour schemes. As an elder of his community, the artist is entrusted with the preservation of aspects of the stories of his mother's people at Four Arches, 45 kilometres inland from Limmen Bight in the Gulf of Carpentaria.Limmen Bight country is the landscape depicted in this stately retelling of the story of the first being, a kangaroo, shown in solitary grandeur at the bottom of Riley's successively layered composition. In order to populate the world, it was the task of this being to find himself a mate. Garimala, an ancestral snake, recommended he seek out a young girl, a quest which leads the kangaroo into many deprivations and dangers. The near-fatal spearing shown in the second register was probably in punishment for his trespass on the territory of another clan. The hump-like landforms which characterise the work, and Limmen Bight itself, are believed to have resulted from the writhings of the great serpents whose appearance in this painting, and elsewhere in Aboriginal art, is significantly hieratic.

[AGNSW Handbook 1999]


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Details


Other Title

Untitled


Place where the work was made

Northern Territory Australia


Date

1992


Media category

Painting


Materials used

synthetic polymer paint on canvas


Dimensions

243.5 x 243.5 x 3.7 cm stretcher


Signature & date

Signed l.l. corner , red synthetic polymer paint "GINGER RILEY". Not dated.


Credit

Mollie Gowing Acquisition Fund for Contemporary Aboriginal Art 1992


Location

Not on display


Accession number

291.1992


Artist information

Ginger Riley Munduwalawala

Works in the collection

4


Place

Where the work was made
Northern Territory

Shown in 4 exhibitions

Exhibition history


Referenced in 9 publications

Bibliography


Edmund Capon, Art Gallery of New South Wales: highlights from the collection, Sydney, 2008, 40, 41 (colour illus.).

Jonathan Cooper (Editor), The Art Gallery of New South Wales Bulletin, 'Yiribana Aboriginal & Torres Strait Islander Gallery', pg. 6-9, Sydney, Apr 1995-May 1995, 8 (colour illus.).

Bruce James, Art Gallery of New South Wales handbook, 'Australian Collection: Aboriginal and Torres Strait Islander Art', pg. 208-241, Sydney, 1999, 233 (colour illus.).

Ewen McDonald, The Art Gallery of New South Wales collections, 'From Colonialism to late Modernism', pg. 7-106, Sydney, 1994, 104 (colour illus.).

Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000. no catalogue numbers

Margo Neale, Yiribana: Aboriginal and Torres Strait Islander collection, Sydney, 1994, 48, 49 (colour illus.), 137, 139. plate no. 21

Hetti Perkins, Art + soul: a journey into the world of Aboriginal art, 'Bitter + sweet’, pg. 173-265, Carlton, 2010, 242-243 (colour illus.), 244 (colour illus., detail), 282.

Hetti Perkins., Contemporary Aboriginal art: The Mollie Gowing acquisition fund, 'Gifted Contemporary Aboriginal Art: The Mollie Gowing acquisition fund', Sydney, 2006, (colour illus.). not paginated

Judith Ryan, Look, 'The boss of colour', pg. 16, Sydney, Nov 2002, 16 (colour illus.).