- Other Titles
- Portrait of Maria
- Place where the work was made
New South Wales
- Media category
- Materials used
- gelatin silver photograph
- 45.5 x 47.9 cm image; 60.0 x 49.8 cm sight; 63.2 x 62.9 x 1.4 cm frame
- Signature & date
Signed and dated l.l., black marker "M.Riley 1985".
- Mollie Gowing Acquisition fund for Contemporary Aboriginal art 1999
- Not on display
- Accession number
- © Michael Riley Foundation. Licensed by Copyright Agency
- Artist information
Works in the collection
Michael Riley's career started in 1982, when he enrolled in a photography workshop at the Tin Sheds Gallery, University of Sydney, and later became the photographic technician at the Sydney College of the Arts. Riley's family and friends are his constant inspiration, and his work is characterised by a strong sense of intimacy that inherently challenges the negative portrayal of 'otherness' in historical ethnographic portraiture.
In 1986, Riley was included in the first exhibition of Indigenous photography at the Aboriginal Artists Gallery, Sydney, exhibiting five portraits of black women, one of which – 'Maria', 1985 – seemingly appropriates historical depictions of Truganninni, the woman martyred as the last of the Aboriginal people in Tasmania. In 1986, Riley and nine other Sydney based artists established Boomalli Aboriginal Artists Cooperative. He worked concurrently at Film Australia, where he wrote and directed his first film 'Boomalli: Five Artists', 1988, followed by the highly acclaimed 'Dreamings', 1988, a documentary made for the exhibition of Aboriginal art at the Asia Society Galleries, New York.
Riley continued to celebrate Aboriginal women in 'Portraits by a Window', 1990 and the 1991 series 'A Common Place Portraits of Moree Murris'. From 1993 Riley's work focused on self-abuse as a symptom of colonisation, represented in 'Sacrifice', 1993, a series of images of icons, such as Aboriginal hands displaying stigmata. He was commissioned by the Museum of Sydney in 1996 to create Eora, a permanent video display dedicated to the people of Sydney. In this work, he presented a subversive juxtaposition of traditional and contemporary Aboriginal culture.
Riley surveyed the environmental destruction of his country as a metaphor for the encroachment on Aboriginal culture in his film 'Empire', 1997, and the photographic series 'Fly Blown', 1998. These works juxtaposed images of Christianity and roadkill with the parched Australian environment, and were shown as a satellite exhibition of the 1999 Venice Biennale. Riley returned to community portraits in 1999, with the series 'Yarns from Talbragar', depicting members of his father's Wiradjuri community in Dubbo and echoing his 1991 Moree series, centred on his mother's Gamilaroi family first digital series, 'Cloud', 2000 was included in Photograhica Australis at ARCO in Spain, the Fourth Asia-Pacific Triennial of Contemporary Art at the Queensland Art Gallery, Brisbane, and the 2003 Festival of Sydney. Isolated against an emblematic blue Australian sky, a cow, a bible and a boomerang each symbolise pastoralism, religion a Aboriginality – questioning who belongs within Australia.
Jonathan Jones in 'Tradition today: Indigenous art in Australia', Art Gallery of New South Wales, Sydney, 2004
© Art Gallery of New South Wales
Where the work was made
Shown in 7 exhibitions
Signature works, Australian Centre for Photography, Paddington, 27 May 1999–04 Jul 1999
Another Country, Art Gallery of New South Wales, Sydney, 04 Jul 1999–02 Apr 2000
Title Deeds: Aboriginal and Torres Strait Islander Works from the Collection, Art Gallery of New South Wales, Sydney, 05 Jul 2000–05 Nov 2000
unknown, Art Gallery of New South Wales, Sydney, 22 Aug 2007–28 Oct 2007
Boomalli: 20 years on, Art Gallery of New South Wales, Sydney, 01 Sep 2007–28 Oct 2007
Half light: portraits from black Australia, Art Gallery of New South Wales, Sydney, 21 Nov 2008–22 Feb 2009
The photograph and Australia:
Referenced in 9 publications
Judy Annear, The photograph and Australia, Sydney, Jun 2015, 109 (colour illus.).
Edmund Capon AM, OBE, Art Gallery of New South Wales: highlights from the collection, Sydney, 2008, 46 (colour illus.).
Brenda L. Croft, One sun one moon: Aboriginal art in Australia, ‘To be young (at heart), gifted and blak: The cultural and political renaissance in Indigenous art in Australia’, pg. 285-293, Sydney, 2007, 284 (colour illus.).
Jonathan Jones, Tradition today: Indigenous art in Australia, 'Michael Riley', pg. 126, Sydney, 2004, 127 (illus.).
Lawson's (Editor), Lawson's Aboriginal art, works on paper and Contemporary paintings, Sydney, Dec 1998, 3. cat.no. 54
Hetti Perkins, Look, 'One sun one moon', pg. 22-27, Sydney, Jun 2007, 25 (illus.).
Hetti Perkins, Art + soul: a journey into the world of Aboriginal art, 'Bitter + Sweet', pg. 174-239, Carlton, 2010, 218-219 (illus.), 220, 281. NOTE: The artist is photographed infront of the work on page 218.
Hetti Perkins and Jonathan Jones (Editors), Half light: Portraits from black Australia, 'Michael Riley', pg. 110-119, Sydney, 2008, 113 (colour illus.).
Sandra Phillips (Editor), Racism, representation and photography, Stanmore, 1994, 145 (illus.). titled 'Polly'.
Other works by Michael Riley
See more works