1991, John Kluge – Painting the Land Collection, Virginia USA
Aboriginal Art Museum, The Netherlands
Art Gallery of New South Wales, Sydney.
Art Gallery of South Australia, Adelaide.
Art Gallery of New South Wales.
British Museum, Department of Africa, Oceania and the Americas, London, UK
Ballarat Fine Art Gallery, Ballarat, Victoria
Flinders University Art Museum, Adelaide.
Kelton Foundation, California, USA
Kluge-Ruhe Collection, University of Virginia, USA.
Linden Museum, Stuttgart, Germany.
Milingimbi Collection, MECA, Milingimbi Educational and Cultural Association.
Museum and Art Gallery of the Northern Territory, Darwin.
Museum of Contemporary Art, Sydney.
National Gallery of Australia, Canberra.
National Gallery of Victoria, Melbourne.
National Maritime Museum, Darling Harbour, Sydney.
The Holmes a Court Collection, Perth.
The Hida Earth Wisdom Centre, Gifu, Japan
Wollongong City Art Gallery, Wollongong
1984, Aboriginal Artists Gallery, Melbourne (with Djardie Ashley)
1986, Aboriginal Artists Gallery, Melbourne (with Djardie Ashley)
1988, Esplanade Gallery, Darwin (with Djardie Ashley)
1990, Cooee Gallery, Paddington (with Djardie Ashley)
1974 to 1976, Art of Aboriginal Australia, touring Canada, Rothmans of Pall Mall Canada Ltd.
1982, Aboriginal Art at the Top, Museum and Art Gallery of the Northern Territory, Darwin.
1983, George Paton Gallery, Melbourne
1987, The Art of Ramingining, The Centre Gallery, Gold Coast, Qld
1987, The Fourth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin
1988, The Fifth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin
1988, Biennale of Sydney, Aboriginal Memorial, Pier One, Sydney
1988, Karnta, Touring South-east Asia, [non selling Karnta show]
1989, Ramingining, Gamununggu Miyalk, women painters, Araluen Arts Centre, Alice Springs
1989, Recent Works from Ramingining and Maningrida, Roslyn Oxley9 Gallery, Paddington, NSW
1989, The Sixth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the NT,
1989, Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra.
1989, Masterpiece Fine Art Gallery, Hobart.
1990, Women from Ramingining, a Girls Own Gallery, Canberra, ACT
1991, Ramingining, Roslyn Oxley9 Gallery, Sydney
1992/3, New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA and Australia
1993, Prints by Ramingining Artists, Hogarth Gallery, Paddington, NSW
1993/4, ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark
1994, Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.
1994, The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the NT,
1994, Yiribana, Art Gallery of New South Wales, Sydney.
1995, The Best Face Value for Autumn, Wollongong City Art Gallery, Wollongong, New South Wales
1995, Review- Works by Women from the Permanent Collection of the Art Gallery of New South Wales, 1996, Bula’Bula Arts, Ramingining, Anima Gallery, Adelaide
1996, Islands: Contemporary Installations, National Gallery of Australia, Canberra
1997, Ramingining Artists, Michel Sourgnes Gallery, Brisbane
1998, New World Art Gallery, Hattem, The Netherlands
1998, Dreamings, Vlaams-Europeesch-Conferentiecentrum, Brussels, Belgium
1998, Dreamings, Spazio Pitti Arte, Florence, Italy
1999, The Sixteenth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the NT,
1999, Ramingining Artists Show, High on Art, Melbourne
1999, Le Memorial un chef-d’oeuvre d’art aborigine, Olympic Museum, Lausanne, Switzerland; State Hermitage Museum, St Petersburg, Russia; Museo Nacional Centro de Arte Reina Sofia, Madrid
2000, Ramingining artists, Coo-ee Gallery, Sydney
2000, 17th National Aboriginal & Torres Strait Islander Art Awards
2000, Aboriginal Art in Modern Worlds, National Gallery of Australia, Canberra
2000, Bula’bula Arts Gallery, Sydney
2000, Ramingining, Bula’bula, Robert Steele Gallery, New York, USA
2001, Outside in: Research Engagements with Arnhem Land Art, ANU, Drill Hall Gallery, Canberra
2002, Miyalk Djama, Indigenart, Subiaco, WA
2002, A Taste of Aboriginal Art, Robert Steele Gallery, New York, USA
2003, Out of the Dilly Bag, Bright!, St Kilda, Victoria
2003, Identity & Country, Indigenart, Subiaco, WA
2003, Resonance: Recent works from Ramingining, Hill-Smith Fine Art Gallery, Adelaide
2003, Bula’bula Arts at the Virginia Fringe Film Festival, Virginia, USA
2004, Palya Art, Kew, Victoria
2004, Artists from Ramingining, Framed Gallery, Darwin
2004, The World of Aboriginal Art and Tingatinga Paintings, The Museum of Fine Arts, Gifu, Japan
2004, Ramingining Rom: Paintings and Objects from Bulabula Arts Aboriginal Corporation, Central Arnhem Land, Fremantle Arts Centre, Western Australia
2004, Bulabula Artists Mala, Bandigan Arts, Sydney
2005, Rarrk on Bark, Ballarat Fine Art Gallery, Ballarat, Victoria
2005, From Our Place to Yours, Hill-Smith Fine Art Gallery, Adelaide
2005, Gamununggu Ganalbingu: Ganalbingu Painters, Indigenart, Perth
2005, Yaku Yindi: Big Names from Ramingining, Hogarth Galleries, Sydney, NSW
2006, Nearly Abstract, Bett Gallery and Webb’s, Auckland, New Zealand
2006, Out of the Dilly Bag and into the Canoe, Brightspace! St Kilda
2006, Many many canoes: An exhibition in celebration of the film Ten Canoes, Tandanya, National Aboriginal Cultural Institute, Adelaide
2006, Dreaming their way: Australian Aboriginal Women Painters, National Museum of Women in the Arts, Washington, DC, USA
2006, Ramingining, Bett Gallery, Hobart, Tasmania
2007, 24th National Aboriginal & Torres Strait Islander Art Award, Museum & Art Gallery of the NT, 2007, Dupun, Bett Gallery, Hobart, Tasmania
Altman, J., and Cook, P., 1982, Aboriginal Art at the Top, exhib. cat., Maningrida Literature Production Centre, Maningrida.
Contemporary Aboriginal Art, The Robert Holmes a Court Collection, Heytesbury Holdings, Perth 1990
Groger-Wurm, H., 1973, Australian Aboriginal Paintings and their Mythological Interpretation, Australian Institute of Aboriginal Studies, Canberra. (C)
1993, Aratjara, Art of the First Australians: Traditional and Contemporary Works by Aboriginal and Torres Strait Islander Artists, exhib. cat. (conceived and designed by Bernard Luthi in collaboration with Gary Lee), Dumont, Buchverlag, Koln. (C)
Isaacs, J., 1989, Australian Aboriginal Paintings, Weldon Publishing, New South Wales. Neale, M., 1994, Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney. (C)
1990, Contemporary Aboriginal Art from the Robert Holmes a Court Collection, exhib. cat., Heytesbury Holdings Ltd., Perth.
1991, Aboriginal Women’s Exhibition, exhib. cat., Art Gallery of New South Wales, Sydney.
2001, The Native Born. Published by the Museum of Contemporary Art. Sydney. �
Courtesy of � Discovery Media, Documentation Pty Ltd, and the Australian
Institute of Aboriginal and Torres Strait Islander Studies and Bulla Bulla Arts
Dorothy was born in 1942 at Murrwangi near Mulgurrum, on the edges of the Arafura Swamp.Her father, Nhulmarmar was a famous bark painter who works hang in major art galleries and have been featured in authentic art books.
The family crossed from the mainland over to Milingimbi Island, where the Methodist Mission had established a school. The superintendent recognised Dorothy’s artistic talent, and encouraged her to paint in the western style, but after school each day her father and her uncle taught her to paint on bark in the old traditional way, using natural ochres and bush brushes. They did not, however, pass on any of their sacred designs to her, as the recording of the history and religion of the tribe is regarded as “men’s business” throughout Arnhem Land.
After completing school she went back to the mainland with her family, and helped build the stockyards and muster cattle on foot at Ramingining, then moved to Maningrida, about 200 miles distant, to marry her promised husband, an old man. For a while she was employed in the bakery, but moved back to Ramingining when her husband died. After a while she met and married Djardi Ashley, a well-known bark painter, who encouraged her to paint.
Her old father, Nhulmarmar, was becoming very worried because he had only one son, George Milpurrurru, to carry on his designs and stories. He consulted with the elders and eventually obtained their permission for Dorothy to be allowed to paint the traditional designs so that there would be a better chance of the art and sacred stories of the Ganalbingu tribe being kept alive. In this way she occupies a special place in Aboriginal art in that she has been allowed to paint designs normally taboo to women. Within these designs and traditional religious stories she has developed her own unique style which separates her from other artists. Her style and “hand’ are much admired by Aboriginal people and Europeans alike. She exhibits an inner strength which underlies the power of her own character, enabling her to continue to paint through the years despite social pressures often exerted to keep her in her place.
Recently a well-known male artist joked while viewing one of her Flying Fox paintings, “That Djukulul, she paints just like a man”. Dorothy has had several exhibitions of her work and has been written up in authentic art books. Her paintings are eagerly sought after by discerning collectors, and some of her paintings have fetched up to $15,000.