Jawigin (Billy Mac Spring)

Label

This seemingly abstract depiction of Country, with its dramatic red, white, and black curved forms, honors a significant cultural site in the Kimberley. Jawigin sheltered an important rock that Gija people rubbed to keep the kangaroos fat and abundant. Peters also remembers it as a traditional pre-colonial camp site and as a part of Springvale station, where he worked as a teenager. In the 1980s the artist was devastated to discover that the station owner had bulldozed many of the sacred trees. As the site was irreversibly damaged, it now falls to the painting to hold the different layers of knowledge tied to Jawigin, allowing history and memory to be passed down to future generations.

From the 2023 exhibition Layered Histories: Indigenous Australian Art from the Kimberley and Central Desert, curated by Amelia Kahl, Barbara C. & Harvey P. Hood 1918 Curator of Academic Programming

Course History

WRIT 5, Indigenous Knowledge and Development, Kenneth Bauer, Winter 2013

ARTH 16, ANTH 50, Australian Aborigional Art, Howard Morphy, Fall 2012

ARTH 16, ANTH 50, Australian Aborigional Art, Howard Morphy, Fall 2012

ARTH 16, ANTH 50, Australian Aborigional Art, Howard Morphy, Fall 2012

ARTH 16, ANTH 50, Australian Aborigional Art, Howard Morphy, Fall 2012

WRIT 5, Nature and Imagination: The Meanings of Place, William Nichols, Fall 2012

SART 29, Photography I, Brian Miller, Fall 2012

SART 30, Photography II, Brian Miller, Fall 2012

SART 25, Painting I, Esme Thompson, Fall 2012

SART 25, Painting I, Enrico Riley, Fall 2012

ANTH 30, Hunters and Gatherers, Nathaniel Dominy, Fall 2012

THEA 28, Dance Composition, Ford Evans, Fall 2012

SART 15, Drawing I, Gerald Auten, Fall 2012

SART 20, SART 71, Drawing II, Drawing III, Colleen Randall, Fall 2012

NAS 42, Gender Issues in Native American Life, Vera Palmer, Fall 2012

Geography 31.01, Postcolonial Geographies, Erin Collins, Fall 2023

Studio Art 17.08, Digital Drawing, Karol Kawiaka, Winter 2024

Studio Art 17.08, Digital Drawing, Karol Kawiaka, Winter 2024

Exhibition History

Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 15, 2012-March 10, 2013; Toledo Museum of Art, April 11-July 14, 2013.

Layered Histories: Indigenous Australian Art from the Kimberely and Central Desert, Amelia Kahl, Curator, 5 August 2023 - 2 March 2024, Citrin Family Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire.

Publication History

Stephen Gilchrist, editor, Crossing Cultures, The Owen and Wagner Collection of Contemporary Aboriginal Art at the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2012, p.92; p. 151, no. 90.

Provenance

William Mora Galleries, Richmond, Victoria, Australia; sold to Will Owen (1952-2015) and Harvey Wagner (1931-2017), Chapel Hill, North Carolina, March 27, 2007; lent to present collection, 2011; given to present collection, 2013.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu

Subjects