Muriel Williams Kngwarreye, Eastern Arrernte / Australian, born 1980
Eastern Arrernte
Ltyentye Apurte Community (Santa Teresa)
Northern Territory



Acrylic on linen

Frame: 36 3/4 × 13 1/8 × 1 1/2 in. (93.3 × 33.3 × 3.8 cm)

Hood Museum of Art, Dartmouth: Gift of Will Owen and Harvey Wagner

© Muriel Williams Kngwarreye



Place Made: Australia, Oceania


21st century

Object Name


Research Area


Not on view


Intricate dots comprise colorful circular forms in the paintings of Tanya Smith Angale and Muriel Williams Kngwarreye. Bursting with energy, the colors and designs evoke the landscape of Eastern Arrernte Country, rich with rock art and ceremonial sites. The dotting technique and circular patterns derive from the cultural practice of sand painting, which is used for sharing stories and knowledge.

The Keringke Arts Centre has provided an important space for members of the Ltyentye Apurte community to support themselves since their homelands were returned after years of European colonial settlement. The Keringke style of painting has garnered attention for its distinct patterns and vibrant colors. While artists like Angale and Kngwarreye express a form of cultural identity in their art, their artistry also stems from individual creativity and personal style. These works demonstrate how art remains a time-honored way of passing down cultural traditions while also being a contemporary form of self-expression.

From the 2022 exhibition A Space for Dialogue 107, Coloring the Western Canon, curated by Chloe Jung '23, Class of 1954 Intern

Exhibition History

A Space for Dialogue 107, Coloring the Western Canon, Chloe Jung, June 25 - August 21, 2022, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire.


Keringke Arts Gallery, Alice Springs, Northern Territory, Australia; sold to Will Owen (1952-2015) and Harvey Wagner (1931-2017), Chapel Hill, North Carolina; given to present collection, 2016.

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