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Michael Riley (1960–2004) was an Australian Indigenous photographer and film-maker, and co-founder of Boomalli Aboriginal Artists Cooperative. A significant figure in Contemporary Indigenous Australian art, Riley's work is held by many public art institutions including the National Gallery of Australia. ==Life and work== Riley was born in 1960 in Dubbo, central New South Wales, to Allen Riley and Dorothy, née Wright. His early years were spent on the Talbragar Aboriginal Reserve with his parents and siblings David, Wendy and Carol.〔Brenda Croft, 'Up in the sky, behind the clouds', in Croft (ed.), 2006〕 Riley moved to Sydney in 1976, and attended a photography course at the Tin Sheds, University of Sydney. He subsequently worked as a technician in the photography department of the Sydney College of the Arts, where he continued to study.〔Alan McCulloch, Susan McCulloch and Emily McCulloch Childs, 'Riley, Michael', in McCulloch's Encyclopedia of Australian Art (4th edition), Aus Art Editions and The Miegunyah Press, MUP, 2006〕 Riley's photographs range widely, but with an emphasis on portraiture, and on symbolic, sometimes surreal images. His parents were churchgoers,〔Brenda Croft, 'Up in the sky, behind the clouds', in Croft (ed.), 2006〕 and Riley appropriated the iconography of his 'creepy' religious experiences,〔Djon Mundine, 'Cloud: Wungguli - Shadow: Photographing the Spirit and Michael Riley', in Croft (ed.), 2006, p.127.〕 particularly in projects such as ''flyblown'' (1998) and ''cloud'' (2000/2005). Many of Riley's photographs and films explore Indigenous identity, experience and politics, including ''Malangi: A day in the life of a bark painter'' (1991), ''Poison'' (1991), ''Blacktracker'' (1996), and ''Tent Boxers'' (2000). Riley's work was amongst that of eight Australian Indigenous artists selected for an architectural commission for the Musée du Quai Branly in Paris.〔Australia Council for the Arts, 2006〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Michael Riley (artist)」の詳細全文を読む スポンサード リンク
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