Janet Dawson Survey 1953–2006
7 July – 19 August 2007
A Bathurst Regional Art Gallery travelling exhibition
Janet Dawson Survey 1953–2006, has drawn together over 60 art works from a large number of public art galleries and private collections, including 22 works from the National Gallery of Australia. Famously one of three women artists included in the National Gallery of Victoria’s 1968 exhibition The field, Janet Dawson’s work later shifted from minimal abstraction to still life and landscape.
Born in 1935, Janet Dawson’s talents were recognised early and from the age of eleven she studied privately before attending the National Gallery Art School, Melbourne, from 1951–56. In 1956 was awarded the National Gallery of Victoria Travelling Scholarship, enabling her to travel to London to enrol at the Slade School of Fine Art and study lithography. Living in Paris in 1960, she extended her technical knowledge at the Alelier Patris in Montparnasse, a lithographic printing workshop producing hand-printed, fine art editions.
After a period spent living in Sydney from 1965, Janet Dawson and her husband Michael Boddy moved in 1973 to Binalong in rural NSW, where Dawson’s practice shifted to focus on the landscape of the area. In the same year, Dawson’s portrait Michael Boddy reading won the Archibald Prize. Janet Dawson continues to live and work near Binalong.
This exhibition is supported by Visions of Australia, an Australian Government Program supporting touring exhibitions by providing funding assistance for the development and touring of cultural material across Australia.
David Sequeira: Eternal rhythms – Selected works 1996–2006
17 February – 8 April 2007
A John Curtin Gallery travelling exhibition
David Sequeira: Eternal rhythms – Selected works 1996–2006 is sponsored by IBT Education and supported by Curtin University of Technology
View publication David Sequeira: Eternal rhythms – Selected works 1996–2006 here
Kathy Mackey: Portraits and Mirrors
In Portraits and Mirrors, photo-media artist Kathy Mackey explores the relationships that occur between metallic and reflective objects—especially jewellery and mirrors—and human skin.
In her skin 'portraits', the viewer is encouraged to interpret the body within a social or group context. Scarification, tattoos, and objects such as jewellery help define the individual’s sense of self and their group affiliation. In a similar way, Mackey uses symbols such as mirrors and jewellery to represent the skin’s threshold between interior and exterior worlds. The viewer is invited to reflect upon the relationships implicit within these elements and to negotiate the boundaries marking inner and outer lives.
The University of Queensland National Artists' Self-Portrait Prize 2007
20 October 2007 – 10 February 2008
The University of Queensland National Artists’ Self-Portrait Prize highlights The University of Queensland’s commitment to develop a National Collection of Artists’ Self-Portraits. The inaugural Prize – supported by the Margaret Hannah Olley Art Trust, was won by Ben Quilty for his painting Self Portrait Dead (Over The Hills and Far Away).
29 September – 14 October 2007
In its 3000-year history, calligraphy has had close ties to the literature and ethos of the Chinese. Calligraphers devoted their talent to the teaching of philosophy and morality, immortalising warriors and kings, spreading the gospels of Taoists and Buddha, praising and worshipping the beauty of nature and, above all, transforming the written form as a visual art in itself.
The study of the works of the ancient masters has been a first step in learning the art, with the calligrapher’s ultimate objective being to establish their own artistic style. Chinese calligraphy is presented by the renowned scholar and calligrapher, the late Mr Lo Yat Ngam, his senior student and devoted disciple of 35 years Mr Wong Kwok Hing, and Dr Nat Yuen, who also studied with Mr Lo. Sadly, Mr Lo passed away on 24 April 2007.
View 'Kung Fu artists fight for the write' here
Judith Kentish: mappa II
25 August – 23 September 2007
Judith Kentish first came to public attention when she won the Moët & Chandon Australian Art Fellowship in 1996. Referring to her works as a ‘trigger for introspection’, Kentish speaks of their impenetrable surface as ‘one of covering, blanketing, veiling… a winding cloth for the living… with the mark, stitch, line, all gestures of insistence dispersed across the plane… marking out its expanse as proof of time and being.’
In making the works of mappa II, Kentish dyed cotton voile using materials from nearby bushland: eucalyptus and silky oak leaves and silver wattle flowers. Later, Kentish touched the dyed surface with dots of bleach, the path of dots cast out to arm’s length. The artist speaks of parchment I – VII in terms of ‘cloth drawings’, drawings that both absorb and erase pigment. If the dyed fabric suggests a psychological or metaphysical void – ‘a terrain far beyond the body’ – the grid of dots becomes something to hold on to – that ‘proof of time and being’.
Our Way: Contemporary Aboriginal Art From Lockhart River
5 May – 1 July 2007
A UQ Art Museum touring exhibition
The University of Queensland proudly presents Our Way, Contemporary Aboriginal Art from Lockhart River, the first exhibition to survey the work of the Lockhart River Art Gang. Our Way celebrates the remarkable story of this group of 24 young artists from a remote Aboriginal community in Queensland’s Cape York, several of whom have achieved national and international recognition. Rosella Namok, Samantha Hobson and Fiona Omeenyo lead the movement with spectacular and diverse insights into country, culture and history. The exhibition of 119 artworks, features the fine art printmaking from the Art Gang’s early years, along with major paintings.
Curator: Dr Sally Butler
- Virtual Tour of Our Way: Contemporary Aboriginal Art from Lockhart River [20.8MB] here
- Our Way Education Resource Kit for Teachers [712KB] available here
- Our Way Activity Sheet: 1 for Primary School Students [187KB] available here
- Our Way Activity Sheet: 2 for Primary School Students [181KB] available here
- Our Way Questions for Secondary Students [163KB] available here
Charles B Wang Center, Stony Brook University, Long Island, New York, 12 October – 16 November 2007
Kluge-Ruhe Aboriginal Art Collection, University of Virginia, January 15 – March 15 2008
National University of Singapore, 19 July – 19 August 2007
This project has been supported by the Australian Government and the Queensland Government through Arts Queensland, Department of Education, Training and the Arts, as part of the Visual Arts and Craft Strategy; and the Queensland Indigenous Arts Marketing and Export Agency (QIAMEA), Department of the Premier and Cabinet. QIAMEA promotes Queensland’s Indigenous arts industry through marketing and export activity throughout Australia and internationally.
Reveries: Photography & Mortality
31 August – 14 October 2007
A National Portrait Gallery travelling exhibition
This is a groundbreaking exhibition of photographs looking at the role played by photography in the final stages of people’s lives. Reveries is concerned with death of self, death of other, and reflections on mortality prompted by one’s own direct experiences, such as serious illness or the death of a loved one. Featured are work by 25 Australian and New Zealand photographers from the late 1970s to the present day, including Olive Cotton, Max Dupain, Anne Ferran, Carol Jerrems, Ruth Maddison, David Moore, Rod McNicol, Anne Noble, Jack Picone, Axel Poignant, Michael Riley and William Yang.
Curator Helen Ennis has extensive experience as an independent photography curator and writer specialising in the area of Australian photographic practice, and was formerly Curator of International and Australian Photography at the National Gallery of Australia, 1985-92. Her curatorial projects include Mirror with a memory: Photographic portraiture in Australia (National Portrait Gallery, 2000); a retrospective exhibition of Olive Cotton’s photographs (Art Gallery of New South Wales, 2000); and the two-part exhibition In a New Light: Australian Photography 1850s-2000 (National Library of Australia 2003 and 2004). Her exhibition of the work of European émigré photographer Margaret Michaelis was shown at the National Gallery of Australia in 2005.
Curator: Helen Ennis