Curtin's School of Design and Art (SoDA) Postgraduate exhibition
Presented in association with: the international SKA Organisation; SKA-South Africa; SKA-Australia; Yamaji Art Centre, Geraldton, Australia and the First People Centre, Bethesda Arts Centre, Nieu Bethesda, South Africa.
Ben Quilty: after Afghanistan
Shaun Gladwell: Afghanistan
Australian War Memorial Travelling Exhibitions Program
Curated by Julian Goddard
21 November – 14 December 2014
The John Curtin Gallery in partnership with Curtin's School of Design and Art (SoDA) is proud to present the work of graduates from the School's Postgraduate Program. This is an annual project that has been ongoing since the Gallery's inception in 1998.
SoDA features five discreet projects by visual art practitioners:
In her one-woman multiscreen performance installation, All MySelves on YouTube and I, performance artist Meredith Godley considers if it is possible for us to escape from our everyday selves by performing the ‘Other’ online. Godley tells real life stories live, amid multiple screens that play her non-autobiographic YouTube video logging (vlogging) personae. Coexisting in this intimate setting, the relationship between her ‘real’ self and her online identities is tested. This performance reflects on how iCulture influences manifestations of selfhood.
Meredith will perform from 26 November to 14 December: Wednesday, Thursday & Friday 1:30pm and Sundays 3pm
BOOK NOW for All MySelves on YouTube and I
BETA BLOCKER is a continuation of Green’s xylem series, paintings that combine unlike materials; these interactions are then encapsulated within layers of resin. Using mixed media on aluminium, he creates translucent, colourful surfaces that seemingly capture movement. Pigments, inks and resins are mixed with resistant media creating structures that react and emerge within the surfaces of the works. These vivid microbial-like forms are paused in motion as the resin seals, trapped in opposing interaction. The structures appear both natural and unnatural; shapes that suck and spill - retreat and extend. It is this paradoxical space, set between two extremes in which the work evolves.
In addition to the two-dimensional works, Green collaborated with filmmaker Chad Peacock to produce shifting states: mikros kosmos, a video installation documenting this live action of painting processes. The work hints at bodily organisms, external geographies and the origins of living matter: repositioned under resistance.
Kate McMillan’s work reflects a kind of psycho-geography that ties together our emotional experiences within landscapes and domestic settings. Her series of photographs taken at Governors Lake on Rottnest Island/Wadjemup illustrate the forgotten history of atrocities committed on the Island and belie the reality that some 400 unmarked aboriginal graves are located nearby.
McMillan’s sixties-era sideboard is a reference to the same time period. One leg is missing – in its place history books are used as a prop. These particular books were published in an attempt to provide some kind of national framework and identity for Settler Australia including the romanticisation and categorisation of Aboriginal cultures. In 1963 Wadjemup/Rottnest Island ceased to be used as an Aboriginal prison, the same decade that Aboriginal people were federally declared Australian citizens. The references to domestic interiors, the painted wall, the ‘arranged’ artworks, remind us that these are our histories, hidden away in the homes we live in.
Naidansuren’s art practice aims to trace parody in Mongolian Modern Art - in particular the period of socialist regime (1921-1990) and post-socialist period. He reworks ideological art of the socialist period and highlights its distinct shift from soviet styled propaganda, realism, posters and caricatures, to freedom of expression which encouraged public discourse around current social-political concerns. It also reveals the historical truths to viewers that were distorted by the Mongolian chronicle during the Soviet regime and so criticize Soviet styled propaganda art. Therefore, it could be providing a chance to analyse and deconstruct the models of development in Mongolian Contemporary Art.
Hitesh Natalwala’s artwork is the result of study into the impact of Indian culture over the past 40 years on societies of the old British Empire and the symbiotic personal culture that develops by negotiating different cultures.
The works show how he first observes the way subcultures adapt to new environments and situations and inevitably become hybrid, layering bits of cultural experience one on top of another, and then uses this as a strategy for marbling together his own exposure to a host of culturally diverse norms—each with different, rich chromatic and iconographic traditions.
His first project is a series of collages that continue an existing body of work, which explores the subjects of diaspora and ethnography.
Indian and African textiles and sculpture, merge with a plethora of western forms in the second art project; not to mention an awareness of collage and assemblage techniques from the history of modern 20th century western art by artists such as Kurt Schwitters and Joseph Beuys.
1 October - 2 November, 2014
Shared Sky brings together Australian and South African artists in a collaborative exhibition celebrating humanity’s ancient cultural wisdom, alongside one of the world’s greatest scientific and engineering endeavours: the Square Kilometre Array (SKA) radio telescope project.
Yamaji and other Aboriginal artists from the mid-west region of Western Australia and African artists of San descent and others from the central Karoo region of South Africa’s Northern and Eastern Cape have created artworks in response to ancestral stories about the night sky – a sky they both share as it appears above their traditional homelands. On both continents this land has nurtured ancient traditions that live on in the spirit of Indigenous artists working in community based art centres today.
These sparsely populated and remote areas were specifically chosen for their radio-quietness and relative emptiness, making them the perfect sites to co-develop the Square Kilometre Array – the world’s largest radio telescope – itself a collaboration between governments, scientists and engineers from around the world.
Shared Sky is proudly presented by the John Curtin Gallery in association with: the international SKA Organisation; SKA-South Africa; SKA-Australia; Yamaji Art Centre, Geraldton, Australia and the First People Centre, Bethesda Arts Centre, Nieu Bethesda, South Africa.
Ben Quilty: after Afghanistan
Shaun Gladwell: Afghanistan
2 August - 14 September, 2014
Celebrated Australian artists Ben Quilty and Shaun Gladwell, who both undertook Australian War Memorial commissions in Afghanistan under the Official War Art scheme, will be exhibiting their work together for the first time as part of the Memorial’s Travelling Exhibitions Program.
Ben Quilty: after Afghanistan showcases works on paper and studio paintings created on his return to Australia.
Shaun Gladwell: Afghanistan, features photographs, videos and paintings created during his time in Afghanistan.
John Curtin Gallery continues its popular public program with a series of floor talks related to the Ben Quilty / Shaun Gladwell exhibitions on show at the Gallery during August and September.
Curated by Julian Goddard
16 May–6 July 2014 John Curtin Gallery
The John Curtin Gallery presents an exhibition examining the career of significant Noongar artist Revel Cooper. A child of the Stolen Generations, Cooper was sent to the Carrolup Native Settlement in the 1940s. Between 1946-1950, under the tutelage of Headmaster Noel White, Cooper began painting and along with his fellow students, achieved international critical acclaim. Cooper’s adult life was blighted by repeated incarceration, but he continued to make art and is acknowledged as being a formative influence on later generations of indigenous artists. Cooper not only produced many of his distinctive works in prison, he taught other inmates, some of whom went on to forge prominent artistic careers. Outside of prison, he is also known to have influenced the style of celebrated artist Lin Onus. Arguably one of the most under-acknowledged of the adult Carrolup artists, this exhibition explores Cooper’s role as a powerful storyteller and a significant political voice, speaking out against discrimination and injustice in an effort to preserve Noongar culture.
Image: Revel Cooper, Untitled, c 1949, pastel on paper, 183 x 247mm
The Herbert Mayer Collection of Carrolup Artwork, Curtin University Art Collection.
Koolark Koort Koorliny (Heart Coming Home)
Great Southern Regional Tour, Western Australia
Selected works from The Herbert Mayer Collection of Carrolup Artwork presented by the John Curtin Gallery
Albany Town Hall 24 May - 29 June, 2014
Public Program: Memories of Carrolup
Saturday 24 May 2014
Open: Tuesday–Sunday, 11am–4pm
Albany Town Hall, 217 York Street, Albany, WA phone: (08) 9841 9208 | free admission
The Herbert Mayer Collection of Carrolup Artwork was generously donated to Curtin University, Perth, Australia in May 2013 for educational and research purposes by Colgate University, Hamilton, New York, USA. This recently rediscovered collection of artwork by Aboriginal children from the Stolen Generations, was created between 1946 and 1950 at the Carrolup Native Settlement in Western Australia’s Great Southern region. Curtin University is honoured to have the opportunity to make this first step in their shared ambition with Colgate University to provide on going access to these artworks – especially to Noongar communities throughout the Great Southern region of Western Australia.
Image: Anonymous, The Golden Road, c 1949, pastel on paper, 280 × 385mm, The Herbert Mayer Collection of Carrolup Artwork, Curtin University Art Collection
Perth International Arts Festival 2014
6 February - 17 April
Paramodelic - Graffiti, 2012, PARAMODEL, Tokyo Station Gallery
With vivid imagination and meticulous design skills, Paramodel create wondrously immersive environments out of mass produced toys and brilliant blue plastic train tracks. Entire rooms become
fantastical landscapes. Since 2001 artists Yasuhiko Hayashi and Yusuke Nakano have collaborated under the name of Paramodel and now in this Australian exclusive they incorporate elements locally sourced in Perth to create an extraordinary diorama especially for the Festival at the John Curtin Gallery.
The Tenth Sentiment, 2010, Ryota Kuwakubo (installation view)
Photo: Keizo Kioku, photo courtesy: NTT InterCommunication Center [ICC] Japan.
The Tenth Sentiment draws you into a world of wonder that emerges right before your eyes. Hiding nothing from our view, Ryota Kuwakubo fills a room with everyday artefacts, and then catches them in the headlights of a single model train. Seamlessly amplified and animated into expansive vistas, you are immersed in moving shadows. Kuwakubo's mesmeric installations have enthralled audiences around the globe. This is the first time The Tenth Sentiment has been exhibited in Australia.