GOOCH’S UTOPIA: COLLECTED WORKS FROM THE CENTRAL DESERT

19 August–26 September 2010

From the late 1970s to the end of the twentieth century Rodney Gooch (1949-2002)traveller, cameleer, artist and arts advisor inspired, facilitated and collected the work of an important generation of Central Desert artists. The exhibition includes batiks, carvings, acrylic paintings, works on paper and so-called ‘spare part art' all sourced from the two collections Gooch bequeathed to the Riddoch Art Gallery (Mount Gambier) and the Flinders University Art Museum (Adelaide). Most of the artists included in the exhibition belong to either the Alyawarr or the Anmatyerr peoples, and among the artists represented are Emily Kame Kngwarreye, Gloria Tamerre Petyarre and Ada Bird Petyarre.

Download education resource sheet here (PDF 2.46 MB)

Curated by Fiona Salmon and toured by Flinders University Art Museum

Image: Gloria Tamerre Petyarre, Untitled, 2002, synthetic polymer paint on canvas, 92.5 x 123 cm. Flinders University Art Museum. Gloria Tamerre Petyarre, Licensed by VISCOPY, Australia, 2008

WENDY FAIRCLOUGH: COMMONALITIES

19 August–26 September 2010

Wendy Fairclough's art practice in glass reflects her original training in sculpture and printmaking.  Through a combination of hand blowing, cold working, engraving and casting, she transforms everyday utilitarian objects into arrangements or installations that emit great metaphorical and poetic power. Her background as a printmaker becomes evident through the use of engraving across installation based groupings of vessels.  Traditionally glass objects have been perceived as being precious. By exploring the interplay between the environment, the cast or hand blown utilitarian objects and the viewer, Fairclough allows shifts in perception from the usual assumed functionality of objects.  This body of work continues and extends on a theme that Wendy has touched on previously, that is to bring to visibility the commonalities shared between ordinary people from different cultures and belief systems.

Curated by Karen O'Clery

Image: Wendy Fairclough, Next to Godliness, 2006, cast glass, blown glass, sandblasted, wooden bench, 130 x 150 x 35 cm. Courtesy the artist and Narek Galleries.

ELISABETH KRUGER: ON BEAUTY

30 September–7 November 2010

This survey exhibition of one of Canberra's most successful artists, Elisabeth Kruger, gives insight to the themes and issues that motivate her art practice. In recent years Kruger's work has become more focused on our relationship with plant life: specifically the personal, immediate, and fragile nature of the garden space and its cycle of luscious growth, bloom, and blossom which leads to decay, decomposition, and then verdant regrowth.  Kruger's treatment of her imagery is rich and fertile, large in scale yet close and intimate, the intensity of her approach both unsettles and transports the viewer.

Curated by Dr Jenny McFarlane

Image: Elisabeth Kruger, Cirque, 2008, oil on linen, 122.5 x 153.0 cm. Courtesy the artist and Eva Breuer Art Dealer (Sydney) and Karen Woodbury Gallery (Melbourne). Photographer: Graham Baring.

DADANG CHRISTANTO

11 November–19 December 2010

Born in Indonesia, and now living in Australia, Dadang Christanto's art has a strong commitment to human rights and social justice.  This exhibition documents these issues as addressed in the artist's paintings and reflects his return to the medium in recent years. Christanto has exhibited widely in major international exhibitions in Australia, Asia, Europe, Latin America, and the US.  His work is represented in national and State art institutions in Australia, including the major sculptural works ‘Heads from the North' and ‘Red Rain' at the National Gallery of Australia and ‘They Give Evidence', which was the opening exhibition in the new Asian galleries at the Art Gallery of NSW in 2004. Christanto has had a long association with ANU through the School of Art and Research School of Humanities.

Curated by Dr Caroline Turner, Humanities Research Centre

Image: Dadang Christanto, The Shadow of the Blue Face, 2009, acrylic on raw linen, 112 x 136 cm. Courtesy the artist.