11 March – 4 June 2017
Philanthropists and collections explores the philanthropic impulse, and considers how patronage has helped shape the UQ Art Collection. A selective survey of the giving that has bolstered our holdings, it brings together a representative group of artworks that have been generously donated by organisations such as the Alumni Friends of The University of Queensland Inc. and altruistic individuals.
The exhibition provides us with an opportunity to thank all our donors and to reflect on the act of collecting. What leads someone to donate artworks, and how do these gifts influence the development of a collection? How does patronage contribute to the cultural heritage of an institution, and do objects ‘live’ differently in an art museum?
Curator: Samantha Littley
Panel Discussion about Collecting
Thursday 23 March 11 am
The discussion will include Michael Rayner, Simon Wright, Alan Rix, Georgina Walker and Samantha Littley as chair
* ARTT3117 students to attend
Music concert / student performance
Sunday in May
15 April – 30 July 2017
The saying ‘once the dust settles’ is essentially optimistic. It assumes that present difficulties will be resolved and that a better future beckons. However, not all difficulties diminish, while some lie dormant only to reappear. This exhibition centres on works by contemporary artists who probe at cultural, environmental and psychological histories that remain unresolved. Others reflect on traditions that reverberate or are threatened.
All works are drawn from The University of Queensland Art Collection and include recent acquisitions by artists such as Gordon Bennett, Susan Fereday, Dale Harding, Emma Lindsay, Angelica Mesiti, Caroline Rothwell, James Tylor, Judy Watson and Mumu Mike Williams.
Curator: Michele Helmrich
17 June – 3 September 2017
New Alchemists comprises a diverse suite of works by Australian and International artists exploring ideas of futuristic biologies and post-human engagements within the broad intersections of art and science.
Paralleling a view of the artist as contemporary alchemist, the selected works channel experiences beyond our accessible human and non-human worlds. Through play, ambiguity and provocation, the works engage in narratives that collapse our sense of familiarity and embodied otherness with the world around us.
Curator: Dr Alicia King
New Alchemists is a Salamanca Arts Centre exhibition toured by Contemporary Art Tasmania. Contemporary Art Tasmania is supported by the Australian Government through the Australia Council, its principal arts funding body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments, and is assisted through Arts Tasmania by the Minister for the Arts. Salamanca Arts Centre is supported by the Hobart City Council and through the Tasmanian State Government. This exhibition is supported by Contemporary Art Tasmania’s Exhibition Development Fund.
12 August – 19 October 2017
Inspired by the words of revered Indigenous leader Vincent Lingiari, ‘that land ... I still got it on my mind’, this exhibition reflects on the Gurindji Walk-Off, a seminal event in Australian history that reverberates today. The Walk-Off, a nine-year act of self determination that began in 1966 and sparked the national land rights movement, was led by Lingiari and countrymen and women working at Wave Hill Station (Jinparrak) in the Northern Territory.
Honouring last year’s 50th anniversary, curator and participating artist Brenda L. Croft has developed the exhibition through long-standing practice-led research with her patrilineal community and Karunkgarni Art and Culture Aboriginal Corporation. Lingiari’s statement is the exhibition’s touchstone, the story retold from diverse, yet interlinked Indigenous perspectives. Still in my mind includes photographs and an experimental multi-channel video installation, history paintings, digital platforms and archives, revealing the way Gurindji community members maintain cultural practices and kinship connections to keep this/their history present.
Curator: Brenda L. Croft, in partnership with Karungkarni Art and Culture Aboriginal Corporation
Developed in partnership between UNSW Galleries, UQ Art Museum and Karungkarni Art and Culture Aboriginal Corporation, with support from Australian Research Council Discovery Indigenous Award, National Institute for Experimental Arts, and Australian Research Council Centre of Excellence for the Dynamics of Language.
16 September 2017 – February 2018
Almost four centuries after its creation, Gian Lorenzo Bernini’s St. Teresa in Ecstasy 1652 remains the emblem for religious visionary experience and baroque sensibilities in art. Going beyond the sensuous suffering depicted by Bernini, Baroque Ecstasy brings historical depictions of ecstatic experiences together with modern and contemporary works that feature transcendence of normal consciousness, trance or trancelike states, expanded spiritual awareness, and visionary experiences. From saints and mystics, to bacchanalian fetes and dreamscapes, the exhibition also explores how Baroque stylistics such as theatricality, exaggeration, high drama, extravagance, frenzy and excess continue to permeate the work of contemporary artists.
Curator: Andrea Bubenik
Supported by the UQ Node, Australian Research Council Centre of Excellence for the History of Emotions (Europe 1100 – 1800).
11 November 2017 – 18 February 2018
Look at me looking at you posits the roles that the spectator plays in the construction of an image, the exchange between the viewer and maker that drives an image or object. With the self as subject, this can be reduced to an intimate conversation that might take place in the gallery space itself or at some future time, as if someone has passed on a message to be later revealed and savoured.
The title is from the song (I’m) Stranded by The Saints. Recorded in Brisbane in 1976, (I’m) Stranded quickly became an instant Australian cult hit and is now a classic. The Saints orbited around punk rock rather than being fully fledged members. Their intelligent, bombastic and pioneering attitude suits a more singular outlier vision rather than being part of any hip gang or fashionable style.
Most of the artists in Look at me looking at you are also in this spirit, revelling in aspects of the hand-made, the hand-me-down, the urgent and the everyday. They come from a diverse range of backgrounds and ages, are at different points in their careers, and create a variety of touchpoints, from celebrating the banality of the everyday through to pop music, family relationships and the nature of identity.
Curators: Glenn Barkley and Holly Williams