2014
1 to 22 February 2014
Lost in Translation, forms the exhibition component of Caelli Jo Brooker’s Doctor of
Philosophy (Fine Art) thesis. This creative work for examination draws on individual
experience in the fields of art and design, and extends an ongoing investigation into
the abstract gestural mark.
Inspired by an instance of slippage between the analogue and digital, this practice led
research navigates multiple binary oppositions shared by art and design. These
binaries are translated through the material experience of mark-making as both
subject matter and methodology.
Thematically, the generative potential of difference and repetition is manifested in the
cave/mound shapes appearing throughout the work. These symbolic forms provide a recurring visual motif, an image embodying contrasting simultaneous interpretations. To this end, the creative work for the exhibition involves distinct, but interwoven streams of material investigation and association across drawing, design, printmaking, painting, sculpture and artists’ books.
The work also engages the playful in examining the philosophical. Multiple visual and conceptual themes appear as the repeating shapes of rhizomes, caves, tunnels, towers and mounds, are abstracted, explored and described in scribbles, knots and spots throughout the work. Line, colour and shape combine; expanding and contrasting in shifting compositions within the work for exhibition.
In exploring these multiple themes and concepts, Lost in Translation presents a personal response to the question of how mark-making might materialise in light of the potentialities of the digital creative landscape.
IMAGE Caelli Jo Brooker Meta Rhizome (detail, installation view) 2013-2014, chenille sticks, dimensions variable
DOWNLOAD a pdf of the exhibition catalogue (1.6MB)
VIEW selected images of the exhibition
SUSAN RYMAN: Collecting identity
5 to 22 March 2014
Collecting identity investigates how single artworks can hold completely unpredictable and multiple meanings. Susan Ryman, for her PhD research in Natural History Illustration, has made original artworks using the traditional tools of the illustrator, reflecting on the immediate world in all of its contradictory forms.
These memory triggers encourage viewers to reflect on their own experiences, memories and emotions in this unique approach to storytelling.
IMAGE © Susan Ryman Flashcards (detail) 2008-2012 Coloured pencil, ink, gouache on rag paper, varnished, 432 pieces each 12 x 10.5 cm. Photograph by Roger Hanley
DOWNLOAD a pdf of the exhibition catalogue pdf (1.7MB)
VIEW selected images of the exhibition
5 to 22 March 2014
Collecting identity investigates how single artworks can hold completely unpredictable and multiple meanings. Susan Ryman, for her PhD research in Natural History Illustration, has made original artworks using the traditional tools of the illustrator, reflecting on the immediate world in all of its contradictory forms.
These memory triggers encourage viewers to reflect on their own experiences, memories and emotions in this unique approach to storytelling.
IMAGE © Susan Ryman Flashcards (detail) 2008-2012 Coloured pencil, ink, gouache on rag paper, varnished, 432 pieces each 12 x 10.5 cm. Photograph by Roger Hanley
DOWNLOAD a pdf of the exhibition catalogue pdf (1.7MB)
VIEW selected images of the exhibition
SHADOWLINE: CONTEMPORARY DRAWING
Nicole Chaffey | Anne Judell | Jennifer Keeler-Milne | Franc Hancock
26 March to 17 April 2014
Shadowline: Contemporary Drawing is a Glasshouse Regional Gallery Port Macquarie exhibition curated by Niomi Sands. Shadowline is celebration of drawing and features recent work by Nicole Chaffey, Franc Hancock, Anne Judell, and Jennifer Keeler-Milne. Each artist explores light and shadow within their works, combining ideas relating to atmosphere, experience and landscape. They capture emotion and the essence of place, with light providing inspiration for each artist as they explore and respond to their surrounding environment.
IMAGE Nicole Chaffey Three Tree Creek 2013, graphite on paper
VIEW selected images from the exhibition, held in conjunction with Spiritlands
Nicole Chaffey | Anne Judell | Jennifer Keeler-Milne | Franc Hancock
26 March to 17 April 2014
Shadowline: Contemporary Drawing is a Glasshouse Regional Gallery Port Macquarie exhibition curated by Niomi Sands. Shadowline is celebration of drawing and features recent work by Nicole Chaffey, Franc Hancock, Anne Judell, and Jennifer Keeler-Milne. Each artist explores light and shadow within their works, combining ideas relating to atmosphere, experience and landscape. They capture emotion and the essence of place, with light providing inspiration for each artist as they explore and respond to their surrounding environment.
IMAGE Nicole Chaffey Three Tree Creek 2013, graphite on paper
VIEW selected images from the exhibition, held in conjunction with Spiritlands
SPIRITLANDS: Nicole Chaffey | Cherie Johnson | Tara Standing
26 March to 17 April 2014
Spiritlands: three women explore disconnection and reconnection to land and spirit through photography and video.
Terra Nullius or “a land belonging to no-one” becomes more than a metaphor in the burnt landscapes reclaimed by Cherie Johnson through her series Not Forgotten. Nicole Chaffey uses old photographic technology to capture the Private Lawns of colonised Australia and its suburbs.Tara Standing constructs ephemeral landscapes as backdrop to the rite of passage of young Aborignal women growing up in contemporary Australia in Red Ribbon Series 2 and her video piece Mermaids & Cicadas.
IMAGE Tara Standing Mermaids & Cicadas 2007, still from digital video
DOWNLOAD a pdf of the exhibition catalogue (480KB)
VIEW selected images from the exhibition, held in conjunction with Shadowline: Contemporary Drawing
26 March to 17 April 2014
Spiritlands: three women explore disconnection and reconnection to land and spirit through photography and video.
Terra Nullius or “a land belonging to no-one” becomes more than a metaphor in the burnt landscapes reclaimed by Cherie Johnson through her series Not Forgotten. Nicole Chaffey uses old photographic technology to capture the Private Lawns of colonised Australia and its suburbs.Tara Standing constructs ephemeral landscapes as backdrop to the rite of passage of young Aborignal women growing up in contemporary Australia in Red Ribbon Series 2 and her video piece Mermaids & Cicadas.
IMAGE Tara Standing Mermaids & Cicadas 2007, still from digital video
DOWNLOAD a pdf of the exhibition catalogue (480KB)
VIEW selected images from the exhibition, held in conjunction with Shadowline: Contemporary Drawing
CHARLIE SHEARD Pure Abstractions – Colour, Drawing, Materiality
23 April to 17 May 2014
Charlie Sheard is one of Sydney’s most well known abstract painters. He has spent thirty-five years slowly developing a language of pure abstract forms. At the same time, he has been deeply concerned with the history and development of techniques and materials, and he has made research into historical methods a basis of his practice.
This exhibition is an overview of Charlie Sheard’s work between 2007 and 2014, and it includes a number of charcoal drawings. The drawings combine an extended syntax of bodily gesture and sensual energy with sensitive feeling for material. Sheard’s large canvases elaborate this same language with painterly handling, complex optical effects and dazzling colour. Paintings and drawings will be hung together here for the first time, allowing for close study of this artist’s work.
Charlie Sheard is represented by Olsen Irwin Gallery, Sydney.
IMAGE Charlie Sheard Pure Abstraction #2 2006-2010, mixed media on raw linen, 214 x 198 cm.
DOWNLOAD a pdf of the exhibition catalogue (4.2MB)
VIEW selected images from the exhibition
23 April to 17 May 2014
Charlie Sheard is one of Sydney’s most well known abstract painters. He has spent thirty-five years slowly developing a language of pure abstract forms. At the same time, he has been deeply concerned with the history and development of techniques and materials, and he has made research into historical methods a basis of his practice.
This exhibition is an overview of Charlie Sheard’s work between 2007 and 2014, and it includes a number of charcoal drawings. The drawings combine an extended syntax of bodily gesture and sensual energy with sensitive feeling for material. Sheard’s large canvases elaborate this same language with painterly handling, complex optical effects and dazzling colour. Paintings and drawings will be hung together here for the first time, allowing for close study of this artist’s work.
Charlie Sheard is represented by Olsen Irwin Gallery, Sydney.
IMAGE Charlie Sheard Pure Abstraction #2 2006-2010, mixed media on raw linen, 214 x 198 cm.
DOWNLOAD a pdf of the exhibition catalogue (4.2MB)
VIEW selected images from the exhibition
LUCILA NALVARTE MADDOX Instantiating Ideas of Limitless Space: Thinking through Painting
21 May to 7 June 2014
Lucila Nalvarte Maddox through her PhD research, challenges Paul Cezanne’s comment, “I venture to depict matter as it takes some form, as the birth of order through spontaneous organisation”, by transforming perception through endless painting processes.
In this sense, Instantiating Ideas of Limitless Space: Thinking through Painting, conveys a research exhibition that explores the thesis that time passes, yet never ends. Discerning that the universe holds time as an open-ended cosmological container, the canvas, by extension, also holds the vehicular medium of painting as an open-ended process of transformation.
IMAGE Lucila Nalvarte Maddox, from the series Orchestrating the Invisible 2011–2013, oil on canvas, 92 x 76 cm
DOWNLOAD a pdf of the exhibition catalogue (925KB)
VIEW selected images from the exhibition
21 May to 7 June 2014
Lucila Nalvarte Maddox through her PhD research, challenges Paul Cezanne’s comment, “I venture to depict matter as it takes some form, as the birth of order through spontaneous organisation”, by transforming perception through endless painting processes.
In this sense, Instantiating Ideas of Limitless Space: Thinking through Painting, conveys a research exhibition that explores the thesis that time passes, yet never ends. Discerning that the universe holds time as an open-ended cosmological container, the canvas, by extension, also holds the vehicular medium of painting as an open-ended process of transformation.
IMAGE Lucila Nalvarte Maddox, from the series Orchestrating the Invisible 2011–2013, oil on canvas, 92 x 76 cm
DOWNLOAD a pdf of the exhibition catalogue (925KB)
VIEW selected images from the exhibition
62ND BLAKE PRIZE: Exploring the religious and spiritual in art and poetry
11 June to 19 July 2014
Since 1951 the Blake Prize has provided a platform for artists and poets to explore the nature of the spiritual and religious imagination through a wide range of artistic responses. These responses explore the nature of human knowledge as well as our responsibilities to the wider creation and specifically issues of human justice.
While some works focus on the substance of religious tradition, there are many artists and poets who are drawn to illuminate the nature of the human project, its health and its survival. This involves both inspiration and irritation within the creative process as artists and poets demonstrate the wider social function of the arts. A healthy society welcomes and nurtures this imagination of alternatives.
- Rev Dr Rod Pattenden, Chairperson, The Blake Society Ltd
IMAGE Dani Marti Butterfly Man 2012, still from video
DOWNLOAD a pdf of the exhibition catalogue (1.2MB)
VIEW selected images from the exhibition
11 June to 19 July 2014
Since 1951 the Blake Prize has provided a platform for artists and poets to explore the nature of the spiritual and religious imagination through a wide range of artistic responses. These responses explore the nature of human knowledge as well as our responsibilities to the wider creation and specifically issues of human justice.
While some works focus on the substance of religious tradition, there are many artists and poets who are drawn to illuminate the nature of the human project, its health and its survival. This involves both inspiration and irritation within the creative process as artists and poets demonstrate the wider social function of the arts. A healthy society welcomes and nurtures this imagination of alternatives.
- Rev Dr Rod Pattenden, Chairperson, The Blake Society Ltd
IMAGE Dani Marti Butterfly Man 2012, still from video
DOWNLOAD a pdf of the exhibition catalogue (1.2MB)
VIEW selected images from the exhibition
THE FRIENDS OF THE UNIVERSITY OF NEWCASTLE 2014 Acquisitive Art Prizes and Art Fair
23 July to 27 July 2014
The Friends of the University of Newcastle play a vital role in the development and support of scholarships from the University and fundraise consistently for various needs of the University community. The Friends of the University of Newcastle formed in 1981 and have successfully raised nearly $1,000,000.
This year the Friends of the University of Newcastle are sponsoring an Acquisitive Art Prize of $6,000 and two Student Acquisitive Art Prizes of $2,500 each. The exhibition will display the finalists.
The support for these art prizes assists in the growth of the University’s Art Collection, a public collection of real significance for our region.
The Art Fair is a biennial exhibition and sale that alternates with the Friends’ very successful Book Fair. Both Fairs are major fundraising events that support in many ways our University community and our students. Money raised at the Art Fair supports these prizes and the Friends of the University Margaret Olley Postgraduate Scholarship which will be awarded on the night. The Art Fair represents a real opportunity to buy work from significant artists at affordable prices.
Winner of the 2014 Acquisitive Art Prize: Rew Hanks
Winner of the two 2014 Acquisitive Student Art Prizes: Nicole Chaffey and Ryan Fitzgerald
IMAGE Rew Hanks Stop! There's No Need to Shoot the Natives 2013, linocut, 75 x 106 cm
VIEW selected images from the exhibition
23 July to 27 July 2014
The Friends of the University of Newcastle play a vital role in the development and support of scholarships from the University and fundraise consistently for various needs of the University community. The Friends of the University of Newcastle formed in 1981 and have successfully raised nearly $1,000,000.
This year the Friends of the University of Newcastle are sponsoring an Acquisitive Art Prize of $6,000 and two Student Acquisitive Art Prizes of $2,500 each. The exhibition will display the finalists.
The support for these art prizes assists in the growth of the University’s Art Collection, a public collection of real significance for our region.
The Art Fair is a biennial exhibition and sale that alternates with the Friends’ very successful Book Fair. Both Fairs are major fundraising events that support in many ways our University community and our students. Money raised at the Art Fair supports these prizes and the Friends of the University Margaret Olley Postgraduate Scholarship which will be awarded on the night. The Art Fair represents a real opportunity to buy work from significant artists at affordable prices.
Winner of the 2014 Acquisitive Art Prize: Rew Hanks
Winner of the two 2014 Acquisitive Student Art Prizes: Nicole Chaffey and Ryan Fitzgerald
IMAGE Rew Hanks Stop! There's No Need to Shoot the Natives 2013, linocut, 75 x 106 cm
VIEW selected images from the exhibition
THE BLANKET PILOTS: Fine Art Students from Hunter Schools High Performers Program 2014
30 July to 9 August 2014
Since 2003, the High Performing Students Program has been giving exceptional high school students the opportunity to get a ‘taste’ of university while still at school. The program is delivered at Merewether High School but is open to students from all schools, and aims to keep our best and brightest in the region.
Students enrol in first-year University courses, getting access to world class lecturers, online learning technologies, and library resources. Practical industry experience is included when possible, so students may attend labs, excursions, and exhibitions.
When a course is successfully completed, students have the satisfaction of achieving new knowledge in an area of interest, and are also eligible for a credit transfer in a relevant university degree program.
In 2014, the program has included Fine Art for the first time, and students have produced an outstanding selection of work for exhibition in the University Gallery. The exhibition features the work of: Amanda Chan and Rachel Ditton – Merewether High School; Georgia Clifton, Skye Hobbs and Liam Johnston –
Toronto High School; Isabelle Kenyon – Distance Education; Bonita Maher – ASC St Peter’s Campus; Eliza Munro and Brianna Standen – Charlton Christian College; Chelsea Patterson – CC Wallsend Campus; Salem Shaw – San Clemente High School; and Jack Wilton-King – Cooks Hill Campus.
IMAGE Installation view
VIEW selected images from the exhibition
30 July to 9 August 2014
Since 2003, the High Performing Students Program has been giving exceptional high school students the opportunity to get a ‘taste’ of university while still at school. The program is delivered at Merewether High School but is open to students from all schools, and aims to keep our best and brightest in the region.
Students enrol in first-year University courses, getting access to world class lecturers, online learning technologies, and library resources. Practical industry experience is included when possible, so students may attend labs, excursions, and exhibitions.
When a course is successfully completed, students have the satisfaction of achieving new knowledge in an area of interest, and are also eligible for a credit transfer in a relevant university degree program.
In 2014, the program has included Fine Art for the first time, and students have produced an outstanding selection of work for exhibition in the University Gallery. The exhibition features the work of: Amanda Chan and Rachel Ditton – Merewether High School; Georgia Clifton, Skye Hobbs and Liam Johnston –
Toronto High School; Isabelle Kenyon – Distance Education; Bonita Maher – ASC St Peter’s Campus; Eliza Munro and Brianna Standen – Charlton Christian College; Chelsea Patterson – CC Wallsend Campus; Salem Shaw – San Clemente High School; and Jack Wilton-King – Cooks Hill Campus.
IMAGE Installation view
VIEW selected images from the exhibition
THE FACULTY OF BUSINESS AND LAW: 2014 Research Poster Competition
13 August to 23 August 2014
This annual poster competition is an opportunity for Business and Law RHD students and staff to showcase their particular areas of research. Winner of the 2014 Best Poster is Sonia Vilches-Montero Reshaping the Past to Influence the Future...The Best RHD Poster was awarded to Clare Keogh (Why are Tourim Micro Businesses Left Out in the Cold?), the Packer's Prize was presented to Robert Zinko, Mariano Heyden, Christopher Furner and James Meurs (The Necessity of Gossip), and the People's Choice went to Mostafa Seif, Abul Shamsuddin and Paul Docherty (Get the most out of your investments).
IMAGE 2014 Best Poster by Sonia Vilches-Montero Reshaping the Past to Influence the Future...
13 August to 23 August 2014
This annual poster competition is an opportunity for Business and Law RHD students and staff to showcase their particular areas of research. Winner of the 2014 Best Poster is Sonia Vilches-Montero Reshaping the Past to Influence the Future...The Best RHD Poster was awarded to Clare Keogh (Why are Tourim Micro Businesses Left Out in the Cold?), the Packer's Prize was presented to Robert Zinko, Mariano Heyden, Christopher Furner and James Meurs (The Necessity of Gossip), and the People's Choice went to Mostafa Seif, Abul Shamsuddin and Paul Docherty (Get the most out of your investments).
IMAGE 2014 Best Poster by Sonia Vilches-Montero Reshaping the Past to Influence the Future...
RUTH LIOU (PhD): Lim'I'nal
27 August to 6 September 2014
Ruth Liou’s PhD (Fine Art) research has focussed on the construction of identity and the sense of belonging from the perspective of a displaced person. Identifying the ‘becoming’ self in an ambivalent space, Liou explores how relocation affects the migrant’s sense of belongingness in a new country.
Migrants straddle boundaries of here and there, past and present, constantly ‘negotiating’, a new self and new life in the peripheral of the dominant site – a site of ‘neither here nor there’ – residing in the ‘between-ness’.
My research perspective is drawn from a personal migration experience; universally understood as a transnational condition of this postmodern world. The research project explores and conceptualises a personal justification on hybrid/cultural identity, the configuration and metaphysical belongingness in a liminal space - the psychological space (a site) of ‘neither here nor there’ is realised through sculptural installation.
Hybrid positions sit in the fissure of liminality, for those transnationals who are placed between two or more divided geographies, socio-graphics and cultural identities in this ‘in-between-ness’. - Ruth Liou 2014
IMAGE Ruth Liou installation view featuring The Threshold 2012, timber cast iron, metal; and Trace of Identity 2014, beeswax, mixed media
DOWNLOAD the exhibiiton catalogue
VIEW selected images from the exhibition
27 August to 6 September 2014
Ruth Liou’s PhD (Fine Art) research has focussed on the construction of identity and the sense of belonging from the perspective of a displaced person. Identifying the ‘becoming’ self in an ambivalent space, Liou explores how relocation affects the migrant’s sense of belongingness in a new country.
Migrants straddle boundaries of here and there, past and present, constantly ‘negotiating’, a new self and new life in the peripheral of the dominant site – a site of ‘neither here nor there’ – residing in the ‘between-ness’.
My research perspective is drawn from a personal migration experience; universally understood as a transnational condition of this postmodern world. The research project explores and conceptualises a personal justification on hybrid/cultural identity, the configuration and metaphysical belongingness in a liminal space - the psychological space (a site) of ‘neither here nor there’ is realised through sculptural installation.
Hybrid positions sit in the fissure of liminality, for those transnationals who are placed between two or more divided geographies, socio-graphics and cultural identities in this ‘in-between-ness’. - Ruth Liou 2014
IMAGE Ruth Liou installation view featuring The Threshold 2012, timber cast iron, metal; and Trace of Identity 2014, beeswax, mixed media
DOWNLOAD the exhibiiton catalogue
VIEW selected images from the exhibition
PODzome: in the middle of things
10 to 27 September 2014
PODzome is a pulse. It is a map. It is a conceptual tuber.
It is an ode to the constancy of local creative adaptations, experiments, expansions and contractions. In a broader context, PODzome marks change, flux, and mobility in and around our city. Its artists are engaged in urban, creative, and organic rhizomatic networks, which exist ‘in the middle of things’1. PODzome is also a formal ‘hat doffing’ to the alliances and interconnections generated by and between organisations such as Octapod and the University of Newcastle.
PODzome also heralds the commencement of Newcastle’s This is Not Art Festival, ‘TiNA’. For almost two decades TiNA, considered one of Australia’s leading contemporary emerging arts festivals, has facilitated the convergence of experimental and emerging artists, writers, performers, thinkers, musicians, dancers, arts workers, media makers and creative researchers in a kind of ‘transart’ ideas and resource exchange.
The University Gallery is delighted to host PODzome for PODspace, an arts initiative that has become an open structure, not fixed to a format or place – it regenerates and grows horizontally with offshoots popping up throughout Newcastle. Rhizome-like. Curated by Jen Denzin, former PODspace Director, PODzome features the work of Jen Denzin, Penny Dunstan, Maggie Hensel-Brown, Mandy Robinson, Eleanor Jane Robinson, Bree Sanders, Brooke Stevens, and Alison Smith.
1 Deleuze, Gilles and Guattari, Felix: A Thousand Plateaus, (University of Minnesota Press: 1987), p7.
IMAGE Mandy Robinson All gone under the sea, All gone under the hill (detail) 2014, 240 x 120 x 30 cm, paper, ink, felt, thread and found objects.
VIEW selected images from the exhibition
10 to 27 September 2014
PODzome is a pulse. It is a map. It is a conceptual tuber.
It is an ode to the constancy of local creative adaptations, experiments, expansions and contractions. In a broader context, PODzome marks change, flux, and mobility in and around our city. Its artists are engaged in urban, creative, and organic rhizomatic networks, which exist ‘in the middle of things’1. PODzome is also a formal ‘hat doffing’ to the alliances and interconnections generated by and between organisations such as Octapod and the University of Newcastle.
PODzome also heralds the commencement of Newcastle’s This is Not Art Festival, ‘TiNA’. For almost two decades TiNA, considered one of Australia’s leading contemporary emerging arts festivals, has facilitated the convergence of experimental and emerging artists, writers, performers, thinkers, musicians, dancers, arts workers, media makers and creative researchers in a kind of ‘transart’ ideas and resource exchange.
The University Gallery is delighted to host PODzome for PODspace, an arts initiative that has become an open structure, not fixed to a format or place – it regenerates and grows horizontally with offshoots popping up throughout Newcastle. Rhizome-like. Curated by Jen Denzin, former PODspace Director, PODzome features the work of Jen Denzin, Penny Dunstan, Maggie Hensel-Brown, Mandy Robinson, Eleanor Jane Robinson, Bree Sanders, Brooke Stevens, and Alison Smith.
1 Deleuze, Gilles and Guattari, Felix: A Thousand Plateaus, (University of Minnesota Press: 1987), p7.
IMAGE Mandy Robinson All gone under the sea, All gone under the hill (detail) 2014, 240 x 120 x 30 cm, paper, ink, felt, thread and found objects.
VIEW selected images from the exhibition
CHERIE JOHNSON: Wrapture
10 to 27 September 2014
Over the past four years Cherie Johnson has been working closely with a number of elders and various groups—learning and teaching the process of making traditional possum skin cloaks. During this time Johnson has observed and become fascinated with the spiritual and emotional wellbeing people experience in these groups. As their shared journeys and reconnection to culture take focus, the recreation of the possum skin cloak, its dialogue and understanding, engage Aboriginal Women of the Hunter in profound discussions around matters of Women’s Business.
The essence of this exhibition was to capture a moment, the physical manifestation of that process as these women wear or remember wearing a possum skin cloak for the first time and their emotional response to that moment.
Johnson’s project Wrapture is making a significant contribution to her local Aboriginal community and will grow as more women come together to share and revive this important cultural practice.
IMAGE Cherie Johnson Wrapture 2014, photograph, 420 x 297 mm
VIEW selected images from the exhibition
10 to 27 September 2014
Over the past four years Cherie Johnson has been working closely with a number of elders and various groups—learning and teaching the process of making traditional possum skin cloaks. During this time Johnson has observed and become fascinated with the spiritual and emotional wellbeing people experience in these groups. As their shared journeys and reconnection to culture take focus, the recreation of the possum skin cloak, its dialogue and understanding, engage Aboriginal Women of the Hunter in profound discussions around matters of Women’s Business.
The essence of this exhibition was to capture a moment, the physical manifestation of that process as these women wear or remember wearing a possum skin cloak for the first time and their emotional response to that moment.
Johnson’s project Wrapture is making a significant contribution to her local Aboriginal community and will grow as more women come together to share and revive this important cultural practice.
IMAGE Cherie Johnson Wrapture 2014, photograph, 420 x 297 mm
VIEW selected images from the exhibition
GEORGE GITTOES: I Witness
1 to 25 October 2014
I Witness is a fusion of George Gittoes' compellingly confronting work. The amalgamation of Gittoes' works span over the past 45 years. I Witness presents a selection of works from The Yellow House explorations in the 1970's, documentary-making and other work in Nicaragua and the Philipines in the 1980's, documentary-art involvement in the Middle East, Rwanda and Cambodia throughout the 1990's and more recent works from his Iraq, Pakistan and Afganistan presence.
Through the mediums of photography, cinematography, paintings, drawings, and profound diaries, Gittoes has travelled, witnessed and documented the essence of conflict and social schisms. The powerful work that has been produced over the years gives an anguishing insight into modern conflict and the implications it can cause.
"Our world has entered a time where no one really knows who is leading us into war, why we are going there and if anyone has any vision of why we are doing it. By creating in a war zone an artist can show ways to heal and mend.
"…Artists see things very differently and that emotion and imagination can be as truthful as facts and film [from journalism]."
It is through Gittoes' passions and close engagement in cultural and social schisms that the art produced tells chilling and grounding stories that transmits imagination and prompts social change.
George Gittoes: I Witness is a touring exhibition from Hazelhurst Regional Gallery.
IMAGE installation vew of the exhibition in the University Gallery, October 2014
VIEW selected images from the exhibition
1 to 25 October 2014
I Witness is a fusion of George Gittoes' compellingly confronting work. The amalgamation of Gittoes' works span over the past 45 years. I Witness presents a selection of works from The Yellow House explorations in the 1970's, documentary-making and other work in Nicaragua and the Philipines in the 1980's, documentary-art involvement in the Middle East, Rwanda and Cambodia throughout the 1990's and more recent works from his Iraq, Pakistan and Afganistan presence.
Through the mediums of photography, cinematography, paintings, drawings, and profound diaries, Gittoes has travelled, witnessed and documented the essence of conflict and social schisms. The powerful work that has been produced over the years gives an anguishing insight into modern conflict and the implications it can cause.
"Our world has entered a time where no one really knows who is leading us into war, why we are going there and if anyone has any vision of why we are doing it. By creating in a war zone an artist can show ways to heal and mend.
"…Artists see things very differently and that emotion and imagination can be as truthful as facts and film [from journalism]."
It is through Gittoes' passions and close engagement in cultural and social schisms that the art produced tells chilling and grounding stories that transmits imagination and prompts social change.
George Gittoes: I Witness is a touring exhibition from Hazelhurst Regional Gallery.
IMAGE installation vew of the exhibition in the University Gallery, October 2014
VIEW selected images from the exhibition
HANDS ON: A PHOTO ESSAY BY MATTHEW GLOVER
29 October to 1 November 2014
An exhibition in conjunction with the University of Newcastle's annual Work Integrated Learning (WIL) Awards. The best way to learn the practical skills required after graduation is to apply your theoretical knowledge in real-world environments. WIL programs challenge and inspire our students to acquire these skills and earn credit for their degree by participating in any clinical or professional work placement, practicum, internship or project-based learning. Whether studying engineering or creative arts more than 90 percent of our undergraduate degrees are now offering an opportunity to undertake a WIL activity. As a backdrop to this year’s awards, Matthew Glover, a student in the School of Creative Arts, has undertaken, as part of his WIL, a documentary photography project to document our students in the field.
IMAGE: Mathew Glover Engineering Hands 2014, digital photographic print
29 October to 1 November 2014
An exhibition in conjunction with the University of Newcastle's annual Work Integrated Learning (WIL) Awards. The best way to learn the practical skills required after graduation is to apply your theoretical knowledge in real-world environments. WIL programs challenge and inspire our students to acquire these skills and earn credit for their degree by participating in any clinical or professional work placement, practicum, internship or project-based learning. Whether studying engineering or creative arts more than 90 percent of our undergraduate degrees are now offering an opportunity to undertake a WIL activity. As a backdrop to this year’s awards, Matthew Glover, a student in the School of Creative Arts, has undertaken, as part of his WIL, a documentary photography project to document our students in the field.
IMAGE: Mathew Glover Engineering Hands 2014, digital photographic print
TRANSFORMATIONS: 40 YEARS OF THE OPEN FOUNDATION PROGRAM
5 to 15 November 2014
To transform, to change shape or form, to metamorphose, to emerge anew … for over 40 years the Open Foundation has been transforming the lives of women and men across our region. This 40th anniversary exhibition Transformations celebrates the power of the Open Foundation to change lives and showcases the works of artists who are graduates of the program. Transformations aims both to demonstrate the transformative power of education on the artists and the transformative effects of their artworks upon the viewer. In this way the cycle of transformative effects ripples out into the communities we serve. The exhibition will not only be a record of the success of the Visual Art courses and the Open Foundation Program itself, but it will also be a demonstration of the amazing wealth of creative talent nurtured by the University.
Participating Artists: Aubry Byrnes, Bernadette Drabsch, Dom Freestone, Tanya Hoolihan, Annemarie Murland, Prue Sailer, Sharon Taylor, Luke Thurgate, Ashley Whamond
IMAGE Annemarie Murland Colour as Form – Landscape 2013, oil and paper on board, 79 x 53 cm
DOWNLOAD the exhibition catalogue (1.4MB)
VIEW selected images from the exhibition
5 to 15 November 2014
To transform, to change shape or form, to metamorphose, to emerge anew … for over 40 years the Open Foundation has been transforming the lives of women and men across our region. This 40th anniversary exhibition Transformations celebrates the power of the Open Foundation to change lives and showcases the works of artists who are graduates of the program. Transformations aims both to demonstrate the transformative power of education on the artists and the transformative effects of their artworks upon the viewer. In this way the cycle of transformative effects ripples out into the communities we serve. The exhibition will not only be a record of the success of the Visual Art courses and the Open Foundation Program itself, but it will also be a demonstration of the amazing wealth of creative talent nurtured by the University.
Participating Artists: Aubry Byrnes, Bernadette Drabsch, Dom Freestone, Tanya Hoolihan, Annemarie Murland, Prue Sailer, Sharon Taylor, Luke Thurgate, Ashley Whamond
IMAGE Annemarie Murland Colour as Form – Landscape 2013, oil and paper on board, 79 x 53 cm
DOWNLOAD the exhibition catalogue (1.4MB)
VIEW selected images from the exhibition
A to B: VISUAL COMMUNICATION AND DESIGN 2014 GRADUATES
19 to 22 November 2014
Showcases the best works from the University of Newcastle Design graduates. It is a celebration of our student's growth in becoming passionate, conceptual, and creative thinkers. The exhibition will demonstrate diverse skills with works from a wide variety of media such as Publication and Print Design, Typography, Web Design, Photography, Illustration, Information Design and more.
19 to 22 November 2014
Showcases the best works from the University of Newcastle Design graduates. It is a celebration of our student's growth in becoming passionate, conceptual, and creative thinkers. The exhibition will demonstrate diverse skills with works from a wide variety of media such as Publication and Print Design, Typography, Web Design, Photography, Illustration, Information Design and more.
RAE RICHARDS: Past Imperfect – Future Conditional
26 November to 13 December 2014
Rae Richards has been making art since she arrived in Newcastle in 1957. She has exhibited in the Wynne Prize and the Sir John Sulman Prize and in the Qantas Gallery in London, but most regularly in Newcastle, where she was a member of the celebrated Low Show group of painters that brought modernism to
the city in the early 1960s. She held regular exhibitions at the von Bertouch Galleries of both paintings and
the appliquéd fabric banners which reached a high point in the comprehensive decorative scheme for Christ Church Cathedral, as well as many other public commissions. In paintings, textile works and decorated ceramics for over fifty years, the common theme has been life enhancement, a personal celebration undiluted by trends or
fashions. This exhibition contains work from throughout a long career; major banners for public buildings, paintings from public and private collections, including the University of Newcastle, and the series of still life studies which have continued to command the attention of this committed artist up to the present day. Curated by Jill Stowell and Gillean Shaw.
IMAGE Installation view
DOWNLOAD the exhibition catalogue (2.8MB)
VIEW selected images from the exhibition
26 November to 13 December 2014
Rae Richards has been making art since she arrived in Newcastle in 1957. She has exhibited in the Wynne Prize and the Sir John Sulman Prize and in the Qantas Gallery in London, but most regularly in Newcastle, where she was a member of the celebrated Low Show group of painters that brought modernism to
the city in the early 1960s. She held regular exhibitions at the von Bertouch Galleries of both paintings and
the appliquéd fabric banners which reached a high point in the comprehensive decorative scheme for Christ Church Cathedral, as well as many other public commissions. In paintings, textile works and decorated ceramics for over fifty years, the common theme has been life enhancement, a personal celebration undiluted by trends or
fashions. This exhibition contains work from throughout a long career; major banners for public buildings, paintings from public and private collections, including the University of Newcastle, and the series of still life studies which have continued to command the attention of this committed artist up to the present day. Curated by Jill Stowell and Gillean Shaw.
IMAGE Installation view
DOWNLOAD the exhibition catalogue (2.8MB)
VIEW selected images from the exhibition