Showcasing a diverse range of contemporary Australian and International art.

Open to the public from 11am this Friday 25 October, the Gallery is thrilled to present ‘Aida Tomescu: in the midst of happening’. Don’t miss the artist talks! Details below 👇

‘Aida Tomescu: in the midst of happening’ provides a fascinating insight into the studio practice of one of Australia’s greatest living painters. From the early stages of her studio practice, collage and print have enabled significant shifts in Tomescu’s work and provided a bridge between her drawing and painting. In this exhibition, we bring together all these mediums as well as ephemera from her studio, exposing the depth of her material and conceptual process.

As part of our S T U D I O exhibition season, we are also featuring ‘Brett Whiteley In the Studio’ and the ‘John Stringer Prize: 10 Year Retrospective’.

25 Oct – 15 Dec 2024
Free entry – for more information visit our website www.curtin.edu.au/jcg or click via our BIO.

UPCOMING EVENTS

Fri 25 Oct
11:30am - Floor Talk with Brett Whiteley Studio AGNSW Curator Nick Yelverton
12:30pm - Aida Tomescu in Conversation with JCG Curator Lia McKnight

Sun 27 Oct
12:30-2:30pm - John Stringer Prize Artist Talks
Hear from Jarrad Martyn and Stewart Scambler and Susan Roux.

—
📸
In the studio – paint tins, 2007. Photo by Jenni Carter.

Aida Tomescu, Ultraviolet, 2009, oil on canvas, 182 x 145 cm. Courtesy of the artist and Fox Jensen Gallery. Curtin University Art Collection. Donated through the Australian Government`s Cultural Gifts Program by Aida Tomescu, 2018. Photo by Jenni Carter

Aida Tomescu, 2015. Portrait photo by Nikki Short.

Aida Tomescu, Ithaca V, 1997, etching and drypoint, 49.8 × 39.8 cm (image). Curtin University Art Collection. Donated through the Australian Government`s Cultural Gifts Program by Aida Tomescu, 2024. Courtesy of the artist and Fox Jensen Gallery. Photo by Jenni Carter

Aida Tomescu in the studio, Crows Nest around 1990-1992

#aidatomescu #inthemidstofhappening #studiopractice
@curtinuniversity @artgalleryofnsw @aida_tomescu @flowersgallery @js_prize @brettwhiteleystudio

The Gallery is excited to announce the exhibition ‘Brett Whiteley: Inside the Studio’ open to the public this Friday 25 October from 11am and continuing until 15 Dec 2024.

Drawn from the collections of the Art Gallery of New South Wales @artgalleryofnsw and the @brettwhiteleystudio, this exhibition presents a selection of Brett’s works across painting, drawing, sculpture, photography, collage and ceramics.

As part of our S T U D I O exhibition season, we are also featuring the `John Stringer Prize: 10 Year Retrospective` and `Aida Tomescu: in the midst of happening`.

Free entry – for more information visit our website www.curtin.edu.au/jcg or click via our BIO.

UPCOMING EVENTS

Fri 25 Oct
11:30am - Floor Talk with Brett Whiteley Studio AGNSW Curator Nick Yelverton
12:30pm - Aida Tomescu in Conversation with JCG Curator Lia McKnight

Sun 27 Oct
12:30-2:30pm - John Stringer Prize Artist Talks
Hear from Jarrad Martyn, Stewart Scambler, and Susan Roux.

—
An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition.
This project has been assisted by the Australian Government’s Visions of Australia program.
—
📸
Brett Whiteley painting ‘Self portrait in the studio’ at Lavender Bay, 1976, National Art Archive, Art Gallery of New South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker 2008, photo: Robert Walker © Estate of Robert Walker
Brett Whiteley ‘Self portrait in the studio’ 1976, Art Gallery of New South Wales © Wendy Whiteley
Sculptures from left: Brett Whiteley ‘Shark’ (male) 1966, ‘Shark’ (female) 1965, Brett Whiteley Studio Collection © Wendy Whiteley
Brett Whiteley in John K Dellow’s pottery studio, Katoomba (black and white reproduction), 1985, photo © John K Dellow
Brett Whiteley ‘To Yirrawalla’ 1972, Art Gallery of New South Wales, transferred from the New South Wales State Government 1998 © Wendy Whiteley
#BrettWhiteleyStudio #BrettWhiteley

@curtinuniversity @aida_tomescu @js_prize

CLOSED FOR INSTALL

The Gallery is now closed while we prepare for our next exhibition season featuring -

Brett Whiteley: Inside the Studio
John Stringer Prize: 10 Year Retrospective
Aida Tomescu: in the midst of happening

Exhibitions open: 11am Friday 25 Oct - 15 Dec 2024

We have a very exciting program ahead - stay tuned by subscribing to our email newsletter for updates and event invites. LINK in BIO or visit: curtin.edu.au/jcg

We were honoured to have hosted IOTA24: Codes in Parallel.
The Gallery would like to thank the artists and all who visited, we hope you loved it as much as we did. If you would like to tell us what you thought, follow the link in our Bio or visit https://culturecounts.cc/s/qHbDt

This exhibition was made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@Crafttriennial #IOTA24

FINAL WEEK to see our current exhibition IOTA24 - Codes in Parallel. >> Last day Sunday 29 Sept.

We have been thrilled to feature the Indian Ocean Craft Triennial artists:
Ari Bayuaji (Indonesia / Canada) @aribayuaji
Fatemeh Boroujeni (Iran / Australia) @fatemeh.boroujeni
Emma Buswell (Australia) @embuzza1
Rudi Hendriatno (Indonesia) @rudihendriatno
Trish Little (Australia) #TrishLittle
Pangrok Sulap (Malaysia) @pangrok_sulap
Anne Samat (Malaysia) #AnneSamat
Albert Yonathan Setyawan (Indonesia) @albertyonathansetyawan
Chris Soal (South Africa) @chris_soal
Yudi Sulistyo (Indonesia) @yudisulistyoart
Tjanpi Desert Weavers (Pitjantjatjara / Australia) @tjanpidesertweavers
Yarrenyty Arltere Artists (Arrernte / Australia) @yarrenyty__arltere

Photography by Robert Frith.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@Crafttriennial#IOTA24 #crafttriennial#IndianOceanCraftTriennial #CraftTriennial #CraftCulture #WesternAustralia #IndianOceanRegion #CulturalFusion #Handcrafted #Inspiration @universityartmuseumsaustralia @curtindbe

ARTIST FEATURE: Yudi Sulistyo
Yogyakarta, Indonesia

Sejarah Yang Hilang (The Lost History ), 2011, oil and acrylic on paper and wood, 500 x 275 x 250 cm. Private Collection of Konfir Kabo

Yudi Sulistyo creates monumental sculptures that use illusion and realism to trick viewers through their deceptive materials and scale. Sejarah Yang Hilang (The Lost History) interprets the role of war machines in a field by examining the grandeur of an anti-aircraft gun, taking aesthetic inspiration from World War II weaponry. The paper and wood gun uses colour and visual age to invoke the ruin and coercion of war.

‘I always have my own way of interpreting an event created in an imaginary space. As an artist who admits he is an introvert, the monumental form of my work is an ability to create images in these created worlds. By using visuals from objects around me and activities that represent my imagination, I want and only fight with myself to release the visuals of my imagination in complicated, detailed forms and I like to live them.’

Exhibition continues until 29 September 2024.

Exhibition installation photography by Robert Frith
Portrait courtesy of the artist.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@yudisulistyoart @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Albert Yonathan Setyawan
Indonesia. Lives and works in Tokyo, Japan

Annica: sticks and stones, 2024 terracotta, slip casting, 470 x 470 x 90 cm

Albert Yonathan Setyawan is a contemporary ceramic artist concerned with repetitions – why we form patterns in daily life, as well as the materiality and genealogy of clay in its cultural context. Annica: Sticks and Stones reproduces ‘natural’ objects (sticks and stones) through slip casting. The process reuses the same mould repeatedly and indefinitely, changing the shape of the objects gradually and diminishing their initial forms. Setyawan is interested in exposing the process of making, how shape is altered, and even dissolved by the process of making and producing itself.

Represented by Mizuma Gallery, Tokyo / Singapore @mizumaartgallery

Exhibition continues until 29 September 2024.

Portrait photo by Ezra Alcantra
Exhibition installation photography by Robert Frith

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@albertyonathansetyawan @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Trish Little
East Goldfields and Whadjuk Boodja, Western Australia

The mememat, 2000-2023, textile, 1080 x 45 cm

Trish Little (1955-2024) was inspired by the history and memory imbued in the objects of material culture. Started in the year 2000, The mememat is a tactile response to a request for a self-portrait. The work had continued and remained unresolved until close to her death earlier this year, where she wrote “But my mat must have an end (or my stories will all unravel) and so I slowly fill in one last ‘me’ with a very dull and funeral black, hardly readable at all, but marking the space.”

With thanks to the Little Family and Moira Doropoulos

Exhibition continues until 29 September 2024.

Portrait photo by Rob Frith

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

#TrishLittle @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

Curtin Campus Art Collection Update! – TL Robertson Library

Now on display is Kelsey Ashe’s Land of a Thousand Myths, 2023, in the T L Robertson Library, Level 7.

Made with wax etched drawings printed as unique state screen-print on canvas, with indigo, henna, saffron and chlorophyll inks, wax, and mounted on 9 wooden panels. This large-scale work was produced for & previously exhibited at ‘HERENOW; In-between-ness’, ECU Galleries, Spectrum Project Space, 2023. It is now part of the Curtin University Art Collection.

"What constitutes a contemporary ‘Australian’ cross-cultural identity is surveyed through my own Celtic convict and migratory ancestry and from the Austral-Asian basin I call ‘home’; the vast land mass of Australia to Tasmania, across to Polynesia and Aotearoa (New Zealand) and to Japan, where family ties have left deep imprints. I also include my imagined, albeit broken and fragmented, ties to the lands of my DNA by mythically transposing Scotland, Ireland and the Faroe Islands into this voyage of cross-cultural influence. Cultural hybridity creates an exchange point in which some things can be lost and traumatically broken, but so too, can new rich and wonderous things be formed." ~ Ashe

Dr. Kelsey Ashe is a contemporary Australian artist, writer and curator, who has developed a signature aesthetic and prose that draws from themes hidden, mysterious, esoteric and surreal, with a particular focus on unearthing the hidden layers of cross-cultural stories embedded in Australian landscape. Ashe is a Curtin Alumni and Lecturer at the School of Design and the Built Environment. @worldofashe

@curtinuniversity @curtin_mcasi @curtinbfagrads @curtin.humanities @curtindbe @curtinlifeaustralia @curtinalumni @explorecurtin @curtinuniversitylibrary
#curtinmedicalschool #publicart #campusart #sculpture #kelseyashe #landofathousandmyths #herenow #inbetweenness

ARTIST FEATURE: Tjanpi Desert Weavers
Mimili, South Australia. Language group: Pitjantjatjara

Artists: Daisy Barney, Harriet Bryant, Betty Campbell, Fiona Dodd, Kathy Dodd, Kim Dodd, Mrs Dodd, Sheena Dodd, Emma Singer, Pauline Wangin & Pinuka (Margaret) Yai Yai.

Tjanpi Desert Weavers is a social enterprise of the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Women’s Council, working with women in remote Central and Western Desert regions who earn an income from contemporary fibre art. Ngura Tjanpi (Grass Country) reflects the shapes and forms found on Country, along with the tools and equipment made by women in precontact times. This includes mina (birds’ nests), piti (burrows), kapi kartalpa (rock holes), tali (sand hills) and pitis (wooden carrying dish). These works were created by salvaging metal seat frames from remote car graveyards, using them as free-form weaving.

Collette Stewart, Mimili, 2022. Photo by Em Frank

Exhibition continues until 29 September 2024.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil Technical assistance: Em Frank, Kate Franklin, Puna Yanima

@tjanpidesertweavers @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Chris Soal
Cape Town, South Africa

Wherever You Go, There You Are, 2021 discarded beer bottle caps, electric fencing cable, polyurethane sealant on board, 135 x 4 cm

Chris Soal works to make poetic statements through the simplest of means, re-enforcing the body as a site for knowledge reception and production. Through his use of discarded and mundane ephemera, the artist intuitively develops what is familiar into something that is unsettling.

The hand that was dealt us, 2023 bamboo and birch wood toothpicks, polyurethane sealant, industrial paint, board, 172 x 132 x 23 cm. Collection of Museum of Old and New Art (Mona), Hobart @monamuseum

The hand that was dealt us uses bamboo and birch wood toothpicks, transforming a familiar everyday object into an unfamiliar mass. The abject nature of toothpicks – their proximity to our mouths and passing of them between hands – is what pushes these forms into a poetic and relational realm.

Represented by WHAT IF THE WORLD, Cape Town, South Africa @whatiftheworld_gallery

Exhibition continues until 29 September 2024.

Portrait photo by Xigera
The hand that was dealt us, image courtesy of artist and Museum of Old and New Art (Mona), Hobart.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@chris_soal @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial