50fifty:2020- DigitalCatalogue by JohnCurtinGallery

CONTENTS

2 FOREWORD Professor Deborah Terry AO 3 THANK YOU Natasha Allchurch

6 CURATOR’S ESSAY Chris Malcolm Lia McKnight

15 50 WORKS 69 FULL LIST OF WORKS 76 DONORS 79 STAFF

Brian Blanchflower, Canopy XXII (Time Generator) (detail), 1990, acrylic with pumice powder on laminated hessian (two sections), overall size 220 × 390cm. Acquired 2017. Courtesy of the artist.

FOREWORD

Presented as part of Curtin University’s 50th Anniversary celebrations in 2017, it was my privilege to launch the 50fifty Acquisition Initiative at the John Curtin Gallery with the goal of acquiring fifty significant artworks for the Curtin University Art Collection over three years. By any measure, 50fifty has been a resounding success, with the acquisition of more than 200 artworks successfully rejuvenating the Curtin University Art Collection, as one of Western Australia’s most important public collections. To celebrate this success, John Curtin Gallery Director, Chris Malcolm and Collection Manager, Lia McKnight have co-curated this new exhibition 50fifty:2020, to showcase fifty of the artworks acquired through this Initiative. This exhibition clearly demonstrates the Gallery’s success in attracting major donations, as well as significant resources to purchase new works for the Collection. In addition, through building strong relationships with major artists featured in the Gallery’s Exhibition Program, Curtin has been blessed by their generosity through donations of major works to the Collection.

Professor Deborah Terry AO Vice-Chancellor, Curtin University 2014–2020

On the eve of my departure from Curtin, I will miss watching the Gallery flourish through the ongoing commitment of its dedicated supporters. So many of my experiences associated with the John Curtin Gallery are now deeply embedded memories I will carry with me wherever I go. They are reminders of the impact that this Gallery and Curtin can bring to the world. The John Curtin Gallery is not only an important cultural asset for the people living here in Perth, but also to audiences around the world. Through the plethora of digital platforms that have proliferated during this year’s COVID pandemic the Gallery can extend its impact well beyond the physical. In many ways we have never been more isolated, yet we have never been more connected to the world than we are right now. It is important to acknowledge the key role of the John Curtin Gallery Advisory Board, under its Chair Professor John Cordery, and former member Alan Dodge, who successfully planted the seed for the 50fifty Acquisition Initiative. I offer my sincere congratulations to everyone involved since then across the entire Corporate Relations portfolio who have worked tirelessly over the last three years on this project, under the leadership of Val Raubenheimer. I especially wish to thank Chris Malcolm, Lia McKnight, Jane King and the entire staff from the John Curtin Gallery, Natasha Allchurch and the Office of Advancement team as well as Ann Paterson, Strategic Communications, and Public Relations for their dedication to ensuring the success of 50fifty is something everyone at Curtin can be proud of.

THANK YOU

I joined Curtin in 2017 during the 50 year Anniversary of Curtin University, and one of the first fundraising projects I worked on was the 50fifty Acquisition Initiative. Aimed at expanding the Curtin University Art Collection by 50 major artworks over a three year period, the Initiative was a wonderful way to learn about the Collection, if somewhat of a crash course! I was astounded to find out that the majority of the collection had been gifted to the University. As the custodians and managers of the Collection, The John Curtin Gallery have been an incredibly fitting choice to reach out to the wider community to build on the Collection during the Initiative. The Gallery is committed to invigorating the intellectual life of the community through innovative exhibitions, events and public programs that interrogate contemporary issues. I learnt very quickly how magnificently they deliver on this commitment. I also learnt how deeply they honour the responsibility of managing an art collection of such prominence and substance.

Natasha Allchurch Director, Development University Advancement, Curtin University

It has been a privilege to be part of this fundraising initiative and to witness the generosity of so many people. The intention was to acquire 50 artworks by the end of 2020. We were absolutely delighted to acquire more than 200 artworks by the exhibitionâ&#x20AC;&#x2122;s launch in July 2020. This has been quite an achievement and, of course, a testament to the Galleryâ&#x20AC;&#x2122;s reputation for excellence within the arts community. The passion and generosity of the art lovers and artists who contributed artworks or funds to the Initiative are helping to ensure that the Curtin University Art Collection remains one of the most significant university art collections in Australia. Thank you so much to all who have contributed to 50fifty.

Above Installation view, JCG, 2020. Left to right: Shane Pickett, Six Seasons, 2005; Nyurapayia Nampitjinpa, Kapi Tjukunpa (Water Dreaming), 2007; Warrick Palmateer, Tidal Comb, 2018.

CURATORS’ ESSAY

Chris Malcolm Director, John Curtin Gallery Lia McKnight Collection Manager, John Curtin Gallery

Since we launched the 50fifty Acquisition Initiative in 2017, the world has changed a great deal, yet also very little – though perhaps our individual perspective on our place within the worldwide community will never be the same. In the midst of an unprecedented global pandemic and its disastrous economic fallout, it is perhaps not surprising that from some quarters there seems to be an urgency to justify the relevance of art and art collections. Many artists and arts workers have been profoundly impacted by the pandemic’s necessary isolation measures and the future of our industry seems more fragile than ever with limited industry support, and the cost of an Arts degree set to rise significantly from 2021. The wider public opinion of art seems to have fared little better and artists were recently deemed the most nonessential of all workers in a much-publicised but questionable COVID related survey. But in times of social and political turmoil, is art not needed more than ever? In the words of renowned durational performance artist, Marina Abramovic, “The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind.” Art Museums in turn, have the essential task to nurture and document the visual culture of our time.

Opposite JCG, 2020. Lia McKnight, Collection Manager and Chris Malcolm Director with Christian Thompson, Subconscious Whispers, 2018.

The 50fifty Acquisition Initiative was launched to celebrate the 50th Anniversary of Curtin University and the central role that the Art Collection plays in defining the University’s character and cultural value. It has enabled us to bring both our Collection development and Exhibition programming intentions closer together, realigning focus on the Gallery’s capacity to inform and inspire transformation. Through our generous supporters, over the last three years we are delighted to have acquired over 200 artworks. In celebration of the Initiative’s success, we have selected 50 works to form the exhibition 50fifty:2020, which we feel is the ideal project to relaunch the John Curtin Gallery’s 2020 exhibition program, post COVID closedown. We set out with a particular focus that defined our approach to purchasing works and accepting donations through this initiative, expanding upon our ongoing commitment to excellence and the documentation of important developments in contemporary Australian and International Art. At the heart of our vision was a desire to develop a culturally significant collection that represents the complex and rich dynamic of cross-cultural and multi-cultural practice within Australia, and the Indian Ocean and SE Asian regions. We also wanted to supplement and strengthen The Herbert Mayer Collection of Carrolup Artwork with relevant works of art including contemporary Nyungar and other Aboriginal art that adds to our knowledge of Stolen Generations; and to celebrate our dynamic and world class exhibitions program through acquisitions of works from artists who have partnered with us for major exhibitions across the Gallery’s 22 year history. Against a backdrop of growing political and economic instability, ecological catastrophe, humanitarian crises and ongoing inequalities based on race, sexuality and gender, the last three years have witnessed increasing civic pressure on governments and corporations around the world to redress prevalent inequities and environmental negligence. These widespread problems are largely the deleterious legacy of colonisation and its deeply embedded and stubbornly residual hierarchies of privilege and exploitation. Unsurprisingly, these issues were interrogated most assertively in our exhibitions program by notable First Nations artists: Lisa Reihana (Maori); Brian Robinson (Torres Strait) and Christian Thompson (Bidjara). Each exhibited complex and sophisticated bodies of works at the John Curtin Gallery, from which significant works were purchased for the University’s Art Collection. Both Robinson and Thompson generously donated significant additional works through the Federal Government’s Cultural Gifts Program and we were pleased that an edition of Lisa Reihana’s In Pursuit of Venus [Infected], 2015–2017 remains in Western Australia, having been acquired by the Kerry Stokes Collection. Reihana’s major video work, 10 years in the making, is an extraordinary reimagining of the European narrative of Pacific colonisation.

Ian Strange, one of our 2020 Perth Festival exhibiting artists, also matched purchased works with donations. From the 5 works acquired, the work we have selected for this exhibition, RUN, 2015 is a bleak reflection of the corruption and greed within the global banking system that led to the foreclosure of approximately four million homes across the USA, between 2008–2012. Other potentially catastrophic global issues, such as the effects of global warming are subtly highlighted in the exhibition through works that document fragile marine, rural and desert ecologies, notably by Julie Gough, Brian Robinson, Warrick Palmateer, Pippin Drysdale and numerous desert painters that depict aerial views of country. The devastating bushfires that recently raged across our continent exposed the urgent need for effective land management practices and many district bodies are increasingly turning to the depth of knowledge held by traditional custodians who have expertly used burning practices over thousands of years to ensure the ecological health and sustainability of country. Ngamaru Bidu depicts these practices in her paintings and is herself a ranger, one of a number responsible for maintaining vast areas of Martu country. The politics around climate change are further interrogated by Mike Singe through his carbon or ‘soot’ drawings from the Twenty Twenty Vision series. The works parody political commitment to climate action by visualising the carbon reduction targets of specific countries. The image of Australia’s Golden Wattle (Acacia pycnantha) for example, takes up only 5% of the total surface area of the drawing, matching Australia’s commitment of a 5% reduction on 2000 levels. In many ways, the most generous support that the John Curtin Gallery can offer artists is in sharing their vision with audiences through our exhibitions program, and a number of exhibiting artists have in turn supported us through personal donations of their work. Aida Tomescu, one of the Australia’s greatest living painters, has recently donated two large drawings – the last white pastel works in her private collection, which followed on from her Dobell Drawing Prize winning drawings – and a major painting, Ultraviolet 2009 which takes centre stage in this exhibition. This incredible generosity was prompted by the conservation and display of a privately donated work by Tomescu, dating from the 1980’s that was showcased in the Collection exhibition, ASSEMBLAGE at JCG in 2016. Numerous artists in 50fifty:2020 have a long-standing connection to the Gallery, having presented major solo exhibitions with us over the last two decades, including Brian Blanchflower, Cathy Blanchflower, Theo Costantino, Pippin Drysdale, Susan Flavell, Warrick Palmateer and Miriam Stannage. The purchase of a significant collaborative painting from the Spinifex Arts Project in the remote Western Australian Aboriginal community of Tjuntjuntjara (1,300km east of Perth in the Great Victoria Desert), has been a long held ambition since the major Spinifex survey exhibition

Above Installation view, JCG, 2020. Left to right: Walala Tjapaltjarri, Tingari Cycle, 2000, Clyde McGill, Requiem Songs, 2019; Mawukura Jimmy Nerrimah, Kumpujarti, 2004; John Teschendorff, Series III Scar, 2005.

Above Installation view, JCG, 2020. Left to right: Andrew Browne, Seven Apparitions, 2008; Angela Valamanesh, Outside / Inside #A, 2008; Christian Thompson, Subconscious Whispers, 2018; Aida Tomescu, Ultraviolet, 2009, Ngamaru Bidu, Pitu, 2017.

at the JCG in 2012. We are thrilled that this ambition is finally realised through the generous support of our donors, with a women’s collaborative work currently in progress. Two works, 500 Books, 2017 by Abdul-Rahman Abdullah and Larngerner (The Colour of Country), 2018 by Julie Gough were featured in the 2018 exhibition Directors’ Cut, having been identified as desirable future acquisitions and we are pleased to see this come to fruition. Both artists are Curtin University Alumni and it is testament to the strength of talent that has emerged from the Fine Art Department (throughout its various incarnations since 1968), that they are among many artists in this exhibition who have either taught or graduated from this institution. One of the earliest Alumni involved in this exhibition, is 96-year-old Carol Rudyard (a student of WAIT in 1968) whose painting Emergence, 1973 was kindly donated by fellow artist, Brian Blanchflower. The most recent Alumni is Leah Chidlow whose work in this exhibition was purchased from last year’s Curtin Art Degree Show with support from the Vice-Chancellor, enabling us to reinstate this tradition. As custodians of The Herbert Mayer Collection of Carrolup Artwork, the John Curtin Gallery is deeply committed to sharing these important Stolen Generations artworks with the Nyungar and broader communities through a range of education programs, tours and exhibitions. Over the past three years many hundreds of people have engaged with the artworks, created by Aboriginal children incarcerated at Carrolup Native Settlement in the late 1940’s. This collection is of immeasurable significance to Nyungar people and we are very pleased that through this outreach, a number of donors have gifted early works by prominent Carrolup children artists Reynold Hart and Barry Loo. These additions expand our understanding of Stolen Generations, Nyungar identity and cultural resilience and only in recent weeks we have discovered a collection of ten early Carrolup artworks in the US that will also be donated to the Curtin University Art Collection. Contemporary Nyungar artworks have also been targeted for acquisition and Laurel Nannup’s touching depiction of life at Pinjarra Reserve, No. 28, 2014 is featured in the exhibition. Alongside, are two significant works by Shane Pickett, Six Seasons Suite, 2005 and Ancestors Before the Journey of the Dreaming, 2008 that beautifully visualise Nyungar spirituality and culture. More generally, nearly half of the 50 works in this exhibition are by Indigenous artists, demonstrating the creative excellence and leadership of this sector of our art community. Supporting our acquisition focus has been a motivation to show balance in the representation of gender, and this approach was mirrored in our exhibitions program and was supported by our social media #knowmyname campaign. Significantly, 60% of all artworks purchased through the initiative were created by artists identifying as female or non-binary.

i Blanchflower, B. 2016, “The Canopies: a cosmic vision”, McLean, I. 2016, Brian Blanchflower: Canopies, Exhibition catalogue, ANU Drill Hall Gallery, 2016 ii Artist statement, retrieved 10/07/2020 from: https://www.lindylee.net/

The 50fifty Acquisition Initiative was launched with the acquisition of Brian Blanchflower’s magnificent multi-panelled painting Canopy XXII (Time Generator), 1990. The Canopy series, which began in the 1980s, is described by Blanchflower as a personal cosmology. Exploring the sky and space beyond, these works transmit Blanchflower’s deeper spiritual motivation, each work “looking upwards, and outwards, yet inwards at the same time.“i As a counterpoint to Canopy XXII we felt compelled to bookend this successful campaign with the breathtaking work by Lindy Lee, Equanimity (no more struggles in the ocean of ‘yes’ and ‘no’), 2017, a celestial sculpture of mirror finished steel and light that, like the expansive objects that comprise Lee’s practice, “embody the intimate connections between human existence and the cosmos”. ii These two visionary works, beacons indicating a beginning and an end, are but points along a continuum, which we are fully committed to nurture and extend. These works allow us to see that art paradoxically, manifests the intangible, evoking, in the words of the Belgian Surrealist painter, Rene Magritte, “the mystery without which the world would not exist.” What higher purpose could there be?

Opposite Installation view, JCG, 2020. Miriam Stannage, On this Site 2009.

ABDUL-RAHMAN ABDULLAH 500 BOOKS 2018 Carved wood, oil paint and aluminium leaf, 95 × 110 × 115cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2019. Courtesy of the artist and Moore Contemporary.

NGAMARU BIDU PITU 2017 Synthetic polymer paint on linen, 76 Ă&#x2014; 152cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist and Martumili Artists.

BRIAN BLANCHFLOWER CANOPY XXII (TIME GENERATOR) 1990 Acrylic with pumice powder on laminated hessian (two sections), overall size 220 Ã&#x2014; 390cm. Acquired 2017. Courtesy of the artist.

CATHY BLANCHFLOWER ~~ 2011 Oil on linen, 152 Ã&#x2014; 152cm. Donated by Cathy Blanchflower, 2019. Courtesy of the artist.

ANDREW BROWNE SEVEN APPARITIONS #3 2008 Photopolymer photogravure, plate preparation by Silvi Glattauer; printed at Baldessin Press; editioned by Adrian Kellet, edition 4/12, 45.5 Ă&#x2014; 37cm each (7 components). Donated through the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program by Neil Archibald and Alan R. Dodge AM, 2019. Courtesy of the artist and Lister Gallery/ Tolarno Galleries Melbourne.

LEAH CHIDLOW COLOUR CORRUPTION 202 2019 Mixed media on Marine Ply and timber structure, 81 Ã&#x2014; 122cm (double sided). Acquired with the support of the Vice Chancellor from the Curtin University Art Degree Show, 2019. Courtesy of the artist. LEFT image: side A; RIGHT image: side B.

LORRAINE CONNELLY-NORTHEY NARRBONG 2006 Galvanized steel, wire, and feathers, 86 × 35.7 × 23cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. Courtesy of the artist.

THEO COSTANTINO DAUGHTER OF MIDAS I 2016

THEO COSTANTINO DAUGHTER OF MIDAS II 2016

Wax, glass, hair, fool’s gold leaf and wood, 39 × 28 × 17cm. Donated by Theo Costantino, 2017. Courtesy of the artist.

Wax, glass, hair, fool’s gold leaf and wood, 36.5 × 21 × 14.5cm. Donated by Theo Costantino, 2017. Courtesy of the artist.

JULIE DOWLING OCHRE STUDIES AT THE FUNERAL NO 1 2002

JULIE DOWLING OCHRE STUDIES AT THE FUNERAL NO 2 2002

Acrylic and red ochre on canvas, 20 × 30.5cm. Donated through the Australian Government’s Cultural Gifts Program by Stephen Swift and Jo Lagerberg, 2018. Courtesy of the artist.

PIPPIN DRYSDALE SEEDLINGS SPROUT 2018 Glazed porcelain, dimensions variable, 11 components. Donated through the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program by Pippin Drysdale, 2020. Courtesy of the artist. Photographer: Robert Frith, Acorn Photo Agency.

BJÖRN ERLING EVENSEN GATEWAY C1976 Stainless steel sculpture, 207 × 197 × 100cm. Donated through the Australian Government’s Cultural Gifts Program by Jack and Jonathan Gregson, 2019. Courtesy of the artist.

SUSAN FLAVELL FREUD’S STUDY 2014 Wool rug, 245 × 185cm. Donated through the Australian Government’s Cultural Gifts Program by Susan Flavell, 2017. Courtesy of the artist. Photographer: Bewley Shaylor.

JULIE GOUGH LARNGERNER (THE COLOUR OF COUNTRY) 2018 2 channel 4K video with sound, edition 2/5, 21:11 minutes. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2019. Courtesy of the artist and Bett Gallery.

REYNOLD HART UNTITLED C1950 Pastel and charcoal on paper, 27 Ã&#x2014; 37cm. Donated by Sue and Ian Bernadt, 2018. Courtesy of the Carrolup Elders Reference Group.

REYNOLD HART UNTITLED C1965 Gouache on paper, 33.5 Ã&#x2014; 50.7cm. Donated by Fay Read, 2019. Courtesy of the Carrolup Elders Reference Group.

ABIE JUMBYINMBA JANGALA NGAPA (WATER) 1996 Synthetic polymer paint on linen, 121.5 × 93.5cm. Donated through the Australian Government’s Cultural Gifts Program by Stephen Swift and Jo Lagerberg, 2018. © the estate of the artist licensed by Aboriginal Artists Agency Ltd.

COL JORDAN TRIBUTE 1 1987 Acrylic on canvas, 169.5 × 169cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. Courtesy of the artist and Mossenson Galleries.

LINDY LEE EQUANIMITY (NO MORE STRUGGLES IN THE OCEAN OF ‘YES’ AND ‘NO’) FROM THE SERIES THE IMMEASURABLES, 2017 Mirror polished stainless steel and LED lights. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020. Courtesy of the artist and Sullivan + Strumpf.

BARRY LOO UNTITLED 1949 Pastel on paper, 55 Ã&#x2014; 46.2cm. Donated by Noelene Wigmore and Heather Barrett in memory of their grandmother Amy Barrett, 2020. Courtesy of the Carrolup Elders Reference Group.

CLYDE MCGILL REQUIEM SONGS 2019 Etching, monoprint, letterpress (hand stamped), gold leaf on 270 gsm Velin Arches paper, 225 Ã&#x2014; 315cm. Donated by Clyde McGill, 2020. Courtesy of the artist.

LAUREL NANNUP NO 28. 2014 Etching, edition 2/20, 60 × 80.2cm. Donated through the Australian Government’s Cultural Gifts Program by Brett and Laurel Nannup, 2020. Courtesy of the artist.

NYURAPAYIA NAMPITJINPA KAPI TJUKUNPA (WATER DREAMING) 2007 Synthetic polymer paint on linen, 151.5 × 182cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the estate of the artist licensed by Aboriginal Artists Agency Ltd.

MAWUKURA JIMMY NERRMIAH KUMPUJARTI 2004 Acrylic on canvas, 120 × 90.5cm. Donated through the Australian Government’s Cultural Gifts Program by Neil Archibald and Alan R. Dodge AM, 2018. © the estate of the artist licensed by Aboriginal Artists Agency Ltd.

WARRICK PALMATEER TIDAL COMB 2018 West Australian kiln-fired earth, 105 × 110 × 110cm. Donated through the Australian Government’s Cultural Gifts Program by Warrick Palmateer, 2020. Courtesy of the artist. Photographer: Robert Frith, Acorn Photo Agency.

MYRTLE PENNINGTON KANPALA – AT KANPA 2017 Acrylic on linen, 137 × 90cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. © the artist licensed by the Copyright Agency.

KATHLEEN PETYARRE MOUNTAIN DEVIL DREAMING 2002 Acrylic on linen, 122 × 137cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © estate of the artist licensed by Aboriginal Artists Agency Ltd.

SHANE PICKETT SIX SEASONS 2005 (from left) Biroc, Bunuroo, Djilba, Kambarang, Munguroo, Wanyarang. Etchings with aquatint on paper, edition 43/50, 49.5 × 33.5cm, Donated through the Australian Government’s Cultural Gifts Program by Dan and Diane Mossenson, 2017. Courtesy of the artists’ estate and Mossensons Galleries.

SHANE PICKETT ANCESTORS BEFORE THE JOURNEY OF THE DREAMING 2008 Synthetic polymer paint on canvas, 152 Ã&#x2014; 121cm, Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020. Courtesy of the artist and Mossenson Galleries.

LISA REIHANA BANKS TRANSIT OF VENUS, MOURNING, STARS, SEX TRADE 2017 Diasec® print on Canson Archival Rag, edition 6/9, 76 × 162cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist and ARTPROJECTS.

BRIAN ROBINSON AND ON THE FIFTH DAY THE WATERS SWARMED WITH SEA CREATURES 2017 Palight plastic sculptural installation, 360 × 308 × 40cm. Donated through the Australian Government’s Cultural Gifts Program by Brian Robinson, 2020. Courtesy of the artist and Mossenson Galleries.

BRIAN ROBINSON BEDHAN LAG: LAND OF THE KALWALAGAL 2019 Linocut, edition 4/10, 98.5 Ã&#x2014; 187.5cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020. Courtesy of the artist and Mossenson Galleries.

CAROL RUDYARD EMERGENCE 1973 Acrylic on canvas, 61.2 Ã&#x2014; 38.2cm. Donated by Brian Blanchflower, 2018. Courtesy of the artist.

NALDA SEARLES GRASS SKULL 2 2008 Meadow fodder and poly thread, 12 × 22 × 16cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist. Photographer: Eva Fernandez.

MIKE SINGE TWENTY TWENTY VISION: AUSTRALIA 2016

MIKE SINGE TWENTY TWENTY VISION: SOUTH AFRICA 2016

MIKE SINGE TWENTY TWENTY VISION: DENMARK 2016

Impure carbon (soot), plywood, 42 × 42cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2017. Courtesy of the artist.

HELEN SMITH BLUE HIGHWAY #29 2016 Oil on canvas, 138 Ã&#x2014; 213.5cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist and Art Collective WA.

IMAGE OF LANDSCAPE

Spinifex country, Great Victoria Desert, Western Australia.

IMAGE OF ARTWORK

Spinifex Womenâ&#x20AC;&#x2122;s Collaborative work in progress, pictured: Ivy Laidlaw and Sophia Brown, Spinifex Arts Project, Tjuntjuntjara 2020. Courtesy of the artists and Spinifex Arts Project.

MIRIAM STANNAGE ON THIS SITE (DETAIL) 2009 Light jet photographs, unique print, 40 × 50cm each (18 components). Donated through the Australian Government’s Cultural Gifts Program by Christopher and Katherine Stannage, 2020. Courtesy of the artist’s estate.

IAN STRANGE RUN FROM THE SERIES ISLAND 2015 Archival digital print, documentation of site-specific intervention, edition AP, 99 × 133cm. Donated through the Australian Government’s Cultural Gifts Program by Ian Strange, 2020. Courtesy of the artist.

JOHN TESCHENDORFF SERIES III SCAR 2005 Oil, enamel, acrylic and wax on canvas, 180 × 160cm. Donated through the Australian Government’s Cultural Gifts Program by Marcel Seeman Teschendorff, 2018. Courtesy of the artist.

CHRISTIAN THOMPSON SUBCONSCIOUS WHISPERS 2018 C-Type print on Fuji Pearl metallic paper, edition 4/4, 119 Ã&#x2014; 119cm each. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2019. Courtesy of the artist and Michael Reid.

FREDDIE TIMMS BAXTER’S GAP 1996 Ochre on canvas, 121.5 × 93cm. Donated through the Australian Government’s Cultural Gifts Program by Stephen Swift and Jo Lagerberg, 2018. © the estate of the artist, licensed by the Copyright Agency.

PEG LEG TJAMPITJINPA TINGARI 2005 Acrylic on linen, 183 × 121cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the estate of the artist licensed by Aboriginal Artists Agency Ltd.

WALALA TJAPALTJARRI TINGARI CYCLE 2000 Acrylic on Belgian linen, 184 × 214cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the artist licensed by Aboriginal Artists Agency Ltd.

LONG TOM TJAPANANGKA PULI TJUTI (MANY MOUNTAINS) 2000 Acrylic on Belgian linen, 153 × 128cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the estate of the artist licensed by Aboriginal Artists Agency Ltd.

GEORGE TJUNGURRAYI TINGARI 2016 Acrylic on linen, 62.5 × 299.5cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the artist licensed by Aboriginal Artists Agency Ltd.

GEORGE WARD TJUNGURRAYI SOAKAGE WATER AT KIRRIMALUNYA 2004 Acrylic on Belgian linen, 182 × 298.5cm. Donated through the Australian Government’s Cultural Gifts Program by Helen and Ben Korman, 2018. © the artist licensed by Aboriginal Artists Agency Ltd.

AIDA TOMESCU ULTRAVIOLET 2009 Oil on linen, 183 × 147cm. Donated through the Australian Government’s Cultural Gifts Program by Aida Tomescu, 2018. Courtesy of the artist and Fox Jensen Gallery. Photographer: Jenni Carter.

From left

ANNE ZAHALKA MUSEUM OF NATURAL HISTORY, GUILDFORD 2017 2017 Archival ink on paper, edition 5/60, 53.4 × 36.8cm. Donated by Anne Zahalka and Turner Galleries, Art Angels Incorporated, 2020. Courtesy of the artist and Art Angels Incorporated.

DARREN SIWES MOTHER INLAW 1944 2004 Cibachrome print, edition 50/50, 24 × 29cm. Donated by Darren Siwes and Turner Galleries, Art Angels Incorporated, 2020. Courtesy of the artist and Art Angels Incorporated.

MARIAN DREW BOWER BIRD WITH SWAMP HEN 2009

JOAN ROSS YOU CAN’T JUST TAKE EVERYTHING 2014

Ultrachrome inks on Hanemuhle paper, edition 55/60, 20 × 27.5cm. Donated by Marian Drew and Turner Galleries, Art Angels Incorporated, 2020. Courtesy of the artist and Art Angels Incorporated.

Hand painted pigment print on cotton rag paper, edition 56/60, 35.4 × 40cm. Donated by Joan Ross and Turner Galleries, Art Angels Incorporated, 2020. Courtesy of the artist and Art Angels Incorporated.

ROBERT HAGUE NATIVES OPPOSING CAPTAIN COOK’S LANDING 2016 Lithograph from photoplate on sommerset cotton rag paper, edition 42/60, 35 × 31cm. Donated by Robert Hague and Turner Galleries, Art Angels Incorporated, 2020. Courtesy of the artist and Art Angels Incorporated.

ANGELA VALAMANESH OUTSIDE / INSIDE #A 2008 Unglazed ceramic, 55 × 155cm × 5.5 cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist and GAGPROJECTS. Photographer: M Kluvanek.

TONY WINDBERG TERRA NULLIUS 2, CAPE CHATHAM 2018 Engraved pegboard, rust effect and sealant on MDF, 43.5 × 127 × 1.5cm. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2018. Courtesy of the artist.

FULL LIST OF WORKS: ACQUISITIONS 2017–2020

DONATED THROUGH THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM Andrew Browne, Seven Apparitions, 2008. Photopolymer photogravure, plate preparation by Silvi Glattauer; printed at Baldessin Press; editioned by Adrian Kellet, edition 4/12, 45.5 × 37cm each (7 components). Donated by Neil Archibald and Alan R. Dodge AM, 2019 Lorraine Connelly-Northey, series of 30 Narrbong, 2006. Galvanised steel, wire, feathers, dimensions variable. Donated by Helen and Ben Korman, 2018 Julie Dowling, Ochre Studies, at the funeral No 1, 2002 | Ochre Studies, at the funeral No 2, 2002. Acrylic and red ochre on canvas, 20 × 30.5cm. Donated by Stephen Swift and Jo Lagerberg, 2018 Pippin Drysdale, Seedlings Sprout, 2018. Glazed porcelain forms, measurements variable (11 components). Donated by Pippin Drysdale, 2020 Björn Erling Evensen, Gateway, 1976. Stainless steel, 207 × 197 × 100cm. Donated by Jack and Jonathan Gregson, 2019

Susan Flavell, Freud’s Study, 2014. Wool rug, 245 × 185cm. Donated by Susan Flavell, 2017 Abie Jumbyinmba Jangala, Ngapa (Water), 1996. Synthetic polymer paint on linen, 121.5 × 91.5cm. Donated by Stephen Swift and Jo Lagerberg, 2018 Col Jordan, Tribute I, 1987. Acrylic on canvas, 169.5 × 169cm | Enigma I, 1985. Acrylic on canvas, 159 × 199cm. Donated by Helen and Ben Korman, 2018 Alistair Morrison, The Uninvited, c1990. Acrylic on particle board, 125 × 125cm | Landscape with UFOs, c1990. Acrylic on particle board, 185 × 123.5cm. Donated by Helen and Ben Korman, 2018 Rosella Namok, Yiipay and Kungkay, 2001. Acrylic on canvas, 94.5 × 136.5cm. Donated by Helen and Ben Korman, 2018 Laurel Nannup, No 28, 2014. Etching, edition 2/20, 49.5 × 69cm | Ancestors, 2013. Etching, edition 1/20, 60.5 × 78cm | Bibdjool (Gecko), 2001. Linocut, edition 2/20, 29.5 × 30cm | Damper day at the springs, 2008. Etching edition 4/8, 29 × 41.5cm | Falling stones, 2016. Etching, edition 5/15, 30 × 39cm | Fencing,

2016. Etching, edition 14/15, 29.5 × 39cm | First contact, 2016. Linocut, edition 15/20 second state, 60 × 45cm | Fish Hunter, 2016. Etching, edition 10/15, 30 × 39.5cm | Fishing at the bend, 2010. Linocut, edition AP, 65 × 77cm | Kulbardi’s, 2001. Woodcut, edition 6/20, 30 × 60.5cm | Our Shack, 2005. Etching, edition AP, 27 × 40cm | Pinjarra Reserve, 2013. Etching, edition AP, 37 × 50cm | Quirriupp, 2008. Woodcut, edition Trial proof, 70 × 105.5cm | Sliding Sister, 2001. Etching, edition AP, 58.5 × 58cm | Too late, 2010. Linocut, edition AP, 64.5 × 78cm | What road are you going to take, 2001. Etching, edition AP, 58 × 58cm | Yellow Taxis, 2013. Etching, edition AP, 50 × 59.5cm. Donated by Laurel and Brett Nannup, 2020 Nyurapayia Nampitjinpa, Kapi Tjukunpa (Water Dreaming), 2007. Synthetic polymer paint on linen, 151.5 × 182cm. Donated by Helen and Ben Korman, 2018 Mawukura Jimmy Nerrimah, Kumpujarti, 2004. Acrylic on canvas, 120 × 90.5cm. Donated by Neil Archibald and Alan R. Dodge AM, 2018 Warrick Palmateer, Tidal Comb, 2018. West Australian

kiln-fired earth, 105 × 110 × 110cm. Donated by Warrick Palmateer, 2020 Kathleen Petyarre, Mountain Devil Dreaming, c2001. Acrylic on linen, 122 × 137cm | Engerima, 2002. Acrylic on linen, 122 × 137cm. Donated by Helen and Ben Korman, 2018 Shane Pickett, Six Seasons Suite, 2005 | Munguroo | Bunuroo | Kambarang | Biroc | Wanyarang | Djilba. Etchings with aquatint on paper, edition 43/50, 49.5 × 33.5cm each. Donated by Dan and Diane Mossenson, 2017 Brian Robinson, and on the fifth day the waters swarmed with sea creatures, 2018. Palight plastic sculptural installation, 360 × 308 × 40cm. Donated by Brian Robinson, 2020 Miriam Stannage, On this Site, 2009. Light jet photographs, edition UP (unique print), 40 × 50cm each (18 components) | Artist’s Letters, 1973. Felttipped pen on acrylic on cotton duck, 147.5 × 228.5cm. Donated by Christopher and Katherine Stannage, 2020 Ian Strange, RUN from the series ISLAND, 2015. Archival digital print (documentation of site-specific intervention),

edition AP from an edition of 10 + 2 AP, 99 × 133cm | FINAL ACT, 2013. Single channel digital film, 16:9, stereo audio, edition AP from an edition of 5 + 2 AP, duration: 12:00 minutes. Donated by Ian Strange, 2020 John Teschendorff, Series III Scar, 2005. Oil, enamel, acrylic and wax on canvas, 180 × 160cm. Donated by Marcel Seeman Teschendorff, 2018 Christian Thompson, Berceuse, 2017. Three channel video installation, edition AP, duration 5:25 minutes | Refuge, 2014. Single channel HD video, edition 2/5, duration: 4:19 minutes. Donated by Christian Thompson, 2019 Freddie Timms, Baxter’s Gap, 1996. Ochre on canvas, 121.5 × 91.2cm. Donated by Stephen Swift and Jo Lagerberg, 2018 Long Jack Phillipus Tjakamarra, Kalipinpa, 2001. Acrylic on canvas, 147 × 201cm. Donated by Helen and Ben Korman, 2018 Maxie Tjampitjinpa, Bushfire Dreaming at Warlukurlangu, 1996. Acrylic on Belgian linen, 122 × 184cm | Bushfire Dreaming at Warlukurlangu, 1996. Acrylic on Belgian linen,

122 × 183.4cm. Donated by Helen and Ben Korman, 2018

Peg Leg Tjampitjinpa, Tingari, 2005. Acrylic on linen, 183 × 121cm. Donated by Helen and Ben Korman, 2018

Aida Tomescu, Ultraviolet, 2009. Oil on linen, 183 × 147cm. Donated by Aida Tomescu, 2018 | Amras V, 2004. White Sennelier and Art Spectrum pastel on inked Velin Rives paper, 120 × 80cm. Donated by Aida Tomescu, 2020 | Marguerite III, 2004. White Sennelier and Art Spectrum pastel on inked Velin Rives paper, 120 × 80cm. Donated by Aida Tomescu, 2020 | Eyes in the Heat I, 2015. Oil, pastel and oil stick on canvas, 183 × 153cm. Donated by Anonymous donor, 2020

Walala Tjapaltjarri, Tingari Cycle, 2000. Acrylic on Belgian linen, 184 × 214cm. Donated by Helen and Ben Korman, 2018

Margaret Woodward, Still life, blue bowl, 1990. Mixed media on Dessin paper on board, 101 × 141.5cm. Donated by Helen and Ben Korman, 2018.

Long Tom Tjapanangka, Puli Tjuti (Many Mountains), 2000. Acrylic on Belgian linen, 153 × 128cm. Donated by Helen and Ben Korman, 2018

DONATED THROUGH DEED OF GIFT

Ronnie Tjampitjinpa, Tingari Cycle, 1997. Acrylic on linen, 120 × 182cm | Fire Dreaming, 2015. Acrylic on linen, 124 × 208cm | Tingari, 2015. Acrylic on linen, 130 × 201cm | Fire Dreaming + Tingari, 2015. Acrylic on linen, 142 × 206cm. Donated by Helen and Ben Korman, 2018

George Tjungurrayi, Tingari, 2016. Acrylic on linen, 62.5 × 299.5cm. Donated by Helen and Ben Korman, 2018 George Ward Tjungurrayi, Soakage water at Kirrimalunya, 2004. Acrylic on Belgian linen, 182 × 298.5cm. Donated by Helen and Ben Korman, 2018

Brian Blanchflower, Float (red on green), 2004. Oil on canvas on board, 30.5 × 19.5cm | Float (gold on lilac), 2004. Oil on canvas on board, 30.5 × 19.5cm. Donated by Carol Rudyard, 2018 Cathy Blanchflower, ~~, 2011. Oil on canvas, 152 × 152cm. Donated by Cathy Blanchflower, 2019 | ~, 2013. Archival screen print, edition 52/60, 65.5 × 76.5cm. Donated

by Cathy Blanchflower and Turner Galleries Art Angels Incorporated, 2020 Theo Costantino, Daughter of Midas I, 2016. Wax, glass, hair, fool’s gold leaf and wood, 39 × 28 × 17cm | Daughter of Midas II, 2016. Wax, glass, hair, fool’s gold leaf and wood, 36.5 × 21 × 14.5cm | Daughter of Midas III, 2016. Wax, glass, hair, fool’s gold leaf and wood, 36 × 23 11.5cm | Bride, 2016. Giclee print on aluminium, edition 1/3, 127 × 83.5cm | Homecoming, 2016. Giclee print on aluminium, edition 1/3, 127 × 84.5cm | Città fantasma I, 2016. Giclee print on aluminium, edition 1/3, 40 × 53cm | Città fantasma II, 2016. Giclee print on aluminium, edition 1/3, 40.5 × 40cm | Città fantasma III, 2016. Giclee print on aluminium, edition 2/3, 40.5 × 86cm. Donated by Theo Costantino, 2017

55/60, 20 × 27.5cm. Donated by Marian Drew and Turner Galleries Art Angels Incorporated, 2020 Helen Geier, Refraction – avenue, 2002. Print and embossing on paper, edition 65/100, 24 × 37cm. Donated by Helen Geier and Turner Galleries Art Angels Incorporated, 2020 Julie Gough, 2018, Fugitive history (the escape), 2007. Linoprint on paper, edition 38/75, 21.5 × 16.5cm. Donated by Julie Gough and Turner Galleries Art Angels Incorporated, 2020 Lucas Grogan, The God Damn Commands, 2017. Archival digital print, edition 43/60, 25.6 × 38cm. Donated by Lucas Grogan and Turner Galleries Art Angels Incorporated, 2020

Fan Dongwang, Descendent – Elephants, 2005. Screen print, edition 10/46, 29.8 × 44.4cm. Donated by Fan Dongwang and Turner Galleries, Art Angels Incorporated, 2020

Robert Hague, Natives opposing Captain Cook’s landing, 2016. Lithograph from photoplate on Sommerset cotton rag paper, edition 42/60, 35 × 31cm. Donated by Robert Hague and Turner Galleries Art Angels Incorporated, 2020

Marian Drew, Bower bird with swamp hen, 2009. Ultrachrome inks on Hanemuhle paper, edition

Lindsay Harris, Djuret #4 (Tracks), 2008. Resin and pigment on hemp, 41 × 41cm | Landscape #6, 2009. Resin

and pigment on hemp, 57 × 59cm. Donated by Ian and Sue Bernadt, 2017 Reynold Hart, Untitled, c1950. Pastel and charcoal on paper, 27 × 37cm. Donated by Ian and Sue Bernadt, 2018 | Untitled, c1965. Gouache on paper, 33.5 × 50.7cm. Donated by Fay Read, 2019 | Untitled, n.d. Gouache on paper, 57.5 × 69cm. Donated by Laurel and Brett Nannup, 2020 Barry Loo, Untitled, 1949. Pastel on paper, 56.5 × 48.5cm. Donated by Noelene Wigmore and Heather Barrett in memory of their grandmother Amy Barrett, 2020 John E. Maloney, Botanica series, 2011 | Series of 21 artworks, archival pigment on canvas, 100 × 100cm each. Donated by John E. Maloney, 2018 Clyde McGill, Requiem Songs, 2019. Etching, monoprint, letterpress (hand stamped) and gold leaf on 270gsm Velin Arches paper, edition AP, 225 × 315cm. Donated by Clyde McGill, 2020 Deborah Paauwe, Goodnight moon, 2005. Photograph, edition 5/50, 20 × 20cm. Donated by Deborah Paauwe and Turner Galleries Art Angels Incorporated, 2020

Rosslynd Piggott, Storm 2 #7, 2002. Digital print on paper, edition 65/100, 19.5 × 26.5cm. Donated by Rosslynd Piggott and Turner Galleries Art Angels Incorporated, 2020 Gregory Pryor, A thread from the jumper of Septimus Roe [acacia biflora r. br.], 2016. Archival pigment print on Ilford galerie prestige smooth cotton rag 310gsm paper, edition 60/60, 28.5 × 21cm. Donated by Gregory Pryor and Turner Galleries Art Angels Incorporated, 2020 Joan Ross, You can’t just take everything, 2014. Hand painted pigment print on cotton rag paper, edition 56/60, 35.4 × 40cm. Donated by Joan Ross and Turner Galleries Art Angels Incorporated, 2020 Carol Rudyard, Emergence, 1973. Acrylic on canvas, 61.2 × 38.2cm. Donated by Brian Blanchflower, 2018 David Sequeira, Green with two blue vases and a green vase, 2006. Purple with one green and one pink vase, 2006 | Purple with two pink vases and one purple vase, 2006 | Red with two green vases, 2006. Digital print, 23 × 35 cm each. Donated by David Sequeira, 2018

Darren Siwes, Mother inlaw 1944, 2004. Cibachrome print, edition 50/50, 24.7 × 29.5cm. Donated by Darren Siwes and Turner Galleries Art Angels Incorporated, 2020 Kate Shaw, Orb, 2015. Giclee print on mica, edition 21/60, 25 × 25cm. Donated by Kate Shaw and Turner Galleries Art Angels Incorporated, 2020 Holly Story, Very beautiful + strange, 2006. Hand coloured, solvent transfer and embossing on rag paper, edition 25/48, 17 × 30cm. Donated by Holly Story and Turner Galleries Art Angels Incorporated, 2020 Sophia Szilagyi, Journey, 2013. Digital pigment ink on rag paper, edition 57/60, 48.4 × 39cm. Donated by Sophia Szilagyi and Turner Galleries Art Angels Incorporated, 2020 Hossein Valamanesh, Nothing, 2008. Laser cut paper and foam core, edition 59/70, 35.5 × 35.5 × 1cm. Donated by Hossein Valamanesh and Turner Galleries Art Angels Incorporated, 2020 Susan Cooper Wyatt, Untitled, 1971. Oil on board, 36.5 × 54cm. Donated by Laurel and Brett Nannup 2020

Anne Zahalka, Museum of Natural History, Guildford 2017, 2017. Archival ink on paper, edition 5/60, 53.4 × 36.8cm. Donated by Anne Zahalka and Turner Galleries Art Angels Incorporated, 2020

Brian Blanchflower, Canopy XXII (Time Generator), 1990. Acrylic with pumice powder on laminated hessian (two sections), overall size 220 × 390cm. Acquired 2017

2019. Gouache on paper, oil monotypes on paper, 14.8 × 21cm each (4 components) | Golden Hour Moonrise, 20192020. Acrylic image transfer and oil on paper, oil monotypes on paper, 14.8 × 21cm each (3 components) | Golden Hour Illuminated, 2019. Acrylic image transfer and oil monotypes on paper, 21 × 14.8cm each (3 components) | Golden Hour Painting, 2019. Oil monotypes on paper, 21 × 14.8cm each (3 components) | Green slip/Blue slip, 2019. Mixed media on masonite and timber structure, 59.5 × 91.4 × 3cm (double sided). Acquired from the Curtin University Art Degree Show with the support of the Vice Chancellor, 2019

Ngamaru Bidu, Pitu, 2017. Synthetic polymer paint on linen, 76 × 152cm. Acquired 2018

Theo Costantino, Cabbage Wife, 2016. Giclee print on aluminium, edition 1/3, 126.5 × 82cm. Acquired 2017

Tjyllyungoo Lance Chadd, Grass Trees, 2010. Ink on paper, 25 × 17cm. Acquired, 2019

Lorraine Daylight, Chairman’s Garden Country, n.d. Ochre on canvas, 45 × 120cm. Acquired 2018

PURCHASES Abdul-Rahman Abdullah, 500 Books, 2018. Carved wood, oil paint and aluminium leaf, 95 × 110 × 115cm. Acquired 2019

Leah Chidlow, Colour Corruption 202, 2019. Mixed media on marine ply and timber structure, 81 × 122 × 3cm (double sided) | Golden Hour Silhouette, 2019. Gouache on paper, oil monotypes on paper, 14.8 × 21cm each (4 components) | Golden Hour Transparency,

Nyaparu William Gardiner, Looma, 2016. Acrylic on canvas, 49.9 × 75.2cm | Big rain in Looma, 2016. Synthetic polymer paint on canvas, 60.5 × 60cm | Kalyeeda Station, 2015. Synthetic polymer paint on canvas, 75.2 × 75.2cm. Acquired 2017

Julie Gough, Larngerner (The Colour of Country), 2018. 2 channel 4K video with sound, 21:11 minutes. Acquired 2019 Lindy Lee, Equanimity (no more struggles in the ocean of ‘yes’ and ‘no’) from the series The Immeasurables, 2017. Mirror polished stainless steel and LED lights, 155 × 50 × 50cm. Acquired 2020 Magda Nakamarra Curtis, Lappi Lappi Jukurrpa (Lappi Lappi Dreaming), 2018. Synthetic polymer on linen, 76.5 × 30.5cm. Acquired 2019 Juliette Nampijinpa Brown, Ngapa Jukurrpa (Water Dreaming) – Mikangi, 2018. Synthetic polymer on linen, 76 × 46cm. Acquired 2018 Selina Napanangka Fisher, Pikilyi Jukurrpa (Vaughan Springs Dreaming), 2018. Synthetic polymer on linen, 91.5 × 91.5cm | Pikilyi Jukurrpa (Vaughan Springs Dreaming), 2018. Synthetic polymer on linen, 91 × 46cm. Acquired 2019 Mitjili Napurrula, Watiya Tjuta, 2006. Acrylic on linen, 30.5 × 65.5cm | Spear Dreaming, 2006. Acrylic on linen, 59 × 61.5cm. Acquired 2018

Myrtle Pennington, Kanpala – At Kanpa, 2017. Acrylic on linen, 137 × 90cm. Acquired 2018

Nalda Searles, Grass Skull 2, 2008. Meadow fodder and poly thread, 12 × 22 × 16cm. Acquired 2018

Shane Pickett, Ancestors Before the Journey of the Dreaming, 2008. Synthetic polymer paint on canvas, 152 × 121cm. Acquired 2020

Mike Singe, Twenty Twenty Vision: Australia, 2016. Impure carbon (soot), plywood, 42 × 42cm | Twenty Twenty Vision: South Africa, 2016. Impure carbon (soot), plywood, 42 × 42cm | Twenty Twenty Vision: Denmark, 2016. Impure carbon (soot), plywood, 42 × 42cm. Acquired 2017

Elena Rayner, Tectonic, 2019. Soil and transparent etching in layered monotypes on paper, 29.5 × 42cm | Fault Line, 2019. Soil and transparent etching ink layered monotypes on paper, 29.5 × 42cm | Strata, 2019. Soil and transparent etching ink layered monotypes on paper, 29.5 × 42cm. Acquired from the Curtin University Art Degree Show with the support of the Vice Chancellor, 2019 Lisa Reihana, Banks Transit of Venus, Mourning, Stars, Sex Trade, 2017. Diasec® print on Canson Archival Rag, edition 6/9, 76 × 162cm. Acquired 2018 Brian Robinson, Bedhan Lag: land of the Kalwalagal, 2019. Linocut, edition 4/10, 98.5 × 187.5cm. Acquired 2020 | By virtue of this act I hereby take possession of this land, 2017. Linocut, edition 11/15, 72.3 × 45cm. Acquired 2017

Helen Smith, Blue Highway #29, 2016. Oil on canvas, 138 × 213.5cm. Acquired 2018 Spinifex Women’s Collaborative, Work in progress, Spinifex Art Project, Tjuntjuntjara, Western Australia, commissioned 2020. Acquired 2020 Ian Strange, SHADOW, 2015. Single channel digital film, 16:9, 5.1 surround sound, duration 14:08 minutes, edition 3/5 from a series of 5 + 2 AP | Twenty-four Watkins, from the series SHADOW, 2015–2016. Archival digital print (documentation of site-specific intervention), edition 5/5 from an edition of 5 + 2 AP, 112 × 150cm | Three Hundred and Nine Wanneroo, from the series SHADOW, 2015–2016. Archival

digital print (documentation of site-specific intervention), edition 5/5 from an edition of 5 + 2 AP, 112 × 150cm. Acquired 2020 John Teschendorff, CVI Derive Reykjavik, 2017. Acrylic and gouache on folded 320gsm Arches paper, 69 × 99cm. Acquired 2017 | XXXVII Guantanamo Fence, from History of Ideas Series IV, 2005. Oil, acrylic, automotive lacquer and wax on canvas, 180 × 300cm. Acquired 2018 Christian Thompson, Subconscious Whispers, 2018. C-Type print on Fuji Pearl metallic paper, edition 4/4, 119 × 119cm each (4 components). Acquired 2019 Chloe Tupper, Spider Plant and Chain of Hearts, 2018. Oil on linen, 50 × 40cm. Acquired 2019 Angela Valamanesh, Outside / Inside #A, 2008. Unglazed ceramic, 55 × 155 × 5.5cm. Acquired 2018 Tony Windberg, Terra Nullius 2, Cape Chatham, 2018. Engraved pegboard, rust effect and sealant on MDF, 43.5 × 127 × 1.5cm. Acquired, 2018

Above Installation view, JCG, 2020. Left to right: Robert Hague, Natives opposing Captain Cookâ&#x20AC;&#x2122;s landing, 2016; Anne Zahalka, Museum of Natural History, Guildford 2017, 2017; Marian Drew, Bower bird with swamp hen, 2009; Darren Siwes, Mother

Inlaw 1944, 2004; Joan Ross, You canâ&#x20AC;&#x2122;t just take everything, 2014; Tony Windberg, Terra Nullius 2, Cape Chatham, 2018; Brian Robinson, Bedhan Lag: land of the Kalwalagal, 2019; Peg Leg Tjampitjinpa, Tingari, 2005; Col Jordan, Tribute 1, 1987.

DONORS 2017–2020

CURTIN FOUNDATION JCG Founders’ Club/Donors Circle Ms Natasha Allchurch Professor Garry Allison Mr Neil Archibald & Dr Alan R. Dodge AM Ms Zelinda Bafile Mr John Barrington AM & Ms Fiona Harris Dr Colin Beckett & Mrs Sarah Beckett Dr Susan Blackley Professor Angus Buchanan Mrs Marilyn Burton Mr Marcus Canning & Mrs Desi Canning Professor John Cordery Mr Michael & Mrs Susan Croudace Professor Alan Dench Mr Al Donald & Ms Delwyn Everard Professor Jill Downie Ms Catherine Ferrari Mr Robin & Mrs Elizabeth Forbes Mrs Nicola Forrest AO Ms Robyn Glindemann Mrs Carole Grant Mrs Evelyn Ann Hall Dorothea Hansen-Knarhoi Mr Warwick Hemsley Mrs Diane & Mr Ivan Hoffman OAM Ms Lynette Hughes Mr Jim & Mrs Freda Irenic Jan & Kevin Jackson Ms Linda Kenyon Professor Jeremy Kilburn Ms Jane King Professor Seth Kunin Ms Margaret Loton OAM Mr Chris Malcolm Ms Kaye Mazzoleni

Mrs Jenny Mills Ms Nicole O’Connor Ms Ann Paterson Mrs Georgina Pearce OAM Mrs Rosalind-Ruth Phelps Mrs Valerie & Mr Llewellyn Raubenheimer Dr Marco Schultheis Ms Vivienne Stewart Mr George & Mrs Judy Sulcs Professor Deborah Terry AO Mr Philip Thomas Emeritus Professor Lance Twomey AO & Mrs Meg Twomey Mrs Jude van der Merwe Ms Shirene Varendorff Ms Fabienne Vonarburg & Ms Lynne Pugh Mrs Mary Ann Wright Ms Naomi Yellowlees Mr Wayne Zekulich John Curtin Gallery Support Fund Ms Natasha Allchurch Professor Garry Allison Anonymous Donors (2) Patti Belletty Mrs Marilyn H Burton Joel Butler Professor John Cordery Adeline J. Dinham Ms Robyn Glindemann Chanelle O. Gibbs Mrs Carole Grant Celia Hurley Ms Jane King Mr Chris Malcolm Ms Ann Paterson

Claire Prenter Fazlul K Rabbanee Mrs Valerie & Mr Llewellyn Raubenheimer Pip Rundle Lisa C. Smith Professor Deborah Terry AO Emeritus Professor Lance Twomey AO & Mrs Meg Twomey 50fifty Acquisition Appeal Ms Natasha Allchurch Mr Neil Archibald & Dr Alan R. Dodge AM Ian & Sue Bernadt Brian Blanchflower Cathy Blanchflower Theo Costantino Dale Devereaux Barker Pippin Drysdale Susan Flavell Jack & Jonathan Gregson Ms Robyn Glindemann Ms Jane King Helen & Ben Korman Jo Lagerberg & Stephen Swift John E. Maloney Clyde McGill Diane & Dan Mossenson Brett & Laurel Nannup Warrick Palmateer Ms Ann Paterson Mrs Fay Read Brian Robinson Carol Rudyard Sculpture by the Sea David Sequeira Christopher & Katherine Stannage

Ian Strange Emeritus Professor Lance Twomey AO & Mrs Meg Twomey Marcel Seeman Teschendorff Christian Thompson Aida Tomescu Turner Galleries Noelene Wigmore & Heather Barrett DONATED ARTWORKS Deed of Gift Ian & Sue Bernadt Brian Blanchflower Cathy Blanchflower Theo Costantino John E. Maloney Clyde McGill Brett & Laurel Nannup Mrs Fay Read Carol Rudyard David Sequeira Turner Galleries Art Angels Incorporated & artists • Cathy Blanchflower • Fan Dongwang • Marian Drew • Helen Geier • Julie Gough • Lucas Grogan • Robert Hague • Deborah Paauwe • Rosslynd Piggott • Gregory Pryor • Joan Ross • Darren Siwes • Kate Shaw

• Holly Story • Sophia Szilagyi • Hossein Valamanesh • Anne Zahalka Noelene Wigmore & Heather Barrett in memory of their grandmother, Amy Barrett Australian Government’s Cultural Gifts Program Mr Neil Archibald & Dr Alan R. Dodge AM Pippin Drysdale Susan Flavell Jack & Jonathan Gregson Helen & Ben Korman Jo Lagerberg & Stephen Swift Diane & Dan Mossenson Brett & Laurel Nannup Warrick Palmateer Brian Robinson Christopher & Katherine Stannage Ian Strange Marcel Seeman Teschendorff Christian Thompson Aida Tomescu

JOHN CURTIN GALLERY STAFF 2020

Director Chris Malcolm Gallery Manager Jane King Production Manager Xavier Pardos Collection Manager Barbara Cotter Collection Manager Lia McKnight Gallery Administrative Coordinator Patti Belletty Gallery Communications Coordinator Samantha Smith Visual Communications Coordinator Brad Coleman Project Officer Exhibitions Jacqui Monks Collection Officer Campus Display Matthew McAlpine Collection Assistants Graeme Burge, Olivia Jones Gallery Assistant Tarryn Gill Installation Assistants Matt Bairstow, Elizabeth Bills, Matt Dickmann, Pablo Hughes, Matthew McAlpine, Sean Mitchell, David Reid

Opposite Installation view, John Curtin Gallery, 2020. Left to right: Adbul-Rahman Abdullah, 500 Books, 2018; Lindy Lee, Equanimity (no more struggles in the ocean of ‘yes’ and ‘no’) from the series The Immeasurables, 2017; Clyde McGill, Requiem Songs, 2019; Mawukura Jimmy Nerrimah, Kumpujarti, 2004.

Lindy Lee, Equanimity (no more struggles in the ocean of ‘yes’ and ‘no’) (detail) from the series The Immeasurables, 2017, mirror polished stainless steel and LED lights. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020. Courtesy of the artist and Sullivan + Strumpf. Photographer: Mark Pokorney

John Curtin Gallery Building 200A Curtin University Kent Street, Bentley 6102 Western Australia GPO Box U1987 Phone: +61 (0)8 9266 4155 Email: gallery@curtin.edu.au Website: www.jcg.curtin.edu.au Facebook: facebook.com/johncurtingallery Instagram: @johncurtingallery Publication Copyright 2020, John Curtin Gallery, unless otherwise stated Text Copyright © Professor Deborah Terry © Natasha Allchurch © Chris Malcolm © Lia McKnight All rights reserved This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission. No illustration in this publication may be reproduced without the permission of the copyright owner. Enquiries should be made to the publisher. All works of art are copyright of the artist. ISBN: 978-0-9941683-9-9 Photographs (unless otherwise indicated): Brad Coleman Production Coordinator: Jacqui Monks Designer: Isabel Krüger Printing: Advance Press, Perth

By interrogating contemporary issues through the visual arts, the John Curtin Gallery will inspire audiences to create a more just and equitable world.

John Curtin Gallery Building 200A, Curtin University Kent Street, Bentley WA 6102 Australia Phone: +61 (0)8 9266 4155 gallery@curtin.edu.au jcg.curtin.edu.au

JCG

John Curtin Gallery