Art has been an integral part of Indigenous culture for more than sixty-five thousand years.

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Visitors are permitted to take photographs with hand-held cameras in non-restricted areas within the National Gallery of Victoria for personal use.

When Margaret Preston returned to Australia in 1919 after living in Europe, she called for a truly ‘national art’ founded on the imagery of Australia’s Indigenous pe

Create Celebrate Melbourne This activity involves using found materials to create a playful commemorative ‘trophy’ to celebrate Melbourne. This activity could be done in pairs or a small gr

Explore Information for teachers The following learning activities related to the theme of Melbourne support: The learning focus and standards in Victorian Essential Learning Standards Level 6 for: Discipline-based learning…

The painting Weatherboard Creek Falls, Jamieson’s Valley, New South Wales, 1862, is one of Eugene von Guérard’s major paint

The home of Australian art, presenting Indigenous and non-Indigenous art from historical to present day.

The National Gallery of Victoria’s permanent collection of more than 75,000 works is at the heart of the Gallery’s activities and progr

First published in 2013 by The Council of Trustees of the National Gallery of Victoria 180 St Kilda Road Melbourne, Victoria 3004, Australia www.ngv.vic.gov.

From 30 September 2011 to 12 February 2012 the National Gallery of Victoria and Museum Victoria presented Tjukurrtjanu: Origins of Western Desert Art at The Ian Potter Centre: NGV Australia.

Members of the First Fleet were well aware of the importance of the venture in which they were participating.

A strong sculptural tradition exists in North-Eastern and Central Arnhem Land stimulated by contact with balanda (outsiders).

This exhibition presents John Wolseley’s exploration of the waterways and wetlands of Australia, a subject he has developed over the past six years, in a major series of monumentally-scaled works on paper. Over twenty large-scale works (three, six and ten metres in length) investigate the varieties of Australian water-forms, from mangrove swamps in Roebuck Bay, Western Australia to the flood plains of Garannalli in the Northern Territory, the Finke River in the Simpson Desert (South Australia) and the sphagnum swamps of Skullbone Plains in Tasmania. The works map the different geographical features and unique plant and animal forms of these wetlands in the finely detailed drawing and richly coloured, atmospheric watercolour washes that characterise Wolseley’s work. Environmental concerns and the indigenous significance of these sites are key to any readings of these works, as is the artist’s interest in evoking concepts of evolutionary time and the emotional connection or disconnection people feel with the

Ellen van Neerven, an Indigenous writer based in Brisbane, wrote these poems in response to Emily Kam Kngwarray’s Anwerlarr Anganenty (Big yam Dreaming) 1995 and read them at the Points…