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…
Emily Kam Kngwarray’s monochrome painting Anwerlarr Anganenty (Big Yam Dreaming) represents important aspects of her cultural heritag
Although isolated examples of Chinese porcelain were known to have filtered through to Europe in the Middle Ages it was not until the establishment of the various East India Companies…
In 1957 eleven Indian miniatures were generously presented by Major G. B. Walker as Rajput paintings
Of the many artists who worked in Australia after its discovery by Cook in 1770, Augustus Earle is one of the most versatile and interesting of the early ones
Note In accordance with the tradition of Chinese handscroll painting, the illustrations on the blue-and-white Wine jar have a clockwise, directional
The Department of Asian Art, National Gallery of Victoria, in recent years has acquired three important Indian paintings and a related drawing belonging to the reign of the Mughal emperor Akbar (r.1556–1605)R
This edition of the Art Bulletin of Victoria 29 features essays that examine a wide range of works from the NGV’s collectio
This edition of the Art Bulletin of Victoria 29 features essays that examine a wide range of works from the NGV’s collectio
Australian art of the first two to three decades of the twentieth century exists today, if indeed it finds focus at all in the received history of Australian art, beneath a…
Among the rich collection of Indian paintings acquired by the National Gallery of Victoria through the Felton Bequest in 1980 are two large pictures depicting Maharana Jagat Singh II of Mewar…
The earliest, and certainly one of the most intriguing, nineteenth-century Australian photographs in the National Gallery of Victoria’s collection is a daguerreotype of three Victorian Aborigines taken by Dougla