Ian Potter Museum of Art Annual Review 2019

Annual Review

2019

Annual Review

2019

4–4

Ian Potter Museum of Art Annual Review 2019

About us

The Ian Potter Museum of Art was founded in 1972 and is the University of Melbourne’s art museum. Housed in an award-winning building opened in 1998, the Potter has staged over 515 exhibitions during the course of its 48-year history, supporting countless artists, curators, writers and academics and making a significant contribution to the cultural and social wealth of the University community – especially students, the City of Melbourne and the State of Victoria.

This is a history that we are proud of.

The Potter manages the University Art Collection, which ranges from antiquity to contemporary art, including international and Australian Indigenous material culture and work by major Australian artists of the nineteenth and twentieth centuries. Extraordinary in its breadth and idiosyncratic in its depth, the Collection – now numbering some 17,000 objects, is uniquely tied to the University’s endeavours via personal and practical connections, whether through a bequest, portrait commission, artist-in-residence program, teaching activities or field research. In recent years the development of the Collection has extended beyond this important foundation to reflect the broader community and the role of the University as a place of learning central to the cultural life of Melbourne.

Embracing research, intellectual curiosity and discovery, the Potter is committed to extensive participation in the University’s interdisciplinary degree structure. We aim to make art and the University’s collections central to teaching and learning, regardless of the discipline of study, and actively contribute to curriculum development across all faculties through our exhibitions and programs, and through real world engagement with objects and issues. Our diverse programs encourage experimentation, intellectual excitement, a connection with social context, and an embrace of cultural diversity.

As a space that encourages active dialogue and debate, the Potter is uniquely placed to make a difference to the lives of our audiences, and within the university, to make the experience of art and the role of creativity relevant, enjoyable and of value to the next generation.

Cover: INSIDE OUT Launch Party; Michaela Gleave, 7 Hour Balloon Work (black) performance Previous spread: Clement Meadmore: The art of mid century design installation 6–7

Vision

Values

To provide a contemporary lens on creative cultures past and present and establish a platform through art that generates conversations and debate.

The centrality of art and artists to everything we do.

Mission To collect, preserve, display and interpret works of art within a multidisciplinary context; to challenge and engage audiences, and to advance the appreciation of cultural heritage on a local, national and international level; thereby contributing to the University of Melbourne’s activities as a leading teaching and research institution.

The power of art to inspire and challenge.

The contribution of the Potter as a distinctive voice.

The role of the Potter as a portal to the University.

Ian Potter Museum of Art Annual Review 2019

8–8

Contents

10

Executive Overview

12

The Exhibition Program

18

INSIDE OUT Program

34 Other events 38 Artist Residencies and Fellowships 40 The University of Melbourne Art Collection 42 2019 Acquisitions 46 Partnerships

Benjamin Hancock performing as part of MULCH: Performance Picnic in the System Garden Ian Potter Museum of Art Annual Review 2019

Executive Overview

2019 was a very different year for the Potter and one of which we are immensely proud.

We hope our ability to experiment; our generosity; our organisational flexibility, and our sense of fun has been clear for our audiences, and that they have enjoyed being part of the journey we have taken across the year.

With the close of the exhibition Clement Meadmore: The art of mid-century design on 24 March 2019, the Potter’s exhibition program entered a temporary hiatus, which will continue throughout the Museum’s refurbishment and expansion into the latter half of 2020. During this period, the Potter continued to engage with its audiences through a program of events, performances, talks and forums. In our communications throughout the year we have emphasised the opportunity this program has opened up for our audiences to experience the Potter in a range of unexpected ways, both inside and outside our galleries. This message complements our overall branding of the year’s program under the banner INSIDE OUT.

The key aims of the INSIDE OUT Program have been to keep the Potter in the hearts and minds of our audiences during the Museum’s redevelopment. Importantly, the period after the closure of Meadmore gave us a unique opportunity to explore a new way of working and engaging our community without the fallback and safety net of an ongoing exhibition program and to test what the Potter’s current and potential audiences are looking for from the Museum and what we want to be into the future. Trying-out alternate venues across the University as well as taking programming beyond the boundaries of the Parkville campus were another area of exploration.

It has been rewarding to see our existing and loyal audiences respond positively to the opportunity to engage with art and ideas outside of the usual context of the exhibition, and to see them joined by newcomers encountering the Potter’s programs for the first time.

The INSIDE OUT Program had a number of successes in 2019 which have enabled us to continue it into 2020 with confidence and a sense of both excitement and anticipation. Watch this space!

We look forward to having you with us.

Kelly Gellatly Director

10–11

Ian Potter Museum of Art Annual Review 2019

The Exhibition Program

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Clement Meadmore: the art of mid-century design (20 November 2018–24 March 2019) Clement Meadmore (1929–2005) is one of Australia’s most significant modernist sculptors and his monumental public sculptures are displayed in cities around the world. Prior to moving to New York in the early 1960s to pursue his sculptural practice, Meadmore established a successful career in Australia as a designer of furniture, lighting and interiors. Presented from 20 November 2018–24 March 2019, Clement Meadmore: the art of mid-century design was the first major survey of Meadmore’s industrial design practice. The exhibition was extended so that it could be included in Melbourne Design Week; Australia’s leading annual international design event. The inclusion of the exhibition in this program and its marketing brought heightened attention and increased audiences to the exhibition in its final weeks. Associated public programs included a number of floor talks, as well as a ‘Cocktail Hour’ late night exhibition viewing in partnership with Four Pillars Gin; a screening of Jacques Tati’s classic film Mon Oncle (1958), and a panel discussion on the production of original and fake mid-century and modern Australian design. This project was assisted by a State Library Victoria Creative Fellowship and generously supported by The Pancake Parlour and Parallel Practice.

Ian Potter Museum of Art Annual Review 2019

Pop Up Exhibitions

LIAM GILLICK Some Significant Equations (18 April–2 June) Presented in collaboration with the 2019 ART+CLIMATE=CHANGE Festival, this pop-up exhibition appeared on hoardings outside the Potter building and on a large-scale billboard on the corner of Grattan and Swanston Streets; bringing the work of internationally renowned British artist Liam Gillick to Melbourne’s streets and playfully denoting that the Potter was now ‘under construction’.

Building upon an earlier public work for the Gare du Nord in Paris, which was timed to coincide with COP21, the United Nations Climate Change Conference in 2015, Gillick’s project for Melbourne comprised a series of large monochromatic panels that bear the equations referred to in the work’s title.

14–15

Some Significant Equations was inspired by two important papers written in the 1960s

by Japanese-born American meteorologist and climatologist Syukuro Manabe, who developed a mathematical model to simulate climate change with the intention of both understanding and predicting it. As Liam Gillick has stated: “Climate change has a significant basis that is beyond question … the work is a tribute to [Manabe’s] hard work and the aesthetic elegance of his equations.”

Performing Textiles (17–18 August and 24–25 August) Performing Textiles was a collaboration between the Ian Potter Museum of Art and Faculty of Fine Art and Music. Staged over two weekends, it provided audiences insights into the next generation of experimental art practice.

This exhibition provided a strong professional development component for the exhibiting artists. Following a competitive selection process, ten students from the Victorian College of the Arts’ Honours in Fine Art (Visual Art) program were chosen to develop new works in response to a curatorial theme exploring the interconnection between textile and performance in contemporary art.

They were mentored through the exhibition planning process by Potter staff and given an invaluable introduction in how to work in an institutional context.

The exhibition highlighted interdisciplinary perspectives and investigated the interwoven roles of fabric, fashion and the body – as both material force and form and was accompanied by an online catalogue, which is available at: https://art-museum. unimelb.edu.au/wp-content/uploads/2019/11/ Performing_Textiles_2019_Catalogue.pdf Timed to coincide with the University of Melbourne Open Day, Performing Textiles featured the work of Jack Coventry, Ceardai Demelza, Hannah Gartside, Carla Milentis, Kiah Pullens, Scotty So, Tina Stefanou, Bronte Stolz, Jennifer Valender, Hayley van Ree.

Ian Potter Museum of Art Annual Review 2019

Touring Exhibition

Play On: The Art of Sport 10 years of the Basil Sellers Art Prize In 2019, the Basil Sellers exhibition Play On: The Art of Sport continued its tour, attracting 40,000 visitors overall. This NETS Victoria and Ian Potter Museum of Art touring exhibition was showcased at four venues across Australia including UQ Art Museum (Queensland), Bunbury Regional Art Galleries (Western Australia), Riddoch Art Gallery (South Australia) and Western Plains Cultural Centre (New South Wales). Featuring the winners and other key works from all five instalments of the Basil Sellers Art Prize (2006– 2016), the exhibition brought together diverse explorations of the personal and collective significance of sport and sporting culture from some of Australia’s most accomplished artists, including Tony Albert, Richard Bell, Lauren Brincat, Jon Campbell, Daniel Crooks, Gabrielle de Vietri, Tarryn Gill and Pilar Mata 16–17

Dupont, Shaun Gladwell, Richard Lewer, Fiona McMonagle, Josie Kunoth Petyarre and Dinni Kunoth Kemarre, Kerrie Poliness, Khaled Sabsabi and Gerry Wedd.

Google Arts & Culture Online Exhibition The first dedicated celebration of sporting culture on Google Arts & Culture – Great Sporting Land, was launched on 20 August.

The online platform brings together collections, stories and knowledge from over 30 renowned institutions across Australia, including the Ian Potter Museum of Art, whose contribution draws upon the Museum’s presentation of five Basil Sellers Art Prize exhibitions in the period 2006 to 2016. The online exhibition features over 11,000 archived images and videos, and more than 100 original stories that celebrate the unifying spirit of this sports-mad nation. The Potter’s three online exhibits include The Theatre of Sport: Entertainment, Spectacle, Celebrity and Heroism; Performance: Success, Anxiety, Failure; and Political Activism, Civil Rights and Cultural Diversity in Sport.

Ian Potter Museum of Art Annual Review 2019

INSIDE OUT Program

18–19

Launch Party (4 May) The INSIDE OUT program was launched with an afternoon of live art, workshops and performances across the Museum.

The aim of the event was to commence the year with a celebration that encouraged an atmosphere of play and participation.

With approximately 550 visitors, the party was a great success, demonstrating an enthusiasm in our audience for experimental and experiential art practices beyond the traditional exhibition format.

Performances included a Live Wall Drawing with artists Ramesh Mario Nithiyendran, Zilverster (Sharon Goodwin & Irene Hanenbergh) and Kenny Pittock; Michaela Gleave’s endurance performance 7 Hour Balloon Work (black); APHIDS’ conversational project Questions for Problems; Giselle Stanborough’s Gamify or Die quiz; a presentation by David Pledger in the guise of the Minister for Empathy; a hands-on workshop with ceramicist Vipoo Srivilasa, and a participatory workshop with the dance and choreographic practice Deep Soulful Sweats. Jason Maling greeted visitors in his persona The Physician, guiding them through the day’s program and encouraging them to set aside any self-consciousness or cultural anxieties and get involved.

Ian Potter Museum of Art Annual Review 2019

Philip Adams Residencies Curated by choreographer Phillip Adams (founder and Artistic Director of Phillip Adams BalletLab), this series showcased a range of emerging and established Australian artists as they explored the art of dance in new and unexpected ways.

Double Double (Artist Residency 15–29 June; Performance 29 June) The first performance in the series, Double Double was by choreographers and dancers Jo Lloyd and Deanne Butterworth, who were joined by interdisciplinary artists and drummers Evelyn Ida Morris and Tina Havelock Stevens.

The performance evolved out of a two-week residency at the Potter, during which the dancers developed a repertoire of movement sequences that they drew upon in response to the improvised beats of the percussionists.

20–21

SICK (Artist Residency 1–6 July; Performance 18 July) SICK was developed during a mentoring residency at the Potter as part of the Next Wave Kick Start program. Philip Adams worked to develop this new performance piece with emerging dance talent Ryan New, with a view to evolving the work into a full-length show for presentation in 2020. An industry showing of SICK for dance professionals provided an opportunity for feedback on the work, and brought colleagues such as Carol Brown, the new VCA Head of Dance, and Antony Hamilton, the new Artistic Director of Chunky Move to the Potter for a session that was generous and highly supportive of this idiosyncratic collaboration.

Doors Shut (Artist Residency 26 August–6 September; Performance 6 September) This final work in the Philip Adams Residency Series also included a preview showing and Q&A. Two groups of dancers: Rachel Wisby and Nasim Patel, and William McBride, Carol Meaden Alice Dixon and Mark Wilson, worked with Adams to prepare for their upcoming Melbourne Fringe performance Doors Shut. In conjunction with this residency, the VCA Dance second and third year Career Planning Elective held a class at the Potter, providing an important professional development opportunity for participating students.

Ian Potter Museum of Art Annual Review 2019

Interdisciplinary activities

Julian Day Workshops In July and August, artist and composer Julian Day (USA) visited Melbourne to undertake research towards his forthcoming project with the Potter in 2020. Day develops participatory performances, which use sound and social connection to frame public spaces. During his first visit, the artist met with a range of academics across disciplines such as Anthropology, Sociology, Law, Urban Planning, and of course, Music and Visual Arts. He returned for a week at the end of August to carry out acoustic workshops with students across disciplines at the Parkville and Southbank campuses, as well as two Masterclasses with post-grad and undergraduate Visual Arts students at the VCA. The workshops used game-like strategies to ‘sound out’ the built environment, encouraging reflection on the acoustic properties and social implications of public spaces across the University of Melbourne’s campuses.

22–23

Up from the Vaults This platform of public talks provided fascinating and unique discipline-specific perspectives on the University of Melbourne Art Collection. A series of monthly talks, Up from the Vaults featured an in-depth look at art and objects from the University of Melbourne’s Cultural Collections, as seen through the lens of a subject expert from the University, ranging from the School of Culture & Communications; the Centre for Health Equity in the Melbourne School of Population and Global Health; the School of Historical & Philosophical Studies, and the School of Ecosystem and Forest Sciences, through to the Melbourne Conservatorium of Music.

The series included:

Dr Jane Eckett, School of Culture & Communication (May) Dr Eckett closely examined Hirschfeld-Mack’s prints to reveal the artist’s enthusiasm for experimentation with the monotype technique and to provide an index with which to trace the global north-south migration of Modernist mark making.

Up from the Vaults: Hirschfeld-Mack’s monotypes; Ludwig Hirschfeld-Mack, Preparing, 1959

Ian Potter Museum of Art Annual Review 2019

Professor Janet McCalman AC, Melbourne School of Population & Global Health (June) Professor McCalman explored work featuring convict labour

by British artists John Skinner Prout and Godfrey Charles Mundy.

Up from the Vaults: Convict Labour; John Skinner Prout, Untitled (Probation Station, Mount Dromedary) 1847

Dr Alessandro Antonello, School of Historical & Philosophical Studies (July) Dr Antonello charted the human experience of Antarctica and the Southern Ocean by referencing artworks from the Grimwade Collection.

Up from the Vaults: Antarctica; William Edgeworth David Tannatt, No title (South Magnetic Pole, 16 January) 1909

24–25

Professor Andrew May, School of Historical & Philosophical Studies (August) Professor May took a closer look at early examples of Melbourne’s urban landscapes through a virtual walking tour of Melbourne as it was represented in key nineteenthcentury works.

Up from the Vaults: ‘Rus in urbe’; Henry Gritten, Melbourne from the Botanical Gardens 1865

Dr Thomas Duff, School of Ecosystem and Forest Sciences (September) Dr Duff explored the way in which fire has imprinted itself on our landscapes over time by taking a closer look at fire in Victoria’s landscapes during the 1800s and early 1900s, as depicted through art.

Up from the Vaults: All Fired Up; Eugene von Guérard, Forest, Cape Otway Ranges 1867

Ian Potter Museum of Art Annual Review 2019

Associate Professor Michael Christoforidis, Dr Elizabeth Kertesz, Dr Ken Murray, Melbourne Conservatorium of Music (October) This group of academics from Melbourne Conservatorium of Music explored some of the contexts that informed Rupert Bunny’s summer paintings, focusing on the fashions for dance and Spanish style.

Up from the Vaults: Rupert Bunny’s ‘The New Step’: Echoes of Spain in Belle-Époque Paris; Rupert Bunny, The new step c.1908–11

26–27

“The Awards provide important professional development opportunities and access to curatorial and collections staff in the museum environment.”

Miegunyah Student Project Awards The Ian Potter Museum of Art Miegunyah Student Project Award scheme grants six competitive student awards for small projects focused on the Russell and Mab Grimwade ‘Miegunyah’ Collection. Offered by the Potter since 2013, it continues to attract a diverse range of students keen to work in an interdisciplinary context with a significant and extensive material and visual culture collection.

These semester-long, independent internships are offered across all faculties for any third or fourth year undergraduate, graduate or Masters-level student. Awardees submit a minor research project based on the Grimwade Collection through the lens of their major area of study. The Awards provide important professional development opportunities and access to curatorial and collections staff in the museum environment.

Students are awarded a $2,000 internship fee.

Six project awardees were selected as recipients of the Miegunyah Student Project Awards for 2019: Jennifer Choat (VCA Honours); Ella Howells (Criminology); Fiona Martin (VCA); Hunter Reyne (Art History); Shannon Sazevski (Sociology) and Dominique Tang, and Cameron Hurst (Art History and Architecture).

The Miegunyah Student Project Awards are made possible through the generous support of the University’s Russell and Mab Grimwade Miegunyah Fund.

Ian Potter Museum of Art Annual Review 2019

Public Forums A series of interdisciplinary forums saw the Potter team up with partners at the University of Melbourne to explore ‘big themes.’ Bringing together visual artists, performers and researchers from a variety of disciplines including geography, literature, law and chemical engineering, this year’s forums unpacked the themes of ‘water’ and ‘language’, proposing art making as a form of knowledge creation alongside other academic fields of inquiry.

WATER Interdisciplinary Public Forum (24–25 May) The ‘Water’ forum was first of two interdisciplinary forums presented with the Centre of Visual Art (CoVA) in collaboration with academics across the University of Melbourne and featured the work of visual artists, writers, and performers alongside talks by researchers from a variety of disciplines. The forum explored the significance of water in a range of areas including climate change, river rights and sovereignty, customary song, water policy, and the ocean as border-crossing site.

Alongside talks by experts was a discussion and exhibition viewing with artist Maree Clark, a reading by prize-winning author and Boisbouvier Chair In Australian Literature Alexis Wright, a video screening by artist Hoda Ashfar and a closing song by baritone John Wayne Parsons.

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Presentations included: What Would the Outcomes be if the Environment was Sitting at the Table? Professor Peter Scales (Department of Chemical Engineering); What is a river? Competing values of water in the Lower Darling region, New South Wales, Professor Lesley Head (School of Geography); A voice for the Birrarung? River rights, sovereignty, and water management, Dr Erin O’Donnell (Melbourne Law School); The Tank Stream: Where Was Australia Day?, Dr Olivia Barr, (Melbourne Law School); Sea-level rise and ‘large ocean states’ (AKA Small Island Developing States), Dr Celia McMichael (School of Geography); Water – between beauty and deep complexity. How can an exhibition contribute to conversation, aspiration, action?, Geraldine Kirrihi Barlow (Queensland Art Gallery, Gallery of Modern Art (QAGOMA)); Remain 2019, video screening with artist Hoda Afshar in conversation with Dr Claire Loughnan (School of Social and Political Sciences), and Zenadth Kes: Living Waters, John Wayne Parsons (Wilin Centre for Indigenous Arts and Cultural Development).

‘I really hope that we at the law school can keep working with the Potter to make our events so much more enjoyable and interesting. Art creates the space for new ideas and connections, and re-imagining new ways into both defining and solving difficult problems.

Water is an issue that has long been dominated

by STEM approaches, and the power of arts and humanities to create new conversations and break down barriers to inclusivity is invaluable.’

Dr Erin O’Donnell, Senior Fellow and Sessional Lecturer, Melbourne Law School.

(Water forum speaker)

WATER Interdisciplinary Public Forum; Hoda Afshar, Remain 2019, still

Ian Potter Museum of Art Annual Review 2019

LANGUAGE Interdisciplinary public forum (19 October) This forum was held to mark the United Nations International Year of Indigenous Languages and featured artists, performers and researchers from a range of disciplines exploring language in its many forms.

Throughout the day, speakers shared insights into non-verbal and non-human forms of communication; Indigenous languages, and the relationship between language and power.

Speakers included Beth Sometimes (interpreter/translator), Amelia Kngwarraye Turner and Shirley Kngwarraye Turner who introduced audiences to Apmere angkentyekenhe (a place for language) in Mparntwe/ Alice Springs; Working with Communities, Harley Dunolly-Lee (Victorian Aboriginal Corporation for Languages); The language of tomorrow’s Australia, Associate Professor Richard Frankland (School of Theatre and School of Film and Television); Visible talk: Australian Indigenous sign languages, Dr Jennifer Green (School of Languages and Linguistics); Language conflict in Italy and Belgium – a European disease?, Professor John Hajek (School of Languages

and Linguistics); The Stasi and the secret language of power, Professor Alison Lewis (School of Languages and Linguistics); Creativity, Machine and Poetry, Dr Jey Han Lau (School of Computing and Information Systems); Do animals have language?, Professor Mark Elgar (School of BioSciences).

The forum also featured What might be obvious to me may not be obvious to others, a performance lecture by artist Sam Petersen and a newly commissioned performance by Fayen d’Evie and Benjamin Hancock – Essays in vibrational poetics {~~} … , … ; … 2019.

LANGUAGE Interdisciplinary public forum; Fayen d’Evie, Benjamin Hancock and Serana Hunt-Hughes, Essays in Vibrational Poetics ~ Typographic Notes 2019.

Photograph by Serana Hunt-Hughes.

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‘It was a pleasure to be there talking but also listening and watching – I learnt a lot myself on the day at the forum. I thought the event was a great success.’

Professor John Hajek FAHA, Professor of Italian Studies, Director, RUMACCC, University of Melbourne (Language forum speaker)

Ian Potter Museum of Art Annual Review 2019

Montalto Workshops (27 October and 10 November) In collaboration with our Events Partner Montalto, the Potter took its programming out to the Mornington Peninsula, adding wine and an idyllic setting to two unique handson workshops held at Montalto vineyard in Red Hill. The workshops began in Montalto’s Piazza and finished with a relaxed shared lunch.

The first workshop (27 October) focused on collage under the guidance of artist Minna Gilligan and the second (10 November) was led by artist Vipoo Srivilasa, who used the selfie as a starting point for participants to create a self-portrait in clay.

MULCH: Performance Picnic in the System Garden (9 November) An afternoon of family friendly art and music performances based upon plants in the University of Melbourne System Garden, this event was a playful and experimental mix of art, music and pseudo-science and included personalised live poetry compositions, improvised dance, electronic music, botanical chemical reactions and an astral excursion into the New Age with projections of plant auras.

MULCH: Performance Picnic in the System Garden was presented by Forum of Sensory Motion. Performance chemist and curator Lichen Kelp brought together an eclectic range of artists to present a series of sitespecific works in conversation with the plants and local ecologies of the Garden.

Chemical reactions, improvised movement, experimental electronics, beekeeping, poetry and perfumery all combined in a dynamic program of esoteric and scientific investigation.

Ian Potter Museum of Art Annual Review 2019

Other events

34–35

Robin Boyd Centenary of Design Keynote Lecture (19 September) As part of the Robin Boyd Centenary of Design, a year-long series of events and exhibitions that marked 100 years since the birth of Robin Boyd, the Potter presented a keynote lecture on Robin Boyd’s civic designs from 1960–70 and involvement in two significant design expos: Expo 67 in Montreal, Canada and Expo 70 in Osaka, Japan. This presentation, delivered by Boyd experts Dr Peter Raisbeck, Melbourne School of Design, University of Melbourne and Christine Phillips, Architecture and Urban Design, RMIT University, revealed a range of historical images and previously unseen architectural drawings.

Ian Potter Museum of Art Annual Review 2019

Melbourne Symphony Orchestra’s Secret Symphony (2 October) Melbourne Symphony Orchestra’s (MSO) final ‘Secret Symphony’ series for the year was held in the Potter Museum, with the secret location revealed to MSO Instagram followers through a series of clues only hours before the event. Secret Symphony ‘No. 4’ was curated by composer and musician Paul Dean, with performances by seven musicians from the MSO. The event featured a presentation of animation by students of the Victorian College of the Arts (VCA) Animation course.

A highlight of the concert was a live projection animation by Paul Fletcher, VCA Animation lecturer, that came to life to the sound of the clarinet and cello.

36–37

Public Lecture: Branches from the Same Tree – Integrating Arts and Humanities with STEMM in Higher Education (14 October) The public lecture Branches from the Same Tree – Integrating Arts and Humanities with STEMM in Higher Education was presented by the Centre of Visual Art (CoVA) and the Ian Potter Museum of Art. Gunalan Nadarajan, an art theorist and curator working at the intersections of art, science and technology, is Dean and Professor at the Penny W. Stamps School of Art and Design at the University of Michigan. In 2018, the National Academies of Sciences, Engineering and Medicine in the US released a report, ‘Branches from the Same Tree: Integrating Arts and Humanities with STEMM in Higher Education’, which drew on a growing concern that disciplinary specialisation in higher education is poorly calibrated to the challenges and opportunities of our time.

The report examines evidence which suggests that educational and career outcomes (for undergraduate and graduate students) can be improved when educational programs mutually integrate learning experiences in the humanities and arts with science, technology, engineering, mathematics and medicine (STEMM).

In this lecture, Professor Nadarajan, an author of the report, presented some of the key conclusions and recommendations, and discussed opportunities and challenges for higher education in Australia and the region.

Responses to the presentation were given

by Rose Hiscock, Director of Museums and Collections, University of Melbourne and Director of Science Gallery Melbourne and Professor Jon Cattapan, Director, Victorian College of the Arts.

Ian Potter Museum of Art Annual Review 2019

Artist Residencies and Fellowships

Artists-in-Residence For the past year artists Fayen d’Evie and Katie West have been working together through the School of Geography’s Artistin-Residence Program, in association with the Melbourne Sustainable Society Institute (MSSI), Shepparton Art Gallery and the Potter. The project brief has been to connect artists with regional communities to explore resilience in the face of social and environmental change. The artists have received University of Melbourne Engagement funding to engage with local communities in the Shepparton region, in conversation with the Faculty of Veterinary and Agricultural Sciences at Dookie campus.

Their activities have centred upon local efforts to revive traditional wool-working and felt-making practices. For two weeks in May and June this year d’Evie and West took up residence in the Potter’s first floor gallery to work on their residency-based film outcome, present their research to Potter staff, hold a drop-in session for Geography colleagues and students, hold in-conversations, and develop writing exercises.

38–39

Artist-in-Residence, Tarryn Gill

In 2018 Perth-based artist Tarryn Gill spent two days at the Potter viewing works from the Classics & Archaeology Collection. In late May this year she returned to Melbourne to continue her researchas part of a week’s residency in the University’s Norma Redpath Studio. Gill is interested in developing work that focuses on depictions of women and animals in the Classics Collection, reimagining the stone and bronze forms of ancient and funerary art as soft, hand-sewn forms. She will be applying her interest in psychoanalytic theory to this project, and is particularly interested in Carl Jung’s ideas around the collective unconscious and archetypes. She is also inspired by the way that the objects in the Classics Collection hold the capacity to connect humans across time.

Ursula Hoff Fellowship

Ursula Hoff Fellow, Dr Rosemary Forde

Dr Rosemary Forde was the recipient of the Ursula Hoff Fellowship for 2019. Dr Forde is a curator and academic based in Naarm Melbourne. Forde’s research projects focus on contemporary art history, with a particular commitment to localised practice and discourse in Australia and Aotearoa. Her curatorial practice encompasses exhibitions, editorial and publication projects, public artworks and pedagogical programs.

As the Australian government makes plans to commemorate the 250th anniversary of Captain Cook’s voyage, and Aboriginal and Torres Strait Islander artists and activists call for civic memorials to mark sites of colonial massacres across Australia, the role of art in commemoration, memorialisation and national identity is of urgent concern.

Accordingly, during her Fellowship, Dr Forde researched a selection of Australian print portfolios from the 1980s and 1990s, looking at their function as both commemorative statements and reflections on national identity.

Ian Potter Museum of Art Annual Review 2019

The University Art Collection

The University of Melbourne’s Cultural Collections are unique in Australia for their calibre, depth and size. The University Art Collection is rich and varied, with major holdings of Australian art in all media from the early 19th century to the present day, as well as First Peoples material culture, international art and classics and archaeology. The University Art Collection has been developed almost entirely through the generosity of donors, many of which have an association with the University.

This is also reflected in the acquisitions made in 2019.

Through the generosity of Michael Caswell and Olivia Poloni, Robert Cripps AM, Sara Lane and Meredith Turnbull, our contemporary holdings grew by almost 90 works. The Potter was also the recipient of three bequests in 2019 through the estates of Mary Lugton, Norma Redpath and Gretta Wilkinson. Richard Atkinson honoured the memory of his late aunt Ruth Trinick through the donation of two works by 19th century Australian stained glass artist John Trinick, joining many fine examples of Trinick’s work already in the Collection.

A major purchase was also enabled through the generous support of the University’s Russell and Mab Grimwade Miegunyah Fund. With the encouragement of family members Sir Andrew Grimwade and Angus Grimwade, a painting by Louis Buvelot of Bacchus Marsh made a strong addition to the University Art Collection.

40–41

Recent acquisition; Fiona Abicare, Petri banjo split bus steering wheel 2019, painted steel, modified Isobel Petri Golden Lady horn button, prisoner of WW1 serpentine necklace, cast pewter

Recent acquisition; Louis Buvelot, Goodman’s Creek, Bacchus Marsh 1867, oil on canvas

Ian Potter Museum of Art Annual Review 2019

Acquisitions 2019

Fiona Abicare

English

Petri banjo split bus steering No title (wine glass, blue wheel 2019 and white spiral twist stem, painted steel, modified Isobel trumpet bowl with wide Petri Golden Lady horn plain foot) c. 1760 button, prisoner of WW1 glass serpentine necklace, cast The Ernst Matthaei Memorial pewter Collection of Early Glass, The University of Melbourne the University of Melbourne.

Art Collection. Purchased Purchased by the Ernst 2019.

Matthaei Memorial Fund, 2018.

Leonard Brown English At the end of a day in a parched land 2007 No title (doorstop) c. 1870–80 oil on canvas green glass The University of Melbourne Art Collection. Gift of Sara Lane, donated through the Australian Government’s Cultural Gifts Program, 2019.

The Ernst Matthaei Memorial Collection of Early Glass, the University of Melbourne.

Donated by the Estate of Mary Lugton, 2019

Louis Buvelot

Stephen Hicklin

Goodman’s Creek, Bacchus Marsh 1867 oil on canvas The University of Melbourne Art Collection. Purchased 2019, The Russell and Mab Grimwade Miegunyah Fund.

Portrait bust of Robert Cripps AM 2017 bronze The University of Melbourne Art Collection. Gift of Robert Cripps AM.

Alun Leach-Jones

Tenebrae 2000 acrylic on canvas The University of Melbourne Art Collection. Gift of Nola Jones, donated through the Australian Government’s Cultural Gifts Program, 2019.

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Noriko Nakamura

Moon Totem 2015 limestone The University of Melbourne Art Collection. Gift of Michael Caswell and Olivia Poloni, donated through the Australian Government’s Cultural Gifts Program, 2019.

Nangonollia (?)

No title 1968 ochre, bark The University of Melbourne Art Collection. Gift of the Estate of Gretta Wilkinson.

Nengbinarra Neyangkumanyirra Mamarika

No title 1969 ochre, bark The University of Melbourne Art Collection. Gift of the Estate of Gretta Wilkinson.

Bronwyn Razem

el trap 2018 E natural fibre, string The University of Melbourne Art Collection. Purchased by Poche Centre for Indigenous Health, University of Melbourne, 2018.

Norma Redpath

reopagitica, Maquette for A Baillieu Library mural 1958 plaster, paint The University of Melbourne Art Collection. Gift of the Estate of Norma Redpath, donated through the Australian Government’s Cultural Gifts Program, 2019.

Charlie Sofo

Library 2019 digital video The University of Melbourne Art Collection. Purchased 2019.

John Trinick

T he Maiden is Light’s Daughter n.d. stainedglass Colour design for five stained-glass windows (1922) ink, pencil, watercolour on paper The University of Melbourne Art Collection. Gift of Richard Atkinson in memory of Ruth Trinick, donated through the Australian Government’s Cultural Gifts Program, 2019.

(DAMP, Etruscan bowl, acrylic paint on stoneware, polymer adhesive, 2013) 2018 archival pigment print on paper edition 1 of 3 (English, No title (decanter), amber coloured glass, n.d.)

2018 archival pigment print on paper edition 1 of 3 (English, No title (decanters), green glass, c.

1830) 2018 archival pigment print on paper edition 1 of 3 (English or Irish, No title (rummer or punch bowl), glass, c.1830) 2018 archival pigment print on paper edition 1 of 3

( Setting, velvet) 2018 archival pigment print on paper edition 1 of 3

( Stephen Benwell, Untitled (stoneware jug), handbuilt stoneware with blue and brown underglaze decoration, 1980) 2018 archival pigment print on paper edition 1 of 3

Meredith Turnbull

( Alan Peascod, No title (urn), stoneware, 1977) 2018 archival pigment print on paper edition 1 of 3 ( Australian, No title (two swans), coloured glass, c.1953-73) 2018 archival pigment print on paper edition 1 of 3

(Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

( Ola Cohn, No title (bookend), handbuilt plaster with green and gold surface treatment, n.d.) 2018 archival pigment print on paper edition 1 of 3

The University of Melbourne Art Collection. Purchased 2019.

Meredith Turnbull (Alexander J. K. Leckie, Untitled (Mountain in the lakes), earthenware, 1979) 2018 archival pigment print on paper edition 1 of 3

( Australian, No title (miniature camel), orange glass, c.1953-1973) 2018 archival pigment print on paper edition 1 of 3

( Australian, No title (miniature deer), orange glass, c.1953-1973) 2018 archival pigment print on paper edition 1 of 3

( Clichy, No title (paperweight), coloured and uncoloured glass, 1850) 2018 archival pigment print on paper edition 1 of 3

(Crate, raw silk) 2018 archival pigment print on paper edition 1 of 3

( Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

( Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

( Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

Ian Potter Museum of Art Annual Review 2019

(Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

(English, No title (decanter), green glass, pewter, silver and cork, c. 1850) 2018 archival pigment print on paper edition 1 of 3

(Greg Daly, No title (stoneware form), stoneware, 1977) 2018 archival pigment print on paper edition 1 of 3

( Czechoslovakian, No title (paperweight), coloured and uncoloured glass, n.d.) 2018 archival pigment print on paper edition 1 of 3

(English, No title (finger bowl and under dish), glass, c. 1750) 2018 archival pigment print on paper edition 1 of 3

( DAMP, Grecian pattern plate, acrylic paint on stoneware, polymer adhesive, 2012) 2018 archival pigment print on paper edition 1 of 3

( Greg Daly, No title (stoneware form), stoneware, 1977/Joan Campbell, No title (spherical vessel), low fired earthenware, 1971) 2018 archival pigment print on paper edition 1 of 3

( Hiroe Swen, No title (vase), stoneware, c. 1974) 2018 archival pigment print on paper edition 1 of 3

(David Innes, No title (sugar scoop), King William pine (Athrotaxis selaginoides), 1977) 2018 archival pigment print on paper edition 1 of 3

(Denis O’Connor, No title (spherical vase), coloured glass, 1982) 2018 archival pigment print on paper edition 1 of 3

( Dutch/Belgian/ Luxembourgan, No title (wine glass), glass, c.1660) 2018 archival pigment print on paper edition 1 of 3

( English, No title (claret decanter), glass, c. 1860) 2018 archival pigment print on paper edition 1 of 3

( English, No title (cordial glass), glass, c.1740, c. 1760) 2018 archival pigment print on paper edition 1 of 3

44–45

( English, No title (lace work plate), glass, c. 1750) 2018 archival pigment print on paper edition 1 of 3

(English, No title (loving cup), glass, c. 1800) 2018 archival pigment print on paper edition 1 of 3 (English, No title (low sweetmeat), glass, c. 1765) 2018 archival pigment print on paper edition 1 of 3

( English, No title (puzzle jug), stoneware, n.d.) 2018 archival pigment print on paper edition 1 of 3 ( English, No title (rolling pin), amethyst glass, c.

1840) 2018 archival pigment print on paper edition 1 of 3

(Joan Campbell, No title (spherical vessel), low fired earthenware, 1971) 2018 archival pigment print on paper edition 1 of 3

(Klytie Pate, No title (ceramic enclosed pot), earthenware; iron matte glaze with copper trim, n.d.)

2018 archival pigment print on paper edition 1 of 3

(English, No title (sugar crusher), glass, n.d.)/ (Irish, No title (mixing glass), glass, c. 1820) 2018 archival pigment print on paper edition 1 of 3

( English, No title (wine glass, dwarf ale glass, ale glass), glass, c. 1750, c. 1790, c. 1780) 2018 archival pigment print on paper edition 1 of 3

( Julio Santos, No title (spherical vase), coloured glass, 1981) 2018 archival pigment print on paper edition 1 of 3

( Ludwig Jakober, No title (lidded canisters), jarrah (Eucalyptus marginata), 1977) 2018 archival pigment print on paper edition 1 of 3

( Maggie May, Marisol and Marisombra, porcelain and stoneware with blue unglazed oxides and colourants, 1980) 2018 archival pigment print on paper edition 1 of 3

(Richard Marquis, No title (coffee pot), coloured glass, 1974) 2018 archival pigment print on paper edition 1 of 3

( Maggie May, Marisol OR Marisombra, porcelain and stoneware with blue unglazed oxides and colourants, 1980) 2018 archival pigment print on paper edition 1 of 3

(Sam Herman, No title (glass sculpture), handblown glass, 1975) 2018 archival pigment print (Roman, No title (amphora), on paper glass, 100‑400 A.D.) 2018 edition 1 of 3 archival pigment print on paper (Setting, raw silk and edition 1 of 3 iridescent paper) 2018 archival pigment print (Roman, No title (flask), pale on paper green glass with patches of edition 1 of 3 iridescence, c. 2nd century) 2018

(Stephen Hogbin, No title archival pigment print (table), Victorian mountain on paper grey gum (Eucalyptus edition 1 of 3 coniocalyx), 1976) 2018 archival pigment print (Roman, No title (flask), on paper pale green glass with edition 1 of 3 patches of iridescence, c.

2nd century) 2018/Roman, (Stephen Hogbin, No title No title (amphora), glass, (wave form), Tasmanian 100‑400 A.D./Roman, No title myrtle (Agus cunningham (flask shaped tear bottle), II), 1975-76) 2018 blue iridescent glass, c. 2nd archival pigment print century/Roman, No title on paper (juglet), glass, c. 200) 2018 edition 1 of 3 archival pigment print on paper The University of Melbourne edition 1 of 3 Art Collection. Gift of Meredith Turnbull, donated (Roman, No title (flask through the Australian shaped tear bottle), blue Government’s Cultural Gifts iridescent glass, c. 2nd Program, 2019. century) 2018 archival pigment print

on paper edition 1 of 3

(Merric Boyd, No title (pot), ceramic and glaze, 1921) 2018 archival pigment print on paper edition 1 of 3

( Mitsuo Shoji, No title (clay object), stoneware with gold leaf, 1974) 2018 archival pigment print on paper edition 1 of 3

(Ola Cohn, No title (bookends), handbuilt plaster with green and gold surface treatment, n.d.) 2018 archival pigment print on paper edition 1 of 3

( Ola Cohn, No title (bookend), handbuilt plaster with green and gold surface treatment, n.d.) 2018 archival pigment print on paper edition 1 of 3

( Peter Travis, Landscape bowl, earthenware, 1973) 2018 archival pigment print on paper edition 1 of 3

(Richard Morrell, No title (perfume bottles), coloured glass, 1981) 2018 archival pigment print on paper edition 1 of 3

( Roman, No title (unguentarium), green glass with black colouring and iridescence, c. 3rd century) 2018 archival pigment print on paper edition 1 of 3

(Roman, No title (juglet), glass, c. 200) 2018 archival pigment print on paper edition 1 of 3

Ian Potter Museum of Art Annual Review 2019

Partnerships

Supporters and sponsors Calvin Huang Peter Jopling AM QC Professor John Wardle & Susan Wardle Andy Zhang Victorian College for the Arts COVA (Centre of Visual Arts) Climarte Next Wave Kick Start Forum of Sensory Motion Montalto Artists Phillip Adams APHIDS Hoda Afshar Deanne Butterworth Maree Clark Jack Coventry Ceardai Demelza Alice Dixon Fayen d’Evie Honey Fingers (Nic Dowse) Hannah Gartside Liam Gillick Minna Gilligan Michaela Gleave David Haines Benjamin Hancock Lisa Lerkenfeldt Jo Lloyd Lichen Kelp Loren Kronemyer Jason Maling

46–47

William McBride Carol Meaden Carla Milentis Evelyn Ida Morris Ryan New Ramesh Mario Nithiyendran John Wayne Parsons Nasim Patel Sam Petersen Kenny Pittock David Pledger Kiah Pullens Hayley van Ree Scotty So Vipoo Srivilasa Giselle Stanborough Tina Stefanou Tina Havelock Stevens Bronte Stolz Deep Soulful Sweats Tim Uebergang Jennifer Valender Mark Wilson Rachel Wisby Zilverster (Sharon Goodwin & Irene Hanenbergh) Speakers Dr Alessandro Antonello Professor Su Baker Dr Danny Butt Geraldine Kirrihi Barlow Dr Olivia Barr Associate Professor Michael Christoforidis

Kelp D Dr Thomas Duff Harley Dunolly-Lee Dr Jane Eckett Professor Mark Elgar Associate Professor Richard Frankland Dr Suzanne Fraser Dr Jennifer Green Professor John Hajek Benjamin Hancock Professor Lesley Head Dr Elizabeth Kertesz Dr Jey Han Lau Professor Alison Lewis Dr Claire Loughnan Professor Andrew May Professor Janet McCalman AC Dr Celia McMichael Dr Ken Murray Dr Erin O’Donnell Professor Peter Scales Professor Jean-Pierre Scheerlinck Jordan Smith Beth Sometimes Amelia Kngwarraye Turner Shirley Kngwarraye Turner Alexis Wright

Faculties Faculty of Arts Faculty of Engineering Faculty of Fine Arts & Music Faculty of Law Faculty of Medicine, Dentistry & Health Sciences Faculty of Science Faculty of Veterinary & Agricultural Sciences Schools & Departments Department of Chemical Engineering Melbourne Conservatorium of Music Melbourne Law School Melbourne School of Population & Global Health School of BioSciences School of Culture & Communication School of Criminology School of Ecosystem & Forest Sciences School of Film & Television School of Geography School of Historical & Philosophical Studies School of Languages & Linguistics School of Social & Political Sciences School of Theatre Victorian College of the Arts Wilin Centre for Indigenous Arts & Cultural Development

Ian Potter Museum of Art Annual Review 2019