DEAKIN UNIVERSITY ART COLLECTION
A SELECTION OF WORKS
Volume
Two
DEAKIN UNIVERSITY ART COLLECTION
A SELECTION OF WORKS
Volume Two
Deakin would like to Acknowledge the Traditional Custodians of the lands on which our University campuses are based. The Wadawurrung people of the Kulin Nation on whose Country our Geelong campuses are located, the Wurundjeri people of the Kulin Nation on whose Country our Burwood campus is located and the Peek Whurrong people of the Maar Nation on whose Country our Warrnambool campus is located.
Aboriginal and Torres Strait Islander people should be aware that this publication may contain images or names of people who have since passed away.
Andrew Rogers from left:
I Am VI 2016
I Am VIII 2018
I Am VII 2016
Donated through the Australian Government’s Cultural Gifts Program, 2018, 2019 and 2023
INTRODUCTION
It gives me great pleasure to welcome you to the second volume of a publication featuring a very special preview of Deakin University’s Art Collection. The first volume was produced in 2017 and we are updating that compilation with new images and selections in honour of Deakin University’s 50th anniversary this year.
The Collection has been in existence since the University’s inception and represents works of excellence and significance in a wide range of mediums, principally by Australian contemporary artists. Maintaining and growing this Collection demonstrates the University’s interest in the study, patronage and advancement of the visual arts in Australia.
In the eighteen years I have been at Deakin I have worked with many dedicated professional staff who have helped shape the Collection into the cultural treasure it is today, and I thank former staff and acknowledge my current Unit team of Curator James Lynch; Art Collection Officer Claire Muir; Education and Public Programs Officer Tabitha Davies and Administrative Officer Cindy Seeberger. The dedicated team looks after the Collection which is geographically spread 300 kilometres across the state as well as the Deakin University Art Gallery, its associated programs and the University’s partnership with the National Gallery of Victoria.
I would also like to thank and acknowledge Special Advisor to the Vice-Chancellor Michael Mangos, and Professor Iain Martin, Vice-Chancellor of Deakin University. Professor Martin’s leadership, particularly through the difficult COVID years, has been exemplary during his tenure. The growth and development of the Collection owes a great deal to his guidance and support.
Contained within this publication are occasional texts giving voice to some of the many people from across the University community and beyond who have contributed to the development of the Art Collection, or who have connected with it in a meaningful way. We thank them for their contributions. I would also like to thank the many artists and their galleries for their support and assistance in allowing us to show the works in this publication.
The Collection continues to grow and change through both the generous support of our donors and by acquisition. Gifts are considered as straight donations to the Collection or through the Australian Government’s Cultural Gifts Program and we welcome all works for consideration. In 2024 we celebrated the largest gift in the history of the Collection, and I would like to thank and acknowledge Andrew Rogers for his support and generosity which saw 31 stunning sculptures added to the collection for display on campus.
At Deakin we are proud of the fact that the vast majority of the Collection is on public display throughout Deakin’s four physical campuses at Geelong Waurn Ponds, Geelong Waterfront, Warrnambool and Melbourne Burwood; and Corporate Centres including Deakin Downtown and Waurn Ponds Estate.
I encourage you to take the opportunity to visit a campus and view the variety and ever changing treasures in the Deakin University Art Collection.
Leanne Willis
Senior Manager, Art Collection and Galleries, Deakin University
Andrew Rogers Flora Exemplar 2000 Donated through the Australian Government’s Cultural Gifts Program, 2023
ART ON CAMPUS
Image left: Jon Campbell just sing what you feel 2013
Previous pages:
Sculptures pictured in situ at the Melbourne Burwood Campus, Foreground: Adrian Mauriks
Strange Fruit 2010 Gift of the artist, 2020
Background
John Kelly Maquette for Public Monument 2003
Donated through the Australian Government’s Cultural Gifts Program by Robert McDonald, 2013
Geelong Waterfront Campus
Portraits at the Chancellery and Corporate Centre
Image upper left:
Portraits of former Chancellors from left
Clifton Pugh AO
Portrait of Dr. Peter Thwaites OBE 1983
Madge Ellis
Portrait of Justice Austin Asche AC QC 1987
Rick Amor
Portrait of Dr Richard Searby AO QC 2003
Image lower left:
Portraits of former Chancellors from left
Peter Wegner
Portrait of Mr David Morgan AO 2015
Brian Dunlop
Portrait of Dr James Leslie AC MC 1991
Image above:
Portraits of former Vice-Chancellors from left to right:
Julie Fragar
Portrait of Emeritus Professor Jane den Hollander AO, Vice-Chancellor 2010 – 2019 2019
Judy Cassab CBE AO
Portrait of Emeritus Professor Frederic Jevons AO 1986
Wesley Walters
Portrait of Emeritus Professor Malcolm Skilbeck 1991
Robert Hannaford AM
Portrait of Emeritus Professor John Hay AC 1995
Lewis Miller
Portrait Professor Geoffrey Wilson AM 2002
Jan Williamson
Portrait of Emeritus Professor Sally Walker AM 2010
50 YEARS OF COLLECTING
This publication is being produced to coincide with the launch of the exhibition 50 Years of Collecting at the Deakin University Art Gallery. Over the last three weeks our dedicated team have moved around 100 artworks from across the four campuses and City Centre to the Melbourne Burwood Campus for this exhibition. The project takes audiences on a journey through the past five decades of collecting at Deakin University with an object representing every year since the University’s inception in 1974 and presents a unique opportunity to see so many works from the Collection in the one location. As we have brought this major project together, it has been wonderful to take a moment to step back and reflect on how the Collection has developed and celebrate some of the diverse and complex stories it contains.
Over the last 50 years, the Deakin University Art Collection has grown to now include over 2,900 artworks and is home to invaluable treasures of cultural, social and historical significance. In a previous essay reproduced in Volume One, I reflected on the various antecedent institutions and the collections that came together to form the Deakin University Art Collection. In the University’s 50th anniversary year, it seems pertinent to consider the significant milestones and achievements, acknowledging a record of generosity, dedication and artistic excellence that has galvanized at various moments to help shape and give character to this unique Collection.
When the University was first established in 1974 two large artworks were initially identified and presented on the newly built environs of the Waurn Ponds Campus. The first of these was a major commission by Deakin University to artist Guy Stuart to design a tapestry for the University conference room. This project was funded by a building grant with supplementary monies contributed from the newly formed Australia Council of the Arts and in-kind support from the Wool Council.i Whilst living and based in Geelong, Guy Stuart represented Australia at the 10th Sao Paolo Biennale and was considered one of Australia’s leading avant-garde artists of the 1960s and 70s. His design features a composition of three sculptural objects as an interplay of drawing, painting and sculptural forms. Untitled (1979) was one of the first tapestries completed by the newly formed Victorian Tapestry Workshop (now known as the Australian Tapestry Workshop), which was established to connect the local fine wool production and industry with the work of creative artists.ii The design was interpreted by leading weaver Sara Lindsay and was completed with the expertise of weavers Mary Coughlan, Kathy Hope and Sara Lindsay. In 1992, Stuart donated a large drawing to the Collection mapping his thinking and design for the tapestry. After many years at the Waterfront Campus, in 2021 the tapestry was freshly installed in the stairwell of the new Law Building LC at the Burwood Campus and is once again on prominent display.
One of the other first major acquisitions for the University was the impressively large public sculpture Interlock by Margel Hinder. This sculpture was generously donated to Deakin by Dr Bruce Munro and Mrs Judy Munro. Dr Munro is a leading eye surgeon and specialist who has practiced in Geelong since 1974. Interlock was first installed at the new Waurn Ponds Campus in
what was then known as the Delacombe Court and was overseen by the artist with the aid of four workmen. Since 2014, Interlock has been housed outside the Cadet Building and Building NA at Waurn Ponds, and it is cherished as an exemplary achievement of modern Australian art. The Munros made several significant donations to the Collection in the University’s early years, including a precious bronze sculpture by Robert Klippel and a large drawing by Michael Winters.
In 1982, an honorary doctorate given to Sir Wilfred Brookes (grandson of Alfred Deakin) was the occasion for the University to receive one of its first ceremonial objects. Continuing the tradition of giving silverware to mark important events, Brookes purchased a piece from artist and designer Stuart Devlin’s 1981 London exhibition with the direct intention of gifting it to the University.
Born in Geelong, Stuart Devlin completed his art school training at the Gordon Insitute of Technology, studying gold and silversmithing (1946-51). Devlin went on to become one of the world’s most highly regarded designers specialising in gold and silver, and was appointed goldsmith and jeweller to Queen Elizabeth for many years. Devlin designed several coins for Australia’s decimal currency and others for over 36 countries worldwide. When donating the piece Brookes declared at his acceptance speech: ‘And so I present to the University this bowl, to be known as the Deakin Bowl in memory of my grandfather, and I hope it will provide a link in the years ahead with the Deakin family.’ iii
1987 marked the 10th anniversary of the first student at Deakin with a number of art purchases made in celebration. The most significant of these was a work proposed by artist Leonard French with funding provided by a building grant from the new School of Nursing at Waurn Ponds. The school proposed the artwork should address the theme of the ‘cycle of life’.iv French’s selected artwork specifically addressed the changing seasons as represented from birth in the spring to death in winter. At the time, French was a highly sought after artist known for his large-scale murals and ornate stained glass pieces that adorned various Australian public institutions such as the ceiling for the National Gallery of Victoria and at the National Library of Australia in Canberra. French was informed by a mixture of influences such as the Mexican muralists, Byzantine Art, modern painting and Homer’s Iliad and Odyssey. In French’s artwork he fuses iconographic symbols to reflect on the human condition. The Four Seasons of Life is painted with an oil enamel on plaster process, giving the piece an enduring luminous quality. French synthesizes the universal insignia of the cross, circle, dome, serpent and bird to create a richly visual and spiritual image that is a unique treasure, beloved by the University.
In the 1990s a number of significant donations helped to develop the Deakin University Art Collection further. In 1992, trailblazing artist Inge King donated her large-scale sculpture Shinjuku (1975) to the University. Since then, this modern, steel-tubular form has been housed in the courtyards of Building IC at Waurn Ponds. With the arrival of spring each year Shinjuku is surrounded by
rows of cherry blossoms that recall Japan and the inspiration for King’s incredible piece. Later in the decade, Inge King and partner Grahame King would donate a further 20 prints, drawings and artist books from significant Australian artists to the Collection.
Around the same time, local art historian and academic Jenny Zimmer and her partner, glass artist and designer Klaus Zimmer, would also donate a number of sigificant artworks to the Collection. These included George Johnson’s large hard-edged abstract painting Red Triangle Construction (1989) and Klaus Zimmer’s stained glass piece Dresden 13.2.45 ( The Inferno) (1995), which is currently on display outside the foyer of Costa Hall at the Waterfront Campus. Jenny Zimmer has continued to generously donate to the Collection for over three decades with more than 35 artworks, including important gifts that helped form the beginnings of the Artist Book Collection.
Since its establishment, the Artist Book Collection has grown to now include over 300 examples of book-related art, printed and published materials, limited editions and unique artworks. There are few public art collections specialising in this art form as a medium, and it offers artists and audiences an opportunity for immediate and intimate artistic experiences. For many years, undergraduate students would use the Artist Book Collection for creative research. Through these classes in 2015, the Art Collection and Galleries team commissioned an undergraduate student to make an artist book inspired by the Collection. Facilitated by artist book maker, lecturer and artist Gali Weiss, student Sonja Boehm created a sculptural artist book centring the importance of reading, books and creativity, stating: ‘A story is a butterfly whose wings transport us to another world. Indeed, books create worlds. But what is more, just like that of a butterfly, the knowledge and stories enfolded within their pages, is transformative’ v
Deakin has a proud history of leading remote learning which has resulted in a number of cherished and unique artworks joining the Collection. One remarkable example is a collaborative painting by artists Mrs Cherry W. Daniels of the Wurlngarri Clan, a graduate of Deakin University (1989), who worked together with Mrs Angelina N. George and Betty Naburruluyu Roberts, both of the Marrawalwal, Gunyi Gunyi Clan. Titled The Warlgundu Cave (circa. 1996) the artwork is a life affirming image, created and donated to the University in memory of the artists’ sister Holly Ngarlilwarra Daniels. Holly Ngarlilwarra Daniels was a graduate of Deakin’s education program through remote learning, later becoming the first woman principal of the Ngukurr Community School (formerly located on the site of the Roper River Mission) on the south eastern border of Arnhem Land. Holly Ngarlilwarra Daniels was a groundbreaking leader in developing curriculum based on Aboriginal culture and teaching classes in language.vi
More recently, the Collection was privileged to acquire a painting by Batjamal artist Helen Tyalmuty McCarthy, who was also part of Deakin’s innovative remote Indigenous teacher education program, graduating in 1994. McCarthy notes it was during her time at Deakin that helped begin her artistic career, forming a
love of painting whilst studying teaching.vii Coolamon (2016) is a wonderfully abundant image and a testament to the long lasting legacy of this world leading and historically important program.
As well as a dedicated annual budget to purchase new artwork acquistions, building funds continued to provide significant resources to develop special projects for the Collection. In the early 2000s the Melbourne Burwood Campus expanded with two new buildings constructed to house the Schools of Economics, Business, Law and the Deakin University English Language Institute (DUELI). In 2008 an allocation for art provided a grant to commission a second major tapestry from the Victorian Tapestry Workshop. On this occasion, a painting from the Collection by Chinese Australian artist Song Ling was chosen as the basis of a tapestry that would be eventually be displayed in the foyer of DUELI welcoming international students to Deakin.
Born in China in the early 1960s, Song Ling studied at the National Academy of Fine Arts, Beijing and as a young artist he became one of several important artists involved with the 1985 New Wave art movement that emerged post-Cultural Revolution. Migrating to Australia in 1988, Ling settled in Melbourne where he raised his family.viii Kong Fu- Our Dream (2009) is inspired by manga cartoons and expresses the aspirations of youth and the willingness transform one’s life. Head weaver Sara Lindsay worked with weavers Amy Cornall and Milly Formby to create the tapestry that was completed over twelve months and on the 28th of February 2009 the tapestry was cut from the loom.
The architectural setting of these two new buildings also provided the impetus for another significant project joining the Collection. In 2009 ceramic artist Judi Singleton was invited to design a public artwork, titled Conversation Vine. The large mosaic came together as the result of a series of collaborations with the artist and the international student cohort. Singleton invited students to join her over a three-day workshop held on site where they reflected on their cultures, memories and their experiences studying in Australia.ix These were expressed in a series of moulded ceramic tiles sculpted by the students and fired locally at the Box Hill Community Arts Centre before being installed as part of the mosaic. The warmth and inclusive nature of this project has imbued the built environs of the Burwood Campus with significant cross-cultural heritage.
In 2019 and 2020, artist and the granddaughter of Alfred Deakin, Judith Harley donated four paintings to Collection. Harley was a passionate advocate for history, the arts, public speaking and was one of the Collection’s greatest champions, frequently visiting our exhibitions with a great energy. Judith was also a life-long learner who developed an unwavering passion for painting and drawing that began during the Second World War at Melbourne Girls Grammar under art teacher Joy Booth. In 2020 I had the opportunity to visit Judith in her home studio and garage where she happily painted with gusto and enthusiasm. Well into her nineth decade, Judith was taking painting classes over Zoom and very thoughtfully prepared four paintings specifically for Deakin. Three of these works are painterly interpreations depicting her memories of the
environs surrounding Alfred Deakin’s beloved Ballara House in Point Lonsdale, and the final painting is a representation as an audience member of the inaugural Alfred Deakin Memorial Lecture (2001). Harley’s paintings express an energy and joy of life, that are driven by her interest in history and emotional responses connected to place.
Over the last four years Melbourne artist and sculptor Andrew Rogers has very generously donated over 119 artworks to the Deakin University Art Collection. This $10 million in total donation marks the largest philanthropic gift to the University Art Collection and is a historically significant contribution to the University. In 2024 over 30 of these large-scale sculptures were installed across the Burwood Campus. This major undertaking created an on-campus exhibition and a comprehensive overview of Rogers’ artistic career. With works dating from 1993 to 2021 this exhibition is permanently on display and surveys his artistic development through differing styles, approaches and techniques, providing a reflection of an artist’s output over a lifetime. This collection of large-scale public artworks is an important research and educational tool representing the artist’s changing methodologies, identity, subject matter, forms and materials over time. Deakin University’s Burwood Campus has become the central home where audiences can view the development of Rogers’ artistic career in this in-depth way. This major project embodies Rogers’ ongoing interests in the patterns of nature, beauty, Humanity’s struggles and the importance of life itself as a creative force and energy.
In 2024 the Collection was delighted to commission a special portrait of Deakin Distinguished Professor and Deputy ViceChancellor, Indigenous, Mark Rose. Traditionally linked to the Gunditjmara people from Western Victoria, Rose has a decadeslong career in education at state, national and international levels. In 1978 Rose was Deakin’s first Aboriginal student and would first work at Deakin as Chair of Indigenous Knowledge Systems from 2009–13. xi Embedding First knowledges, voices and experiences into the curriculum across all disciplines is a significant undertaking that all faculties and schools are dedicated too, deepening their understanding of Indigenous ways. Evidenced by this, funds for the portrait were provided by the four Faculties of Arts and Education, Business and Law, Heath, and Science, Engineering and Built Environment.
Rose selected Gunnai artist Ray Thomas to paint his portrait. Hanging as the last object in the 50 Years of Collecting exhibition, Thomas’s image of Rose wonderfully captures a spirit of positivity, a light-fullness and a hope that we all should embrace for the future.
Creating genuine connections with the past seems like a vitally important thing to do for a younger University such as Deakin. At just 50 years of age, celebrating and remembering various histories provides a grounding for moving forward with purpose and direction. As we prepare to launch the exhibition, I hope the Collection continues to prosper with many more milestones and achievements being reached with new opportunities for exhibition and research. As time passes, there will be many more conversations to be had, details to be unpacked and new stories told: developing more relevance and congruence for the Collection and allowing it to grow in new and unexpected ways.
James Lynch
Curator, Art Collection and Galleries Deakin University
i Margaret Cameron, Chairman, Art Advisoory Committee, Campus the Deakin University Newsletter, Vol. 4 No. 35, 28 October 1981, p. 2
ii http://www.austapestry.com.au/about-us/tapestry/history-of-the-atw [Accessed 11.2.25]
iii Sir Wilfred Brookes cited in published article unknown author provided by Antony Catrice, University Archivist in email, 20 June 2022
iv Margaret Cameron, Chariman, Art Advisory Committee Minutes, 13 May 1987
v Sonja Boehm, Artist statement, 2015.
vi Cherry W Daniels and Holly Ngarliwarra Daniels, Blekbala Wei Prooujek: Aboriginal teachers speak ou t, Deakin University Press, Geelong, 1991, p. 151-162
vii http://artmob.com.au/artist/helen-mccarthy-tyalmuty/ [Accessed 11.2.25]
viii Gina Lee, When we were young catalogue essay published by Niagara Galleries, Melbourne, 2007
ix Judi Singleton, project proposal, cited in correspondence housed in the Deakin University Art Collection files [Accessed 11.2.25]
x Judith Harley in conversation with the author, 20 September 2019
ix Caroline Schelle, Troubled history remains but Deakin will not change its name, The Age Newspaper, 19 January 2025, https://www.theage.com.au/national/victoria/ troubled-history-remains-but-deakin-university-will-not-change-its-name-20250116-p5l4t5.html [Accessed 11.2.25]
Geelong Waurn Ponds Campus
Darren Matthews, Geoff Dutton, John Holak and Russell Bone
The Blue Oval 2016 Made at the Ford casting foundry using wood patterns donated by the Ford Motor Company, 2016
Campus
Hycel Building 2023
Warrnambool
Dean Bowen
Balancing Blackbird 2007
Deakin Downtown
from left
Daniel JC
wianga (father) 2024
Ancestors’ Wisdom #1 2024
Bushka
Brewarrina Dreamtime Country 2019
Geelong Waterfront Campus Library reading area
Self-Portrait (Non Objective Composition) 1985
John Nixon
Geelong Waterfront Campus Costa Hall
Klaus Zimmer
Dresden 13.2.45 (The Inferno) 1995 Gift of Jenny Zimmer under the Taxation Incentives for the Arts Scheme, 1998
Melbourne Burwood Campus Law Building LC
Guy Stuart and the Victorian Tapestry Workshop
Untitled Tapestry 1979
Commissioned by Deakin University for the University Conference Room, 1979
Sigmund Freud 1982
Donated through the Australian Government’s Cultural Gifts Program by Irwin
SCULPTURE
COLLECTION
Jim Lawrence
Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Tim Jones Wooden Tree #1
Choi Jeong Hwa Red Lotus 2014
Geelong Waurn Ponds Campus
Margel Hinder
Interlock 1979
Gift of Dr and Mrs Bruce Munro, 1981
Though it is fundamentally a simple arrangement of three interlocking circular shapes, Interlock has a very strong presence and commands the open space where it is placed; the visual possibilities of the asymmetrical arrangement seem endlessly fascinating. Originally fabricated by Keith Jackson in Sydney in 1979 from Hinder’s small maquette of 1973, the sculpture was very skilfully restored in 2015 by Ben Fasham, Melbourne, with stainless steel replacing the rusted steel bolts.
When she arrived in Australia at the age of 28, Margel Hinder already had first-hand knowledge of modernist sculptors such as Brancusi, Gabo and Pevsner from her studies in New York. Yet interestingly, her fascination with local timbers led her to produce abstracted forms of birds, animals and numerous depictions of the human figure. Then by the late 40s, she was designing elegant and totally abstract forms, using a range of materials new to sculpture in Australia, such as Monel metal, delicate
fuse wire, copper wire and Perspex. It seems entirely appropriate that her sculpture should now be situated in front of the building housing the Institute for Frontier Materials at Deakin University. In contrast with these works produced in her studio, Hinder also received a number of major commissions for large-scale, outdoor sculptures in Sydney, Canberra, Newcastle and Adelaide, but regrettably, none in Melbourne.
Deakin University is extremely fortunate to have acquired this excellent example by an artist who was one of the first modernist sculptors in Australia.
Ken Scarlett OAM Deakin University Sculpture Walk 2016
More information on the University Sculpture Walk can be found online through the Deakin University Art Gallery website at deakin.edu.au/art-collection
Geelong Waurn Ponds Campus
Anthony Pryor Marathon Man 1990
Geelong Waurn Ponds Campus
Geoffrey Bartlett Silver Cloud 1995
Opposite: Geelong Waterfront Campus
Bruce Armstrong Every Bird 1999
Deakin revived a piece of Melbourne’s cultural history, with a retired W-Class Tram making its home on Burwood campus. The arrival of the Art Tram 837 was part of a VicTrack initiative, where over 130 retired W-Class Trams were repurposed around Victoria and Tasmania, into community features such as cafes, learning spaces, food trucks and playgrounds.
The Transporting Art – Trams were originally commissioned between 1978 and 1993, as a way to reimagine traditional public art from conservative statues and sculptures into mobile, vibrant and provocative pieces in a public arena. As part of their modern repurposing, the trams were gifted to an institution of the artist’s choosing.
Art Tram 837 was created in 1992 by former Deakin lecturer, student and Art Gallery exhibitor, Terry Matassoni. Deakin and Terry have had a close connection for many years. Currently, there are
10 artworks by Matassoni in the University Art Collection, and in 2003 he held a solo exhibition A Walk into Town at the Stonington Stables Museum of Art, Deakin University. The new W-Class Tram can now be found outside of Building H, opposite Building BC. It arrived on campus in late July 2017 and became an informal learning space for students and staff. Informal learning spaces are collaborative spaces for people to engage, connect and work in a more relaxed environment.
Hope
Terdich
Project Communications and Engagement Coordinator
Infrastructure and Property Group
First published in ‘Network’, W-Class Tram makes a new home at Burwood, Deakin University, August 2019.
Terry Matassoni painting retouches to the art tram (2019)
Melbourne Burwood Campus
Terry Matassoni Art Tram 837 1992
Donated by Vic Track, 2019
Melbourne Burwood Campus
Andrew Rogers
Search 2018-2020
Donated through the Australian Government’s Cultural Gifts Program, 2023
Opposite
Andrew Rogers
Walking Through the Wind III 2017
Donated through the Australian Government’s Cultural Gifts Program, 2023
New
Donated through the Australian Government’s Cultural Gifts Program by
Commissioned
Right: Geelong Waurn Ponds Campus
Phil Price
Angel 2021
Claire Mitchell, 2023
Opposite: Warrnambool Campus
Chris Booth Tuuram Cairn 1996
by Deakin University, 1996
Geelong Waurn Ponds Campus
Bob Jenyns
Gift of the Jenyns family in memory of Robert (Bob) Jenyns 1944-2015
Karen Casey Standing Wave 2002
Constructed from stainless steel and bluestone the fluidity of this work belies its true nature. A standing wave is defined by the Collins English Dictionary as the periodic disturbance in a medium resulting from the combination of two waves of equal frequency travelling in opposite directions. Knowing that, I wonder when viewing this work if the artist intended that reference due to the forcing of strong materials into an unnatural yet fluid shape or as reference to her own background as an interdisciplinary Tasmanian Aboriginal artist, who investigated the connections between art, science and society through her Global Mind Project. Whatever the true message is behind the work it is a fluid beautiful sculpture which captures our imagination and attention.
Leanne Willis
Robyne Latham
Empty Coolamon Spring-Time 2015
Empty Coolamon Snake 2015
Empty 2015
This work resonates powerfully for me as multiple sediments of an exquisite rustle of pain, anguish, resilience and optimism. The triptych-installation is the narrative of the symbolic displacement of colonisation through the act of emptying/emptiness; and yet also strongly tells/shows the continuity and resilience of Aboriginal family, connection, nourishment and Belonging. For me, the Coolamon is the craft of simultaneous reality – it is full of nothing and yet filled with everything. A timeless, critical vessel of Knowledges, Being and the originary Beginning itself.
The ‘final’ emptiness a beautiful pathos: I smile with the tears of my Ancestors. We are here, they whisper. We hold you always.
Professor Gabrielle Fletcher Gundungurra Pro Vice-Chancellor Indigenous Development
SMALL SCULPTURE & ARTIST BOOKS
COLLECTION
Jenna Lee
Dilly Can 2023
Special acquisition from the 2023
Deakin University Contemporary Small
Sculpture Award
Chi-Ling Tabart
A part of me 2016 Winner of the People’s Choice Award from the 2016 Deakin University
Contemporary Small Sculpture Award
Penny Byrne is both an authority on ceramic restoration and an artist who deconstructs the same medium. Bold, confrontational and thought provoking, Byrne’s artwork manipulates mass produced, kitschy ceramic figurines to comment on the relationship between popular culture and politics. She highlights worldwide issues of concern, including political imprisonment, whaling and global warming, as well as challenging the actions of specific individuals, such as Hillary Clinton, Sarah Palin, John Howard and David Hicks.
In his essay for Byrne’s exhibition Commentariat at the Deakin University Art Gallery in 2011, curator and art historian John McPhee noted how Byrne constantly updates her work to reference the changes in the current political climate. Former US President George W. Bush’s “war on terror” has been one of many key themes that Byrne has focused on and the War on Terror Waltz (2009) is a more recent version.
An anonymous couple, clad in their finest camouflage and military helmets, dance uncomfortably together with a gun in hand and grenades at the waist. The gentleman wears a miniature War On Terror Service Medal proudly on his chest as a striking reminder that this “war” has not yet reached its conclusion. Together, the pair appear to move in circles around each other forever, proving that as Byrne herself once commented, “The War on Terror Waltz ’ continues on and on and on…”
The whimsical nature of the original porcelain figurines, with their serene and sweetly vacant expressions, contrast sharply with their new attire and purpose as re-imagined by Byrne. At once confronting and humorous, War on Terror Waltz represents a fine example of Byrne’s skill in using collage to emphasise the dramatic power of small sculpture as a medium.
Claire Muir
Art Collection Officer, Art Collection and Galleries
Penny Byrne War on Terror Waltz 2009
Scott Duncan Amphora Australis-Moselle 2022
Scott Duncan was born in Geelong in the mid-1970s and grew up in the Western Victorian coastal town of Portland. He studied ceramics and visual arts at Deakin University’s Warrnambool campus in the early 1990s following the amalgamation of the Institute of Advanced Education. After graduating Duncan spent many years surfing, travelling and trained as a chef. Based in Sydney, Duncan has become well-known for his experimental approach to ceramics.
James Lynch
Stephen Benwell
Statue, Grey-Pink Man 2009
Winner of the Inaugural 2009
Deakin University Contemporary Small Sculpture Award
This exquisite sculpture by Stephen Benwell was the inaugural winner of the Deakin University Contemporary Small Sculpture Award in 2009. Initially established with assistance from academic Ruth Rentschler, the then Chair of Arts and Entertainment Management, the Award was begun to support contemporary artists, promote closer links with industry and promote awareness of the University’s contemporary Sculpture Collection.
Since it began, the Award has run annually (with the exception of 2020) and has now grown to attract entries from every state and territory in Australia. In the period since it began 4,201 artists have entered the Award, many of them multiple times. We thank and acknowledge all the artists and judges that have supported and contributed to its success over the years.
Leanne Willis
Michael Le Grand Transit 2021
Winner of the 2021 Deakin University Contemporary Small Sculpture Award
Brad Gunn
Eggplant is For Everyone 2024 Winner of the 2024 Deakin University Contemporary Small Sculpture Award
Nina Sanadze Gramophone 2023
Winner of the 2023 Deakin University Contemporary Small Sculpture Award
The Artist Book Collection at Deakin University provides an insight into the community of book artists in Victoria. The cross currents of collaboration between artists, writers, binders and printmakers means that there are often overlaps between works, as artists appear in varying roles in different publications. One may be contributing an image here and a text there, or their contribution may be more elusive but just as important. Ranging from bookbinder Nick Doslov from Renaissance Bookbinding to Jenny Zimmer in a multitude of roles, these artists have contributed towards the development of the medium of artists’ books through their work and example.
Book artists work with each other in different ways, imparting skills, knowledge, materials and inspiration to each other over time. The ongoing nature of collections of this kind means that whenever an artist’s work is included in this collection, it will also have a lasting impact upon future students and artists. As this collection grows each work held in it will have an influence not just upon immediate viewers, but also upon the history and development of artists’ books in this country.
Robert Heather Excerpt from Books Crossing catalogue, Deakin University Art Gallery, 2009
Peter Lyssiotis
A Gardener at Midnight: Travels in the Holy Land 2004
Fayen d’Evie
Ascending Sonic Shadows, Descending Sonic Shadows 2019
Rose Nolan
nova Milne (est. 2010)
Marian Crawford
Hannah Maskell Double Violet Continued 2022
David Dellafiora and contributing artists
CAMPUS
COLLECTION
The Campus Collection consists of works across a wide range of media that includes painting, printmaking, drawing, ceramics and photography. This collection contains examples of artworks by former student and staff alumni and celebrates the achievements and artistic endeavours of the University community.
Marta Oktaba Stuck on the Internet 2020
Artist not known
Untitled painting of Waurn Ponds Campus c. 1980
Gift of Margaret Cameron, 2020
Gifted to the Collection by the inaugural University Librarian and former ProVice Chancellor (1986–1990) Margaret Cameron. Painted by an unknown artist it depicts the Deakin campus at Waurn Ponds when it first began, looking out from the then Vice-Chancellor’s office. It was presented to Margaret Cameron on the occasion of her retirement and very generously gifted back to the University.
Donated to the University Art Collection by the Burwood Teachers College, 1954 Foundation Year students in celebration of the 60th Anniversary of the foundation of
Teachers College, 2014
Max Dimmack Dark Conifers 2013
Burwood
David Cross Trio (Performance Detail) Delhi 2019
Todd Johnson
Anne Scott Wilson
Sifting Motion (Billy) 2008
Boneta-Marie Mabo
E. Bonita Mabo AO Munbarra, South Sea Islander Descendant (Tanna Island) 2015 Your Label #2 2015
I first saw Boneta-Marie Mabo’s work at Deakin’s Institute of Koorie Education in 2014. Whilst there visiting one day, Professor Brian Martin took me to view her work in a studio as she was then one of their students. The sophistication of the work and the strong sense of design was impressive for someone so young. It could have been that the subject matter of these works, to honour her grandfather Eddie ‘Koiki’ Mabo, combined with the close personal impact of such an important figure in Australian history inspired such a powerful piece, but I had no hesitation in recommending its acquisition for the University’s Art Collection. So I was excited to once again reconnect with her work when these two pieces were displayed at IKE in a solo exhibition in 2016.
Coming from her first solo exhibition at the State Library of Queensland in June 2016 they resulted from her being the inaugural artist-in-residence for the State Library of Queensland’s kuril dhagun Indigenous centre in 2015. Whilst undertaking the residency she found portraits of Indigenous women without any name, or with labels such as “black velvet” or “gin”, as Mabo said
they were considered to be objects rather than women. Rarely were these ancestors afforded any respect so she created the soft sculptures to “encourage viewers to acknowledge all women that are passed who didn’t have the ability to have control of their image or of their identity”.
Also as part of that exhibition she created a contrasting series of portraits presenting four women of today as full and unique human beings, celebrating women at different stages of their lives who chose their own poses and were labelled exactly as they wanted to be seen. This stunning portrait of her grandmother was completed after many conversations with her grandmother to choose the right time to paint her…“young, hard at work and powerful”. We are privileged to be the caretakers of these powerful and important works which have quickly become significant pieces in the University’ art collection.
Leanne Willis
Maddie Leach The Grief Prophesy 2017 Gift of the artist, 2020
Deanne Gilson
Karringalabil Bundjil Murrup, Manna Gum Tree
(The Creation Tree of Knowledge) 2020
PREMIUM COLLECTION
Helen Maudsley
The Power of the Written Word; Without the Written Word, Art Doesn’t Exist. 2020
Leonard French
The Four Seasons of Life 1987 Commissioned to mark the Tenth Anniversary of Deakin University, 1987
Leonard French’s The Four Seasons of Life 1987 was commissioned to mark the tenth anniversary of Deakin University. Although now 30 years old the work glows as if produced only yesterday. Perhaps best known as the artist who produced the ceiling in the Great Hall at the National Gallery of Victoria, French’s stained glass work adorns many Australian public institutions such as the Australian National University and the National Library of Australia in Canberra. In the Queen’s Birthday Honours in 1968, he was appointed an Officer of the Order of the British Empire (OBE) for his service to painting, being considered an accomplished painter, printmaker and
stained glass artist. Although his profile faded in the later years of his life and career it is fitting that we now pay homage to the extraordinary nature of his work that still retains its impact some 30 years on.
According to the records kept with this work, The Four Seasons of Life synthesizes the universal insignia of the cross, circle, dome, serpent, and bird to create a rich yet spiritual visual impact. These designs are created on a layered enamelled surface, which give the piece a shimmering luminosity.
Leanne Willis
John Olsen
The Circus Animals’ Desertion
Jan Senbergs
Geelong Capriccio (If Geelong were settled instead of Melbourne) 2010
“One of the rarest qualities in contemporary painting is wit. When we do encounter it, we are surprised, almost ambushed by its presence, and then find ourselves immediately engaged.
Jan Senbergs’ Geelong Capriccio is in every way a painting of wit with its single absurd proposition as to what the world would look like if Geelong had become the capital and the site of Melbourne remained open paddocks...
T.S. Eliot once shrewdly remarked that wit was the ‘alliance of levity and seriousness’. What makes Senbergs’ Geelong Capriccio a work of real substance along with a certain sweeping grandeur to it, is that it points to one of the most serious and enduring qualities of the Australian experience. Australians and the cities they inhabit are caught between two extreme conditions; a vast and thinly populated inland and an equally vast, uninhabited space, the oceans of the world. There is
something precarious about this clinging to the littoral – a condition shared by no other country in the world. By moving the centre from Hobson’s Bay to Corio Bay, Senbergs takes us one large step closer to ‘the deserts of ocean’. It seems to me to be a very Antipodean painting: the upside down world, which Europe imagined Australia to be, a place where anything might happen. Eliot went on to say that by the ‘alliance of levity and seriousness … the seriousness is intensified’ and so it is in Jan Senbergs’ masterpiece, Geelong Capriccio.”
Patrick McCaughey, 2010
Reproduced with the author’s permission from the catalogue Geelong Re-imagined and Observed Works from the West Coast by Jan Senbergs, Deakin University Art Gallery, 2011
Roger Kemp
David Harley
File_49& 2011-2014
Commissioned by Deakin University, 2014 for the Burwood Corporate Centre, Melbourne Campus at Burwood
David Harley is a contemporary, Melbourne-based artist who integrates the technology of computing and printing into his practice as a painter. Harley’s paintings draw from an understanding of European, Australian and American abstraction, while also being strongly influenced by the artist’s philosophical and musical interests. As a great grandson of Alfred Deakin, Harley has a close connection with the University.
“The files names often represent the initials that the computer file gathers in its development. Sometimes it is hard to work out where it started, although the file, File_49&, name refers to the 49th Symphony of Haydn in F minor. The listening of music is often used as a trigger or stimulus. There is a fusion reached between the mood experienced by listening to particular music and then being able to convey that within the pictorial work.”
Artist’s statement, 2014
This artwork is a depiction of the bush landscape surrounding Ballara, Alfred Deakin’s holiday house in the seaside town of Point Lonsdale, just outside Geelong. The artwork was painted by Judith Harley, the granddaughter of Alfred Deakin so has special significance to the University. The image evokes the joyful, sundrenched summer days spent by the family over generations.
Judith Harley
Tall Timber 2000 Gift of the artist, 2019
Opposite Donna Blackall
Six Seasons of Victoria 2017
Inge King
Black Sun (maquette) 1974
George Baldessin Wall mural
George Baldessin Wall Mural 1975
Purchased with the assistance of the Visual Arts Board of the Australia Council, 1975
Jim Berg
Silent witness - A window to the past 2005
Silent witness - A window to the past 2005
Gift of the artist, 2018
Opposite: Hayley Millar Baker
Even if the race is fated to disappear 2 (Peeneeyt Meerreeng / Before, Now, Tomorrow) 2017
Amanda Marburg Juniper Tree 2016
Meng-Yu
Elizabeth Newman
Katherine Hattam
doctor’s dilemma
Jenny Grenfell Contours 1986
Anne Zahalka Lost 2017
After establishing the Mildura Aboriginal Cooperative, Clarke moved to Melbourne in 1988, she has become a hugely respected community and cultural leader working seamlessly across the roles of artist, curator and academic. Her research reflects on traditions, histories and the material cultures of her ancestors all of which are expressed via an especially rich engagement with both traditional and new media forms.
‘It’s about regenerating cultural practices… making people aware of, you know, our culture, and that we are a really strong culture, and that we haven’t lost anything; I think they’ve just been, some of these practises have been laying dormant for a while.’
Maree Clarke in conversation with ABC local radio Mildura, 12 September 2011.
After viewing nineteenth-century examples of Indigenous necklaces in the collection of Museum Victoria, Clarke rediscovered her interests in body adornment and jewellery making. Working closely with family members Len Tregonning and Rocky Tregonning they have revived a long forgotten cultural tradition. Spending a great deal of time on country collecting feathers, seeds, ochres, wattle resin and other items such as emu oil and leather. This time spent together sourcing and preparing traditional materials combines both men’s and women’s business in traditional lore. Hanging proudly at Deakin Downtown, these two magnificent works imbue the spaces with an aura of ceremony and power.
Dr David Cross Professor of Visual Arts Faculty of Arts and Education
Maree Clarke River reed necklace with Galah feathers 2016
From left: Sangeeta Sandrasegar
Donated through the Australian Government’s Cultural Gifts Program by Mrs Caroline Searby, 2012
Mrs Caroline Searby and Dr Richard Searby have donated and contributed to the acquisition of four works by Lisa Roet for the Collection.
Dr Richard Searby AO QC was the fourth Chancellor of Deakin University from 1997 to 2005.
Lisa Roet Forearm of Chimpanzee 2000
Opposite: Simon Grennan Dalek in Landscape 2011
Ms Uhl lived and worked in the remote Fitzroy Crossing in the West Kimberley. Uhl represents her unique connection to place through abstracted paintings of her Country, culture and community. Uhl painted with a joyous energy: layering highly keyed colours to create an atmosphere which speaks of the humidity and expanse of the Kimberley landscape.
The basic form of the Kurrkapi tree provides the underlying structure for Uhl’s painting. She begins each canvas by repeatedly painting the form followed by contours and filling in of the negative spaces. In doing so, the work pulses with vibrant brush
marks and colours that convey the intensity of the desert heat. In Uhl’s later works, such as this, the negative spaces of her paintings take on a life of their own, connecting all. In doing so, Uhl gently refuted our often binary representations of nature.
Ms Uhl was a committed and leading artist of her community, she creates work with gusto and a joie de vivre, despite living with the difficulties of a physical disability. Thus her work and life are greatly inspiring to all.
James Lynch
Ms. Uhl Kurrkapi 2016
Freddie Timms
Marlene Gilson
Possession Captain Cook First Fleet 2017
George Gittoes painting The Nightmare at the Burwood campus 2024.
Opposite: George Gittoes and Ava Libertatemaveamor
The Nightmare 2024
Gift of the artists, 2024
We were honoured to have George Gittoes outside the Deakin University Art Gallery in July 2024 working on a new painting called The Nightmare. The finished work was donated to the Deakin University Art Collection and is a collaboration between George Gittoes in Australia and Ave Libertatemaveamor in the Ukraine. The two artists exchanged ideas and sketches over email for months until they were happy with the finished composition that Gittoes completed on campus.
Gittoes, a former recipient of the Sydney Peace Prize, has established himself as one of Australia’s most uncompromising artists, activists, and documentary film makers; with his earlier anti-war works addressing gun violence in the United States ( White Light, MIFF 2019), life under the Taliban (Snow Monkey, MIFF 2015) and war’s impact on music (Rampage, MIFF 2006). He describes his collaboration with Libertatemaveamor as one of the most important of his career.
Leanne Willis
Christian Den Besten
Upstate 205 J.R. Ther & Son 2021
‘The Iron Store’ Mercer Street 2021
Kate Harding White Hill – looking for food at Clermont 2020
Laura Skerlj Untitled (sparkler) 2023
Paula Hyland
Barbra Quicksand 1995
Stephen Wickham
Black Cruciform as Stupa floor plan 1996
Gift of the artist, 2017
A new area of speciality for the Deakin University Art Collection, the Centre for Abstract and Non-Objective Art is a timely focus on an important field of the visual arts that is currently not well represented in Australian collections. Artists have worked with ideas of abstraction for over a century. As a truly international art movement, local developments are often overlooked yet they possess unique regional characteristics and breakthroughs and represent a very significant part of Australian art history. As a visual language and as a form of artmaking, the nature of abstraction and non-objective practice is perhaps best placed to inspire openness, foster new readings and diverse understandings.
Artist Stephen Wickham has been instrumental in working with me in the development of this new collection focus and it gives me great pleasure to share some of his very particular reflections.
Leanne Willis
Modernity is equated with the secularization of Western culture, the dominance of the scientific method, and the endings of European empires. The late Professor Bernard Smith argued that Modernism is a “cultural expression of modernity” and suggests Paul Gauguin was the first European artist to take the path “away from Classical Naturalism”1
Smith, the contrarian, presents a complex story of European Arts’ encounters with the ‘primitive’ that informed early Symbolists and later the Cubism of Pablo Picasso. His critique of abstraction weaves a labyrinthine journey that includes every sort of mysticism, myth, arts & crafts, and ideas of a mesmerising array of cultures, continents and eras.
A common story of abstraction suggests a paring away of external dross to expose some essential reality. Beginning with the heavy lifting by Cézanne, then major interventions by Picasso and Braque, and later, flourishes from Matisse, followed by the colourful chaos of the universe envisioned by Kandinsky, next was the orderly geometry achieved by Mondrian. In turn it is Malevich, who takes European Art over the brink, and into the black void.
Abstraction has been presented as a way towards some fundamental mystery that will be revealed by the application of wisdom or subconscious-abandon. Smith views abstraction as a reconciliation and examination of ideas and theories ranging from the fraudulent ideas of Madame Blavatsky, the pseudoscience of the Fourth Dimension, to the appropriation of signs and symbols, forms and structures.
In Petrograd 1915, Malevich exhibits his Black Square. This radical work ensured Non-Objective Arts’ standing in history. The foundations of further counterparty abstraction are planted in Cubo-Futurism, Suprematism, Constructivism, Rayonism, De Stijl and the Bauhaus, Formalism, Minimalism; myriad schools and schisms.
The end of the Second World War saw the cultural dominance of America, and Abstract Art was promoted as an emblem of freedom and liberty. Yet it was European emigres and refugees who transformed American Art from parochial cosmopolitan.
Now, Abstract and Non-Objective Art is international and ubiquitous. Contemporary practitioners are engaged in all manner of critiques, innovations, theoretical discourses, scientific innovations and stylistic tremors. It is here to stay.
Stephen Wickham
1. Smith, Bernard The Formalesque: A Guide to Modern Art and Its History, MacMillan Art Pub., 2007
Janet Dawson
Tuesday Moon 2019
Opposite: Henry Jock Walker
Untitled #3 2023
Tia Ansell Manon 2021
Wilma Tabacco Night Flight 2008-2009
LIST OF WORKS
This list of artworks are arranged in order of appearance. All works © copyright of the artist unless otherwise indicated. Photography is by Simon Peter Fox unless otherwise stated.
pp.2
Andrew ROGERS from left:
I Am VI 2016
I Am VIII 2018
I Am VII 2016
all works are bronze
137 x 118 x 98 cm
171 x 147 x 121 cm
70 x 89 x 73 cm
2018.12
2019.34
2023.72
Donated through the Australian Government’s Cultural Gifts Program, 2018-23
Image © and courtesy of the artist and Scott Livesey Gallery, Melbourne
Photo by Fiona Hamilton
pp.4-5
Andrew ROGERS
Flora Exemplar 2000
Italian Carrara marble
182 x 60 x 23 cm
2023.57
Donated through the Australian Government’s Cultural Gifts Program, 2023
Image © and courtesy of the artist and Scott Livesey Gallery, Melbourne
Photo by Fiona Hamilton
pp.6-7
Adrian MAURIKS
Strange Fruit 2010 painted epoxy resin
235 x 700 x 200 cm
2020.6
Gift of the artist, 2020
Image © and courtesy of the artist’s Estate
pp.8
Jon CAMPBELL just sing what you feel 2013
mixed media and neon
52 x 438 x 8 cm
2013.30
Purchased with funds sourced from the Burwood Library refurbishment budget, 2013
Image © and courtesy of the artist and Darren Knight Gallery, Sydney
pp.10-11
Image upper left:
Portraits of former Chancellors, from left
Clifton PUGH AO
Portrait of Dr. Peter Thwaites OBE 1983
Foundation Chancellor of Deakin University from 1978 to 1982 oil on canvas
106.5 x 96.5 cm
1992.176
Commission, 1983
Image © and courtesy of the Estate of Clifton Pugh
Madge ELLIS
Portrait of Justice Austin
Asche AC QC 1987
Chancellor of Deakin University from 1983 to 1987 oil on canvas
91.5 x 71 cm
1992.168
Commission, 1987
Image © and courtesy of the artist
Rick AMOR
Portrait of Dr Richard Searby AO QC 2003
Chancellor of Deakin University from 1997 to 2005 oil on linen
81 x 65.5 cm
2003.38
Commission, 2003
Image © and courtesy of the artist and Niagara Galleries, Melbourne
Image lower left:
Portraits of former Chancellors, from left:
Peter WEGNER
Portrait of Mr David Morgan AO 2015
Chancellor of Deakin University from 2006 to 2016 oil on canvas
132.5 x 102 cm
2015.6
Commission, 2015
Image © and courtesy of the artist and Australian Galleries, Melbourne
Brian DUNLOP
Portrait of Dr James Leslie AC MC 1991
Chancellor of Deakin University from 1987 to 1996 oil on canvas
114.5 x 145 cm
1992.46
Commission, 1991
Image © and courtesy of the Estate of Brian Dunlop
Image upper right:
Portraits of former ViceChancellors, from left: Photo by Donna Squire
Julie FRAGAR
Portrait of Emeritus
Professor Jane den Hollander AO, ViceChancellor 2010 – 2019 2019
Vice-Chancellor of Deakin University from 2010 to 2019 oil on board
92.5 x 77.5 cm
2019.40
Commissioned 2019
Image © and courtesy of the artist and Sarah Cottier Gallery, Sydney
Judy CASSAB
Portrait of Emeritus
Professor Frederic Jevons AO 1986
Vice-Chancellor of Deakin University from 1976 to 1985
oil on linen
90.5 x 76.5 cm
1992.165
Commission, 1986
Image © and courtesy of the Estate of Judy Cassab
Wesley WALTERS
Portrait of Emeritus
Professor Malcolm Skilbeck 1991
Vice-Chancellor of Deakin University from 1986 to 1991 oil on canvas 122 x 91.5 cm
1992.72
Commission, 1991 Image © and courtesy of the Estate of Wes Walters
Image lower right:
Portraits of former ViceChancellors, from centre:
Robert HANNAFORD AM
Portrait of Emeritus Professor John Hay AC 1995
Vice-Chancellor of Deakin University from 1992 to 1996 oil on board 122 x 91.5 cm
1995.16
Commission, 1995
Image © and courtesy of the artist and Hillsmith Gallery, Adelaide
Lewis MILLER
Portrait Professor Geoffrey Wilson AM 2002
Vice-Chancellor of Deakin University from 1997 to 2002 oil on canvas 117 x 112 cm
2002.19
Commission, 2002
Image © and courtesy of the artist and Australian Galleries, Melbourne
Jan WILLIAMSON
Portrait of Emeritus
Professor Sally Walker AM 2010
Vice-Chancellor of Deakin University from 2003 to 2010 oil on linen
121 x 91 cm
2010.15
Commission, 2010
Image © and courtesy of the artist
pp.15
Darren MATTHEWS, Geoff DUTTON, John Holak and Russell BONE
The Blue Oval 2016 carved timber
170 x 372 cm
2016.327
Created at the Ford casting foundry using wood patterns donated by the Ford Motor Company, 2016
Image © and courtesy of the artists
pp.16
Dean BOWEN
Balancing Blackbird 2007 oil on linen
122 x 153 cm
2009.10
Purchase, 2009
Image © and courtesy of the artist
Photo by Glen Watson
pp.17
from left:
Daniel JC wianga (father) 2024 Ancestors’ Wisdom #1 2024
native Cypress wood, hand carved with pokerwork, abalone shells, mussel shells and acrylic
231 x 60 x 60 cm
204 x 60 x 60 cm
2024.18
2024.19
Purchase, 2024
Image © and courtesy of the artist and The Torch
BUSHKA
Brewarrina Dreamtime Country 2019
acrylic on canvas
200 x 529 cm 2019.36
Purchase, 2019
Image © and courtesy of the artist and The Torch
pp.18
John NIXON
Self-Portrait (Non Objective Composition) 1985
oil, enamel and tin plate on canvas board
76 x 61 cm 1992.228
Purchase, 1991
Image © and courtesy of the artist’s Estate
pp.19
Klaus ZIMMER
Dresden 13.2.45 (The Inferno) 1995 antique glass, lead, paint and stain
68 x 66.5 cm 1998.2
Gift of Jenny Zimmer under the Taxation Incentives for the Arts Scheme, 1998
Image © and courtesy of the artist’s Estate
pp.20-21
Guy STUART and the VICTORIAN TAPESTRY WORKSHOP
Untitled Tapestry 1979
wool, viscose, linen and cotton
158.5 x 351.5 cm 1980.13
Commissioned by Deakin University for the University Conference Room, 1979
Images © and courtesy of the artist’s Estate
Photo by Ross Coulter
pp.22
Jim LAWRENCE
Sigmund Freud 1982 carved timber and paint
148 x 47 x 48cm 2021.62
Donated through the Australian Government’s Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021
Image © and courtesy of the artist
Photo by Ross Coulter
pp.24
Tim JONES
Wooden Tree #1 2003
bronze, steel, gold plate and patina
295 x 135 x 73 cm 2005.3
Purchase, 2005
Image © and courtesy of the artist and Australian Galleries
Photo by Donna Squire
pp.25
Choi JEONG HWA
Red Lotus 2014 inflatable, polyester fabric and electrical motor
180 x 400 cm 2014.12
Purchase, 2014
Image © and courtesy of the artist
pp.26
Margel HINDER
Interlock 1979 anodised aluminium
344 x 346 x 341 cm 1981.11
Gift of Dr and Mrs Bruce Munro, 1981
Image © and courtesy of the Estate of Frank and Margel Hinder
Photo by Donna Squire
pp.27.
Anthony PRYOR
Marathon Man 1990 bronze
225 x 116 x 68 cm 1998.47
Purchase, 1998
Image © and courtesy of the artist’s Estate
Photo by Donna Squire
pp.28
Bruce ARMSTRONG
Every Bird 1999
cypress and red gum with marine finish
203 x 60 x 50 cm 1999.2
Purchase, 1999
Image © and courtesy of the artist’s Estate
Photo by Donna Squire
pp.29
Geoffrey BARTLETT
Silver Cloud 1995 river red gum and galvanized steel
310 x 450 x 120 cm 1998.45
Purchase, 1998
Image © and courtesy of the artist.
Photo by Donna Squire
pp.30-31
Terry MATASSONI
Art Tram 837 (Matassoni) 1992
enamel paint on metal
316 x 1417 x 273 cm
2019.100
Donated by Vic Track, 2019
Image © and courtesy of the artist and Australian Galleries, Melbourne and Sydney
pp.32
Andrew ROGERS
Search 2018-20
stainless steel
285 x 110 x 110 cm 2023.76
Donated through the Australian Government’s Cultural Gifts Program, 2023
Image © and courtesy of the artist and Scott Livesey Gallery, Melbourne
Photo by Fiona Hamilton
pp.33
Andrew ROGERS
Walking through the Wind III 2017 stainless steel
234 x 124 x 67 cm
2023.69
Donated through the Australian Government’s Cultural Gifts Program, 2023
Image © and courtesy of the artist and Scott Livesey Gallery, Melbourne
Photo by Fiona Hamilton
pp.34
Chris BOOTH
Tuuram Cairn 1996
Yambuck bluestone and steel
500 x 250 x 140 cm
1996.29
Commissioned by Deakin University, 1996
Image © and courtesy of the artist
Photo by Glen Watson
pp.35
Phil PRICE
New Angel 2021 carbon fibre, epoxy, stainless steel, precision bearings, urethane coating dimensions variable, 230 x 100 cm (overall) 2023.12
Donated through the Australian Government’s Cultural Gifts Program by Claire Mitchell, 2023 Image © and courtesy of the artist
Photo by Donna Squire
pp.36-37
Bob JENYNS
Meanwhile…Down South in Tasmania 2005 painted aluminium, logs, chains
119 x 110 x 502 cm
2016.328
Gift of the Jenyns family in memory of Robert (Bob) Jenyns 1944-2015
Image © and courtesy of the artist’s Estate
Photo by Donna Squire
pp.38
Karen CASEY
Standing Wave 2002 stainless steel and bluestone
190 x 30 cm
2008.25
Purchase, 2008
Image © and courtesy of the artist’s Estate
pp.39
Robyne LATHAM
Empty Coolamon SpringTime 2015
Empty Coolamon Snake 2015
Empty 2015 all copper wire
25 x 76 x 21 cm
34 x 133 x 27 cm
35 x 57 x 28 cm
2017.3-5
Purchase, 2017
Image © and courtesy of the artist
pp.40
Jenna LEE
Dilly Can 2023
pages of Aboriginal Words and Place Names, book binding thread, book cover board
23 x 28 x 15 cm, 8 x 9.5 x 9.5 cm
2023.48
Purchase, 2023
Image © and courtesy of the artist and MARS Gallery, Melbourne
Photo supplied by MARS Gallery, Melbourne
pp.42
Chi-Ling TABART
A Part of Me 2016
carved Tasmanian Huon
pine
23 x 11 x 7.5 cm
2016.299
Special Acquisition from the Deakin University
Contemporary Small Sculpture Award, 2016
Image © and courtesy of the artist
pp.43
Penny BYRNE
War on Terror Waltz 2009
vintage porcelain figurines, vintage action man accessories, War on Terror miniature service medal, retouching medium, powder pigments
26 x 21 x 15 cm
2010.5
Purchase, 2010
Image © and courtesy of the artist
pp.44
Scott DUNCAN
Amphora AustralisMoselle 2022
earthenware, underglaze and glazes
50 x 27 x 27 cm
2023.39
Purchase, 2023
Image © and courtesy of the artist and Egg & Dart Gallery, Wollongong
Photo by Silversalt
Photography
pp.45
Stephen BENWELL Statue, Grey-Pink Man 2009
clay, engobe, glaze stains
23.5 x 9.5 x 9.5 cm 2009.17
Winner of the inaugural Deakin University Contemporary Small Sculpture Award, 2009
Image © and courtesy of the artist and LON Galleries, Melbourne
pp.46
Michael LE GRAND TRANSIT 2021 painted steel
12 x 22 x 13 cm 2021.53
Winner of the Deakin University Contemporary Small Sculpture Award, 2021
Image © and courtesy of the artist
Photo by Polo Jimenez
pp.47
Brad GUNN
Eggplant is For Everyone 2024
resin, synthetic fibres
41 x 32 x 18 cm
2024.30
Winner of the Deakin University Contemporary Small Sculpture Award, 2024
Image © and courtesy of the artist
pp.48
Nina SANADZE Gramophone 2023 clay, resin, hydrostone, acrylics, glue
62 x 24 x 27 cm 2023.42
Winner of Deakin University Contemporary Small Sculpture Award, 2023
Image © and courtesy of the artist and Daine Singer Gallery, Melbourne
pp.49
Peter LYSSIOTIS
A Gardener at Midnight: Travels in the Holy Land 2004
2 original texts (1 by Peter Lyssiotis,and 1 by Brian Castro), colour prints; Nick Doslov (Renaissance Bookbinding); Masterthief 52 x 36 x 10 cm 2007.03
Purchase, 2007
Image © and courtesy of the artists
pp.50
Fayen d’EVIE and Trent WALTER
Ascending Sonic Shadows, Descending Sonic Shadows 2019 artist book consisting of photopolymer relief and embossing with Braille and laser-cut soft cover on BFK Rives
29.6 x 23.4 x 1.5 cm
2021.33
Purchase, 2021
Image © and courtesy of the artist and Negative Press, Melbourne
Photo by Andrew Curtis
pp.51
Rose NOLAN and Trent WALTER
ENOUGH 2016
artist book, consisting of screenprint on concertina BFK Rives
22 x 14 cm
2021.46
Purchase, 2021
Image © and courtesy of the artist and Anna Schwartz Gallery, Melbourne
pp.52
nova Milne (est. 2010)
Out of Print 2017 found book, magnesium foil block emboss printing, self-inking custom rubber stamp
22 x 22 x 1.5 cm
2019.98.1
Purchase, 2019
Image © and courtesy of the artists and Cassandra Bird gallery, Sydney
pp.53
Marian CRAWFORD
The King 2018 artist book consisting of intaglio photopolymer prints, letterpress and photocopy on paper
28 x 18.5 x 0.6 cm
2018.26
Purchase, 2018
Image © and courtesy of the artist
pp.54
Hannah MASKELL
Double Violet Continued 2022
artist book consisting of digital prints, CMYK dry toner, across an A5 perfect-bound 21 x 14.7 cm
2022.42
Purchase, 2022
Image © and courtesy of the artist and Stray Pages, Melbourne
pp.55
David DELLAFIORA and various artists Field Study (est. 1993) WIPE 1 1998 artist book consisting of hand printed inscribed toilet tissue, staplebound in single fold cardboard cover 11 x 15 cm
2023.11.1
Purchase, 2023
Image © and courtesy of the artists
pp.56
Marta OKTABA
Stuck on the internet 2020 ink on found paper
36.5 x 30 cm
2022.30
Purchase, 2022
Image © and courtesy of the artist
pp.58
UNKNOWN
Untitled circa 1980s oil on canvas
54 x 78 cm
2020.9
Gift of Margaret Cameron, 2020
Image © and courtesy of the unknown artist
pp.59
Max DIMMACK
Dark Conifers 2013 oil on board
48.5 x 33 cm
2014.4
Donated to the University Art Collection by the Burwood Teachers College, 1954 Foundation Year students in celebration of the 60th Anniversary of the foundation of Burwood Teachers College, 2014 Image © and courtesy of the artist’s Estate
pp.60
David CROSS
Trio (Performance Detail) Delhi 2019
digital colour print on paper
65 x 95 cm
2019.104.4
Purchase, 2019
Image © and courtesy of the artist
pp.61
Todd JOHNSON
3 weeks, 2 days, 4 hours 2018 digital inkjet print
105 x 104 cm
2019.108
Purchase, 2019
Image © and courtesy of the artist
pp.62-63
Anne Scott WILSON
Sifting Motion (Billy ) 2008 digital video still photograph on photographique archival rag paper
106 x 126 cm
2023.7
Purchase, 2023
Image © and courtesy of the artist
pp.64
Boneta-Marie MABO
E. Bonita Mabo AO, Munbarra, South Sea Islander descendant (Tanna Island) 2015 oil on canvas
182 x 121 cm
Your label #2 2015 velvet, ply, foam and resin
182 x 121 x 45 cm
2016.308
2016.309
Purchase, 2016
Image © and courtesy of the artist
pp.65
Maddie LEACH
The Grief Prophesy 2017 unreleased 12” LP pressed on 180 gram black vinyl audio recordings performed on oud (Filip Bagewitz) and vevlira (Anders Ådin); commissioned album cover by Kristian Wåhlin 30 x 30 cm 2020.8.1
Gift of the artist, 2020 Image © and courtesy of the artist
pp.66-67
Deanne GILSON
Karringalabil Bundjil Murrup, Manna Gum Tree (The Creation Tree of Knowledge) 2020 ochre, acrylic on linen
90 x 100 x 3 cm 2021.45
Purchase, 2021 Image © and courtesy of the artist
pp.68
Helen MAUDSLEY
The Power of the Written Word; Without the Written Word, Art Doesn’t Exist. 2020 oil on canvas
76 x 66.5 cm 2024.11
Purchase, 2024
Image © and courtesy of the artist and Niagara Galleries, Melbourne
pp.70
Leonard FRENCH
The Four Seasons of Life 1987 enamel on composition board
181.5 x 151 cm 1992.183
Commissioned to mark the Tenth Anniversary of Deakin University, 1987 Image © and courtesy of the artist’s Estate
pp.71
John OLSEN
The Circus Animals’ Desertion 1994 oil on canvas
140.5 x 185.5 cm 1994.37
Purchase, 1994
Image © and courtesy of the artist
pp.72
Jan SENBERGS
Geelong Capriccio (If Geelong were settled instead of Melbourne) 2010
synthetic polymer paint on canvas
200 x 258 cm 2010.22
Purchase, 2010
Image © and courtesy of the artist’s Estate and Niagara Galleries, Melbourne
Photo by Mark Ashkanasy
pp.73
Roger KEMP
Transition 1970
synthetic polymer paint on canvas
104 x 124 cm
1980.8
Purchase, 1980
Image © and courtesy of the artist’s Estate
pp.74
David HARLEY
File_49& 2011-14
mixed media on paper mounted on Dibond
300 x 900 cm 2014.14
Commissioned by Deakin University, 2014 for the Burwood Corporate Centre, Melbourne Campus at Burwood Image © and courtesy of the artist
pp.75
Judith HARLEY
Tall Timber 2000 oil on board
53.4 x 78.8 cm
2019.105
Gift of the artist, 2019 Image © and courtesy of the artist’s Estate
pp.76
Donna BLACKALL
Six Seasons of Victoria 2017 natural earth pigments and New Zealand flax
61.5 x 61.5 cm
2019.121
Purchase, 2019 Image © and courtesy of the artist
pp.77
Inge KING Black Sun (maquette) 1974
welded steel
60 x 57.5 x 17 cm
1975.3
Purchase, 1975 Image © and courtesy of the artist’s Estate and Australian Galleries, Melbourne and Sydney
Photo by Donna Squire
pp.78-79
George BALDESSIN Wall Mural 1975 cast aluminium (seven irregular parts)
288 x 536 x 5 cm
1986.23
Purchased with the assistance of the Visual Arts Board of the Australia Council, 1975 Image © and courtesy of the artist’s Estate
pp.80
Jim BERG
Silent witness - A window to the past 2005
Silent witness - A window to the past 2005
c-type photograph
37.2 x 27.2 cm each
2018.2.1
2018.2.4
Gift of the artist, 2018
Image © and courtesy of the artist
pp.81
Hayley MILLAR BAKER
Even if the race is fated to disappear 2 (Peeneeyt Meerreeng / Before, Now, Tomorrow) 2017 inkjet on cotton rag
158.5 x 85.5 cm
2019.92.2
Purchase, 2019
Image © and courtesy of the artist and Vivien Anderson Gallery, Melbourne
pp.82
Amanda MARBURG
Juniper Tree 2016 oil on linen
76 x 102 cm
2016.303
Purchase, 2016 Image © and courtesy of the artist and Sutton Gallery, Melbourne
pp.83
Meng-Yu YAN new moon cleanse I 2018 framed digital print on Ilford gold mono
46.5 x 37 cm
2019.37.1
Purchase, 2019 Image © and courtesy of the artist and Dominik Mersch Gallery, Sydney
pp.84
Elizabeth NEWMAN
All OK Now 2015 oil on linen 153 x 123 cm
2016.306
Purchase, 2016 Image © and courtesy of the artist and Neon Parc Gallery, Melbourne
pp.85
Katherine HATTAM The doctor’s dilemma 2007
book pages, fabric, charcoal and mixed media on paper 130 x 120 cm 2015.11
Purchase, 2015
Image © and courtesy of the artist and Daine Singer, Melbourne
pp.86-87
Jenny GRENFELL
Contours 1986 weaving and macrame 168 x 183 cm
1992.173
Purchase, 1988
Deakin University Art Collection image © copyright and courtesy of the artist
pp.88
Anne ZAHALKA Lost 2017 pigment ink on rag paper
53.5 x 78 cm
2017.34
Purchase, 2017
Image © and courtesy of the artist and ARC One Gallery, Melbourne
pp.89
Maree CLARKE
River reed necklace with Galah feathers 2016 blackened river reed, cockatoo feathers, waxed thread
3000 cm
2017.1
Purchase, 2017
Image © and courtesy of the artist and Vivien Anderson Gallery, Melbourne
pp.90-91
Sangeeta SANDRASEGAR
9/105 2021
21/105 2021
59/105 2021
66/105 2021
pierced and cut paper, hand dyed in Indian Indigo
55 x 40 cm each
2021.39.1-4
Purchase, 2021
Image © and courtesy of the artist and Niagara Galleries, Melbourne
pp.92
Lisa ROET
Forearm of Chimpanzee 2000 charcoal on silk paper
208 x 159 cm
2012.17
Donated through the Australian Government’s Cultural Gifts Program by Mrs Caroline Searby, 2012
Image © and courtesy of the artist
pp.93
Simon GRENNAN
Dalek in Landscape 2011 oil on Belgian linen
183 x 122 cm
2011.20
Purchase, 2011
Image © and courtesy of the artist
pp.94
Ms. UHL
Kurrkapi 2016
synthetic polymer paint on canvas
80 x 160 cm
2016.310
Purchase, 2016
Image courtesy of the artist’s estate and Mangkaja Arts Resource Agency
pp.95
Freddie TIMMS
Untitled 2008 pigments and acrylic binder on Belgian linen
90 x 120 cm
2023.2
Purchase, 2023
Image © and courtesy of the artist’s Estate and Martin Browne
Contemporary, Sydney
pp.96-97
Marlene GILSON
Possession Captain Cook First Fleet 2017
synthetic polymer paint on linen
120 x 150 cm
2017.64
Purchase, 2017
Image © and courtesy of the artist and Martin Brown
Contemporary Gallery, Sydney
pp.98-99
George GITTOES and Ave LIBERTATEMAVEAMOR
The Nightmare 2024 oil on canvas
250 x 185 cm
2024.21
Gift of the artists, 2024
Image © courtesy of the artists and Provenance Fine Art, Woollahra
pp.100-101
Christian DEN BESTEN
Upstate 205 J.R. Ther & Son 2021
‘The Iron Store’ Mercer Street 2021 colour pencil on paper
64.5 x 81 cm
52 x 64 cm
2021.54.1
2021.54.3
Purchase, 2021
Image © and courtesy of the artist
pp.102
Kate HARDING
White Hill - looking for food at Clermont 2020
textile, ochre dyes, hessian and thread
124 x 95 cm
2021.43
Purchase, 2021
Image © and courtesy of the artist and Milani Gallery, Brisbane
Photo supplied by the artist
pp.103
Laura SKERLJ
Untitled (sparkler)
2023
oil on linen
36 x 46.3cm
2024.12
Purchase, 2024
Image © and courtesy of the artist
pp.104-105
Paula HYLAND
Barbra Quicksand
1995
wool sewing on hessian
76 x 93cm
2023.1
Purchase, 2023
Image © and courtesy of the artist and Darren Knight Gallery, Sydney
Photo by Simon Hewson
pp.106
Stephen WICKHAM
Black Cruciform as Stupa Floor Plan
1996
oil on linen
61 x 61 cm
2017.49
Gift of the artist, 2017
Image © and courtesy of the artist
pp.108
Janet DAWSON
Tuesday Moon 2019
acrylic on board
105 x 90 cm
2023.35
Purchase, 2023
Image © and courtesy of the artist
pp.109
Henry Jock WALKER
Untitled #3 2023
stretched found neoprene with powder-coated aluminium frame
103.5 x 78 x 4 cm
2023.41
Purchase, 2023
Image © and courtesy of the artist and Egg & Dart Gallery, Wollongong
Photo by Jonathan van der Knaap
pp.110
Tia ANSELL
Manon 2021 acrylic on cotton and wool handmade weaving, polished aluminium frame
83 x 63 x 6 cm
2021.42
Purchase, 2021
Image © and courtesy of the artist and Lon Gallery, Melbourne
pp.111
Wilma TABACCO
Night Flight 2008-09 oil on linen
152 x 183 cm
2017.36
Donated through the Australian Government’s Cultural Gifts Program by Wilma Tabacco, 2017
Image © and courtesy of the artist, GallerySmith, Melbourne and Nancy Sever Gallery, Canberra
Photo by Mark Ashkanasy
ARTISTS REPRESENTED IN THE DEAKIN UNIVERSITY ART COLLECTION
AFiona Abicare
Margaret Ackland
Tate Adams
Hoda Afshar
Martha Aitchison
Olle Alberius
Douglas Alexander
Anne Algar
Mary Allen
Eva Älmeberg
Ricardo Alves-Ferreira
Rick Amor
John Anderson
Sue Anderson
Fernando Andolcetti
Leonard Annois
Tia Ansell
Jean Apuatimi
Bruce Armstrong
Ian Armstrong
Raymond Arnold
George Aslanis
David Aspden
Atong Atem
Rosalind Atkins
John Audubon
BGordo B.
Bill Bachman
Norman Baggaley
Robert Baines
Jimmy Baker
Maringka Baker
Lydia Balbal
George Baldessin
Sydney Ball
Stephen Bambury
David Band
Tina Banitska
Bashir Baraki
Terence Barclay
David Bardas
Roberto Barni
Vittore Baroni
Geoffrey Bartlett
John Bartlett
Mary Barton
Geoffrey Baxter
Richard Beck
Kathy Beckman
Thelma Beeton
Beeks
George Bell
Kathe Bell
Jason Benjamin
Gottfried Benn
Alison Bennett
Gordon Bennett
John Bennett
Stephen Benwell
Jim Berg
Rupert Betheras
Tadek Beutlich
Reshid Bey
Kate Beynon
Ngamaru Bidu
Ambrose Bierce
Stephen Bird
Garry Bish
Cameron Bishop
Donna Blackall
Graham Blacker
Charles Blackman
Stan Blackshaw
Julien Blaine
Les Blakebrough
Peter Blizzard
Yvonne Boag
Sonja Boehm
Zoran Bogdanovic
Bernard Boles
Chris Bond
Russell Bone
Chris Booth
Peter Booth
John Borrack
Anna Boschi
Abraham Bosse
Paul Boston
G W Bot
Dean Bowen
Arthur Boyd
David Boyd
Guy Boyd
Lynne Boyd
Kathleen Boyle
John Brack
Godwin Bradbeer
Stephen Bram
Barbara Brash
William Breen
Warren Breninger
Angela Brennan
Rodney Broad
Aileen Brown
Joseph Brown
Lyndell Brown
Tim Buckovic
Norma Bull
Johnny Bulun Bulun
Charles Bush
Stephen Bush
Penny Byrne
C
K. C.
Philip Caddy
Alan Caiger Smith
Nola Cameron
Joan Campbell
Jon Campbell
Criss Canning
Paul Caponigro
Melinda Capp
Graeme Cardinal
Antonio Cares
Leonie Casbolt
Karen Casey
Judy Cassab
Len Castle
John Cato
Jon Cattapan
Angela Cavalieri
Tristan Chant
Neil Chenery
Janangoo Cherel
Jeong Hwa Choi
Henri Chopin
Dadang Christanto
John Christie
Andrew Christofides
Peta Clancy
Greg Clark
Tony Clark
Kerry Clarke
Maree Clarke
Peter Clarke
Sue Clifton
Robert Clinch
Jock Clutterbuck
Ewen Coates
Victor Cobb
John Coburn
Yvonne Cohen
Peter Cole
Bindi Cole Chocka
Rosemary Coleman
Cresside Collette
Peter Collingwood
Patricia Collins
Kevin Connor
Alan Constable
Timothy Cook
Jarryd Cooper
Simon Cooper
Martina Copley
Kim Corbel
Renee Cosgrave
Noel Counihan
Jack Courier
Vicki Couzens
Max Coward
Dale Cox
Sybil Craig
Marian Crawford
Fred Cress
Christopher Croft
Joanne Croke
Ray Crooke
David Cross
Tanya Crothers
Adam Cullen
Grace Culley
Janet Cumbrae-
Stewart
Cathy Cummins
Angkaliya Curtis
Arch Cuthbertson
Mark Cuthbertson
Graeme Cutts
DJohn Dale
Augustine Dall’Ava
Cherry Daniels
Aleks Danko
Darcy Pettit
William Dargie
Philip Davey
Barbara Davidson
Bessie Davidson
Jan Davis
Jodie Davis
Lawrence Daws
Janet Dawson
Olga De Amaral
Marina De Bris
Domenico De Clario
Gunther Deix
Rox De Luca
William Delafield
Cook
Narelle Delahunty
David Dellafiora
Christian Den Besten
David Denby
John Dent
Art De Poesie
Matthew Dettmer
Julia Deville
Stuart Devlin
Sebastian Di Mauro
Herve Di Rosa
Robert Dickerson
Max Dimmack
Konstantin
Dimopoulos
Paul Divola
Margaret Djarrbalabal
Julie Djulibing
Malibbirr
Shay Docking
Phillip DoggettWilliams
Adrienne Doig
Michael Doolan
Margaret Dredge
Dredys
Graeme Drendel
Dudley Drew
Russell Drysdale
Georgina Duckett
Lesley Dumbrell
Ivan Dundas
Scott Duncan
Brian Dunlop
Phyllis Dunn
Caroline Durre
Geoff Dutton
Lesley Duxbury
Mikala Dwyer
Jayne Dyer
Tony Dyer
Noel Dyrenforth
Will Dyson
Helen Eager
Marsha Eaves
John Edward
Anna Eggert
Merrin Eirth
Joel Elenberg
Kate Ellis
Madge Ellis
Peter Ellis
Troy Emery
Neil Emmerson
Miranda Epstein
Jenny Evans
Fayen d’Evie
David Evison
Lotte Frances
Graham Fransella
William Frater
David Frazer
Honor Freeman
Noga Freiberg
Leonard French
Donald Friend
Ian Friend
Sam Fullbrook
Todd Fuller
G
Mirdidingkingathi
Juwarnda Sally Gabori
Sigi Gabrie
Joel Gailer
Gunybi Ganambarr
Peter Gardiner
Angus Gardner
Helen Ganalmirriwuy
Garrawurra
J.P. Gavard-Perret
Portia Geach
Geelong Sculptors
Inc.
Helen Geier
Angelina George
Walter Gherardin
Malcolm Gibson
Rachel Gibson
John Gilbert
Web Gilbert
Dagmara Gieysztor
Nyarapayi Giles
Gillie and Marc
Deanne Gilson
Marlene Gilson
S.T. Gill
Tom Fantl
Rose Farrell
Sarah Faulkner
Adrian Feint
Robert Fenton
John Ferguson
William Ferguson
Field Study
Simon Fieldhouse
Robert Fielding
Emily Finlayson
Lachlan Fisher
Paul Fitzgerald
Michael Fitzjames
Tony Flint
Noel Flood
Michael Florrimell
Emily Floyd
John Forrest
Louise Forthun
Garry Fox
Julie Fragar
Simryn Gill
Minna Gilligan
George Gittoes
Peter Glass
James Gleeson
John Glover
Lloyd Godman
Sarah Goffman
Jean Goldberg
Hendrik Goltzius
Mel Gooding
Simonne Gorbal
Craig Gough
Elizabeth Gould
Elizabeth Gower
Alastair Gray
Charles Green
Hilary Green
Jo Green
Kaye Green
Mary Green
ARTISTS REPRESENTED IN THE DEAKIN UNIVERSITY ART COLLECTION
Rona Green
Vic Greenaway
Phil Greenwood
Jenny Grenfell
Simon Grennan
Robert Grieve
Murray Griffin
Lidia Groblicka
Luzio Grossi
Gawirrin Gumana
Malaluba Gumana
Paula Manhanhayun
Gumana
Nornie Gude
Brad Gunn
Rafael Gurvich
Datjuluma Guyula
Juli Haas
Gracia Haby
Paul Haefliger
Robert Hague
Dora Hake
Anne Hall
Fiona Hall
Pam Hallandal
Deborah Halpern
Treahna Hamm
Robert Hannaford
Barbara Hanrahan
Gwyn Hanssen Pigott
Adam Harding
Arthur Harding
Kate Harding
Cecil Hardy
David Harley
Judith Harley
Janene Harman
Pamela Harris
Craig Harrison
Dorothy Harrison
Alex Hartigan
Brian Hatch
Katherine Hattam
Bill Hawkins
Jennifer Hawkins
Harry Hay
Kristin Headlam
Celia Hegedus
Brigit Heller
Euan Heng
Kari Henriksen
Ron Henschel
Bill Henson
Harold Herbert
Petr Herel
Leonard Hessing
Hans Heysen
Claire Hicks
Tom Higgins
Florence Higgs
Hamish Hill
Paul Hill
Margel Hinder
Fiona Hiscock
Noela Hjorth
Koji Hoashi
Grant Hobson
Rhonda Hodge
Virginia Hodgkinson
Terry Hoey
Hermann Hohaus
John Holak
Judy Holding
Robert Hollingworth
Neil Hollis
Kenneth Hood
Emily Hope
Paul Hopper
Jennifer Hough
Harold Hughan
Garth Hughes
James Hugonin
Andrew Humphrey
Philip Hunter
Paula Hyland
Annette Iggulden
Shunichi Inoue
John Irving
Pamela Irving
Kenneth Jack
Leon Jackman
Robert Jacks
Mardi Janetzki
Anthony Jangala
Hargraves
Eberhard Janke
Daniel JC
Louise Jennison
Bob Jenyns
Ilona Jetmar
Beryl Jimmy
Augustus John
Colin Johnson
George Johnson
Graeme Johnson
Louis Johnson
Michael Johnson
Todd Johnson
Ruth Johnstone
Vincas Jomantas
Martin Jones
Nicholas Jones
Patrick Jones
Shane Jones
Tim Jones
Val Judd
Linda Judge
Jumaadi
Louis Kahan
Conrad Kamilowra
Tipungwuti
Louis Karadada
Walter Keeler
David Keeling
John Kelly
Queenie Kemarre
Michel Kemp
Roger Kemp
Franz Kempf
Ken Sisters
Yvonne Kendall
Helen Kennedy
Marie Kerinauia
David-Ashley Kerr
Eileen Keys
Grahame King
Inge King
Martin King
Ronald King
Deborah Klein
Robert Klippel
Anastasia Klose
Simon Klose
Hertha Kluge-Pott
Jiri Kolar
J.L. Koskie
Les Kossatz
Elisabeth Kruger
Ulrich Kuhlmann
Naomi Kumar
Choi Kyu-Il L
Elizabeth Lada
Luisa La Fornara
Susanna Lakner
Colin Lanceley
Regis Lansac
Paul Laspagis
Robyne Latham
Bruce Latimer
Andrew Law
Jim Lawrence
Ronnie Lawson
Maddie Leach
Alun Leach-Jones
Jenna Lee
Michael Le Grand
Fiona Leonard
Bruno Leti
Michael Leunig
Sandra Leveson
Colin Levy
Ave
Libertatemaveamor
Florence Libotte
Barbara Licha
Kevin Lincoln
Daryl Lindsay
Lionel Lindsay
Norman Lindsay
Song Ling
Phillip Litchfield
Vivienne Littlejohn
Norman Lloyd
Judy Lorraine
Arthur Loureiro
Kelsey Love
Genevive Loy
Joseph Lycett
Max Lyle
Elwyn Lynn
Peter Lyssiotis
Kirsten Lyttle
Boneta-Marie Mabo
Djambawa Marawili
Ms. N. Marawili
Hannah Maskell
Bitharr #2 Maymuru
Naminapu Maymuru-
White
David McBride
Stephen McCarthy
Elyss McCleary
Liza McCosh
Danny McDonald
Darren McGinn
Joseph McGlennon
Rob McHaffie
Alexander Mckenzie
Iain Mackinnon
Chips Mackinolty
Bruce Mclean
Bettina McMahon
Anne McMaster
Matthew Macnally
Ian McNeilage
Humphrey McQueen
Mary Macqueen
Stewie Magee
Ruggero Maggi
Tim Maguire
Frank P. Mahony
William Mahony
Marguerite Mahood
Victor Majzner
Jeffrey Makin
Henri Mallard
Mauro Manfredi
Lee Manger
Marion Manifold
Creagh Manning
Dean Manning
Carol Marando
Amanda Marburg
Graham Marchant
Donna Marcus
Richard Marquis
Jennifer Marshall
Aaron Martin
Brian Martin
Gabrielle Martin
Martin Hall & Co.
Julian Martin
Mandy Martin
Norberto Martinez
Namib Mata Mata
Terry Matassoni
John Mather
George Matoulas
Darren Matthews
Helen Maudsley
Adrian Mauriks
Vic Mavridis
Anne-Marie May
Ricky Maynard
Eileen Mayo
Clement Meadmore
Max Meldrum
Harry Memmott
Bill Meyer
R.J. Middleton
Elaine Miles
Hayley Millar Baker
Ferne Millen
Christine Miller
David Miller
Lewis Miller
Max Miller
Ian Milliss
nova Milne
Clement Millward
Erin Mison
Allan Mitelman
Denis Mizzi
Rebecca Monaghan
Anne Montgomery
Claudia Moodoonuthi
Milton Moon
Graham Moore
Glenn Morgan
Margaret Morgan
Kent Morris
Zan Morrison
Matthew Morrow
Kevin Mortensen
Sep Moussavi
Daniel Moynihan
Wendy Mpetyane
Josh Muir
Nick Mullaly
Ian Munday
Djamika Munungurr
Thelma Munungurr
Marrnyula Munungurr
Munandjiwui
Munyarryan
Fiona Murphy
Kendal Murray
Clive Murray-White
Emily Myers
Matthew Myers N
Sasha N.
Bardayal Nadjamerrek
Keiichi Nakamura
Emma Nangari
Roepke
Freda Napaljarri
Jurrah
Valerie Napanangka
Marshall
Dorothy Napangardi
Pansy Napangati
John Neeson
Simeon Nelson
David Newbury
Elizabeth Newman
Ann Newmarch
Mary Newsome
Polly Newsome
Mike Nicholls
Inbal Nissim
John Nixon
Sally Nixon
Rose Nolan
Sidney Nolan
Adam Nudelman
Alfreda Nungarrayi
Martin
Lena Nyadbi O
Ailsa O’Connor
Robert O’ Connor
Peter O’Mara
John O’Neil
Helen Ogilvie
Marta Oktaba
Jenna Oldaker
Zaita Oldfield
Bernard Ollis
John Olsen
Lin Onus
Desiderius Orban
Jenny Orchard
Laura Osborne
Dick Ovenden
Robert Owen
Lindy Panangka Rontji
Rona Panangka
Rubuntja
Polixeni Papapetrou
Reg Parker
George Parkin
Lenton Parr
Mike Parr
Ian Parry
Steaphan Paton
Sue Patton
Jim Pavlidis
John Peart
Lance Peck
Graeme Peebles
Georg Pencz
Laurence Pendlebury
John Perceval
Leon Pericles
Viki Petherbridge
Josh Petherick
Kathleen Petyarre
Emma Phillips
Brian Pieper
Owen Piggott
Vincent Pirruccio
Kenny Pittock
Wes Placek
Ada Plante
Kerrie Poliness
Gary Poulton
Patrick Pound
George Pownall
J. Presta
Barry Preston
Margaret Preston
Reg Preston
Phil Price
Geoffrey Proud
John Prout
Anthony Pryor
Clifton Pugh
Janice Pungautiji
Murray
Angelina Pwerle
Raokin
David Ray
Raymond Reardon
Charles Reddington
Lloyd Rees
Victoria Reichelt
John Reid
Johann Reiff
Francis Reiss
Reko Rennie
Frances Rhodes
Geoffrey Ricardo
J. Ricart
Jennifer Rich
Roger Richards
Charles Richardson
Elvis Richardson
Anne Riggs
Louise Rippert
Jacqueline Riva
Charles Robb
Betty Roberts
Ron Robertson-Swann
Jean-Francois
Robic
Ian Robinson
Lisa Roet
Andrew Rogers
Ralph Rogers
Kate Rohde
Robert Rooney
David Rose
Julie Rosewarne
Rachel Rovay
Ellis Rowan
Reginald Rowed
Ellen Rubbo
Victor Rubin
Peter Rushforth
Bernard Rust
Kathryn Ryan
John Ryrie
S
Stephen S.
Wazza Sahr
Tom Samek
Nina Sanadze
Sangeeta Sandrasegar
Olga Sankey
Jorg Seifert
Alex Selenitsch
Udo Sellbach
Jan Senbergs
Hiroshi Seto
Peggy Shaw
Garry Shead
Charlie Sheard
Max Sherlock
Shigeo Shiga
Heather Shimmen
John Shirlow
Alberr Shomaly
Mitsuo Shoji
Arnold Shore
Michael Sibel
Andrew Sibley
Marie Sierra
Dawn Sime
Roger Sims
Judi Singleton
Laura Skerlj
Glen Skien
Jeffrey Smart
Sally Smart
James Smeaton
Derek Smith
Gary Smith
Gemma Smith
Glen Smith
Les Smith
Nicholas Smith
Mahgo Smith-
Armstrong
Scotty So
John Solly
Andrew Southall
Felicity Spear
Gordon Speary
Pete Spence
Perren Spence-Pearse
Denis Spiteri
John Spooner
Ian Sprague
Anne Spudvilas
Stephen Spurrier
Vipoo Srivilasa
Wesley Stacey
J9 Stanton
Wendy Stavrianos
Richard Stringer
Mark Strizic
Elsie Struss
Guy Stuart
Alan Sumner
Eveline Syme
Albert T.
Wilma Tabacco
Chi-Ling Tabart
Rabindranath Tagore
Shigeru Taniguchi
Rynne Tanton
Jon Tarry
Frances Tatarovic
James Taylor
Neil Taylor
Peter Taylor
Philip Taylor
Violet Teague
Kathy Temin
Eric Thake
Frederick Thomas
Ray Thomas
Christian Thompson
Roma Thompson
Ann Thomson
Leslie Thomson
Graham Thorley
Lesbia Thorpe
Mark Threadgold
Bruce Thurrowgood
William Tibbits
Imants Tillers
Wingu Tingima
Richard Tipping
Freddie Timms
Bernard Tjalkuri
Mick Tjapaltjarri
Umatji Tjapalyi
Mary Tonkin
Hannah Toohey
Roger Towndrow
Jessie Traill
Ray Traplin
Ebony Truscott
Albert Tucker
Gael Turnbull
Lisa Uhl
Reggie Uluru
Hossein Valamanesh
Michael Vale
Leon Van Schaik
Prue Venables
Victorian Tapestry
Workshop
Cornelis Vleeskens
David Voigt
Kate Wallace
Roland Wakelin
Deborah Walker
Henry Jock Walker
Murray Walker
Thornton Walker
Wesley Walters
Raymond Walters
Japanangka
Ying Wang
Karen Ward
Lee Warren
Wathaurong Glass & Art
Jenny Watson
Judy Nagangardi
Watson
Judy Watson
Nyankulya Watson
Walyampari
Yannima Tommy
Watson
Alan Watt
Lisa Waup
Louise Weaver
Bradley Webb
Gerry Wedd
Tay Wee
Peter Wegner
Gali Weiss
Rosie Weiss
Gerard White
Kenneth White
Bruce Wilson
Laurie Wilson
Regina Wilson
Rhett Wilson
Ryan Wilson
Shaun Wilson
Zan Wimberley
Ingrid Wimbury
Jud Wimhurst
Robert Windsor
Michael Winters
Liyawaday Wirrpanda
Walter Withers
Gosia Wlodarczak
Dan Wollmering
John Wolseley
Jessi Wong
Vic Wood
Michelle Woody Minnapinni
Kylie Wren
Douglas Wright
Helen Wright
Bulthirrirri
Wunun murra
Djirrirra Wunun murra
Meng-Yu Yan
Xiang Yi
Dhopiya Yunupin u
Djakan u Yunupin u
Gulumbu Yunupin u
Gutin arra Yunupin u
Wanapati Yunupin u
Anne Zahalka
Paul Zika
Jenny Zimmer
Salvatore Zofrea
Alex Zubryn
Florence Quick
Ronald Quick
Hannah Quinlivan
Loretta Quinn
Nusra Qures
Charles Radnay
Rammey Ramsay
Timothy Ralph
Ian Sapwell
Louise Sartori
Fabio Sassi
Gillian Savage
Nike Savvas
Lisa Scharoun
Monica Schmid
Garry Scott
Vic Scott
John Scurry
Ray Seaford
Annette Stewart
Esther Stewart
Jeff Stewart
Kylie Stillman
Constance Stokes
Michael Stokes
Adam Stone
Tim Storrier
Theo Strasser
Noela Stratford
Stray Pages
Isabel Tweddle
Anne Twigg
Helen Tyalmuty
McCarthy
James Tylor
Peter Tyndall
Ian Tyson
Kevin White
Stephen Wickham
Arthur Wicks
David Wiggs
Normana Wight
Ginger Wikilyiri
Fred Williams
Jan Williamson
Anne Scott Wilson
DEAKIN UNIVERSITY ART COLLECTION
A Selection of Works
Volume Two
Published to coincide with the exhibition 50 Years of Collecting Deakin University Art Gallery 12 February to 4 April 2025
Published by Deakin University 978-0-6459431-2-2
500 copies
Publication design: Jasmin Tulk
Image measurements are height x width x depth.
© 2025 the artists, the authors and publisher. Copyright to the works is retained by the artists and his/her descendants. No part of this publication may be copied, stored in a retrieval system, transmitted or reproduced in any form or by any means without the prior written permission of the publisher and the individual copyright holder(s). The views expressed within are those of the author(s) and do not necessarily represent the views held by Deakin University.
Deakin University Art Gallery
Deakin University Melbourne Campus at Burwood 221 Burwood Highway Burwood 3125 T +61 3 9244 5344 E artgallery@deakin.edu.au www.deakin.edu.au/art-collection
Gallery hours Monday – Friday 10 am – 4 pm Closed on public holidays Free Entry
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Instagram.com/deakinartgallery
izi.travel - sculpture walk at Burwood
Publication funded with assistance from donations received from a variety of donors to the Deakin University Art Gallery gift fund. Donations to Deakin of $2 or more are tax deductible and an official receipt will be issued for tax purposes.
Further details and artists can be found via our searchable online database at colllections.deakin.edu.au/explore
Cover image: Kent Morris
Barkindji Blue Sky - Ancestral Connections #3 2019 giclee print on rag paper
113 x 163cm
Purchase, 2019
Deakin University Art Collection image © copyright and courtesy of the artist and Vivien Anderson Gallery, Melbourne
