The Drawing Room

The Drawing Room

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The Drawing Room Anastasia Klose Euan Heng Kenny Pittock Zilverster – Sharon Goodwin and Irene Hanenbergh Deakin University Art Gallery 13 February to 29 March 2018

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Foreword

We were delighted to present The Drawing Room at the Deakin University Art Gallery. Developed

by Curator James Lynch The Drawing Room was an exhibition that grew organically through alternating artist residencies at the Deakin University Art Gallery, Melbourne’s Burwood Campus. Artists Anastasia Klose, Euan Heng, Kenny Pittock and Zilverster (the collaboration of artists Sharon Goodwin and Irena Hanenbergh) all spent a week in the gallery space and we thank them most sincerely for their contributions and their willingness to interact so openly with our audience.

Through the exhibition’s emphasis on storytelling and the direct involvement of practitioners in the space, the project directly reflected on the ways we create meaning through art, the informative nature of exhibition making and the University context more broadly. I do hope you enjoy this record of a fascinating and important project from our annual exhibition calendar.

Leanne Willis Senior Manager, Art Collection and Galleries

The exhibition focused on the qualities of drawing as a medium of thinking and talking.

It included rarely seen works on paper from the Deakin University Art Collection displayed in the fashion of a “salon-style” hang. This diverse collection of works highlighted the intimate, informal, immediate and conversational nature of putting pencil, watercolour and ink to paper.

This exhibition involved much planning and I would like to acknowledge the dedicated work of Curator James Lynch whose commitment and energy brought the exhibition to fruition. The exhibition also involved an ambitious program of talks and workshops with the students from the School of Communication and Creative Arts.

I thank the many academics from the School including Professor David Cross for their support of this program. Thanks is also due to colleague Vanja Radisic who worked closely with James in the development of those programs.

Anastasia Klose's coffee and oil pastels

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Kenny Pittock Things are going swimmingly 2017 ink on paper

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Kenny Pittock Things are going swimmingly 2 2017 ink on paper

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Draw me a story

The impetus of this exhibition sprang from a desire to see the Deakin University Art Gallery full of life and to connect art and artists with our student audience and teaching programs in the most direct way possible. From these feelings, five Australian artists including Anastasia Klose, Euan Heng, Kenny Pittock and Zilverster - (the collaboration of artists Sharon Goodwin and Irene Hanenbergh) were invited to reside in the gallery for a week at a time to make drawings and engage with students and student life. A simple request on the surface, but one also fraught with risk. Failure of the artists to neither connect nor complete any work at all was a very distinct possibility and sometimes with even the best intentions the audience can just fail to show up which if so, would happen under the scrutiny of the public eye. My fingers were crossed.

Whilst the relevance of a drawing based exhibition in an era dominated by the digital could easily be argued, few would question that an appreciation and aptitude for drawing is still a central part of every artist’s training.

This exhibition began at this interface. Shared between artists, students wanting to learn and audience alike, spreading outwards with outcomes unknown.

In this spirit, Kenny Pittock actually completed the first work for this exhibition back in November 2017. Pittock responded to a request from me to draw an image of a 16th Century drawing room. I instantly regretted making such a direct ask of the artist, for what I received a week later revealed the anguish and challenge of working both to order and under the gaze of the audience. The images revealed the truth behind the professionalism and easy going attitude of the artist. The first drawing was one of the lone figure of an artist working in the dark at a small desk with a reading light illuminating a blank piece of paper. The artists face a contorted mask of pain and anguish confronted by the white rectangle of paper. The second drawing was a monstrous looking deep sea angler fish, its illuminated strobe lighting up the darkest depths of the ocean. Pittock instantly captured both my fears and hopes for this project, to take the leap and enter into an unknown encounter

with the audience and to bring creative life to the otherwise blank space of the gallery.

Lights in the dark To help facilitate this creative process and ease the pressures on the artists, the exhibition also included a large display of works on paper; drawings and prints from the Deakin University Art Collection. Smaller works on paper don’t go out on public display as often as more robust mediums like painting and sculpture, so it seemed a fortuitous opportunity to look at some rarely seen artworks in this context and to connect the work of previous artists with their contemporary colleagues. These Collection works were hung in a manner similar to the style of the salon, and the space half appeared like the setting of a drawing room. An architectural conceit to frame and facilitate the transformation from gallery to studio.

In old English country houses the tradition of a drawing room was a dedicated space designed to entertain visitors. Historically, a ‘withdrawing’ chamber was a place into which the owner of the house, family members or distinguished guests, could withdraw for privacy. The drawing room was a place for receiving visitors, for entertainment, and the service of tea and coffee following a meal. It was a space away from the more formal and public areas of the house which encouraged social interaction and play, comedy, story-telling and drama.

Lost in the fun house Since the 1980s artists have foregrounded figurative and narrative content in their artistic practices. In doing so, a more eclectic mix of styles, influences and backgrounds have been achieved today that connect drawing practices to long and varied artistic histories, legacies and traditions.i The artists featured in The Drawing Room connect to a kind of pre-modernity in their drawings. They each describe the mediated worlds in which we live, including a conflicting and eclectic mix of pop culture, fantasy life, folk-lore, religion, everyday satire and critique. In doing so, the artists have developed entertaining

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Draw me a story

and provocative personal vocabularies that reflect the social, cultural and political contexts of their time and place. They also share a commitment to the ideas of drawing as a direct living and communicative practice based on values of observation, reflection, critique and exchange.

Presence and production Over the last five years artist Anastasia Klose has expanded her practice from performance and video based works to also include an expressive and energetic enthusiasm for drawing. Faithful pets and other lost and rejected animals are often her subjects. Through the artist’s eyes they are rendered as fuzzy heroes often emanating super powers and magical insights of some kind.

Klose’s beloved Farnsworth, her trusty Basset Hound, is a star in these narratives and is both companion and the artist’s muse. Klose uses drawing and our affection for pets to connect the audience with deeper issues of love, loss and personal catastrophe. The difficulties and conflicts of pursuing a creative life in the real world is captured by Klose in coloured pencil, pen and paint. Her affection for pets helps render the injustices and difficult demands of living in the corporatized world of 2018 a little more easily. After taking leave from her 9-5 job in animal welfare, Klose was looking forward to having dedicated time to draw and think about art once again. During her residency Klose completed a large coloured pastel drawing The kill of the deer based on the Courbet painting from 1867 from the Musee d’Orsay, Paris.

Schema A very concise vocabulary of signs and symbols occur in the artistic world of artist Euan Heng.

His highly stylised representations are a result of schematic studies across drawing, printmaking, and painting. Heng’s flat depiction of the world is influenced by Italian iconography, medieval frescoes, and miniatures from Chinese, Indian and Persian traditions. The main protagonist in his symbolic universe is a modern be-suited man. This modern artist hero is often seen running, walking, smoking, riding, swimming

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and generally acting in his own world, or with his partner, a similar modern heroine replete with a bob, skirt and skivvy. In Heng’s most recent work the textures and details of his universe have become solid forms in their own right. The shape of a lamp or the curve of a hairstyle are singular studies where meaning is an interplay of poetic forms and geometry. Heng’s emphasis is given to positive and negative shapes, pattern, composition, design and figure/ground relationships moving closer to a language of abstraction and to the work of his peers and forebears. In Heng’s practice drawing is enjoyed as an exercise of repeated motifs and refinement, but also a funky mix of narrative possibilities.

Syntax The differing subjectivities of the artists, their idiosyncratic ways of seeing and being in the world, is where the contact and pleasure resides for the audience. Seeing the work of Kenny Pittock, whether through social media or through his self-published artist books and fanzines, one cannot help but enjoy the immediacy of his drawing. Often consisting of nothing more than black marker pen and texta on paper, Pittock’s wry view of suburban Melbourne life, the Australian vernacular, consumer and celebrity culture, and the boundaries of art and life, are captured in his drawings. The long daily public transport commute and a life of mundane dead end jobs is a rich resource he draws upon. Citing influences from David Hockney, Ed Ruscha, Martin Creed and David Shrigley, Pittock uses roughly written first person text to interpret observational drawings and objects. As a kind of extension of a social media presence, Pittock employs a comic autobiography reminding us that we are narrators of our own life stories.

Repurposing his motivations and ambivalences with humour he encourages us to “look not once but twice” asking deeper questions of nature and experience.ii Solving problems Artists Sharon Goodwin and Irene Hanenbergh have been close colleagues and friends for many years. Since 2010 their shared love of drawing

has combined to form a new chapter in their artistic careers. Under the banner of Zilverster they make collaborative pen, ink and watercolour drawings and intricately inscribed sculptural objects. Working to and fro on the production of each other’s drawings seemingly without end has led to a series of extraordinary works on paper that defy easy categorization. A hybrid form of artistic subjectivity, styles and subject matter has emerged in their work which often contrasts sublime romantic forces and landscape elements with medieval characters, architecture and scripture. Whilst some elements are recognizable from their individual practices, the two artists consciously play an advanced game of exquisite corpse. Zilverster shift our attention and focus away from the idea of the author, to the joy and fun of creativity and drawing itself.

i K atharine Stout Contemporary Drawing: 1960s to Now Tate Publishing, London, 2014, pp. 60 ii Jess Johnson Kenny Pittock Plains trains and automobiles http://www.kennypittock.com/www. kennypittock.com/Essay.html [Accessed 31 January 2018] iii Ed KrÄ ma Cinematic Drawing in a Digital Age, Tate Papers, no.14, Autumn 2010, http://www.tate.org. uk/research/publications/tate-papers/14/cinematicdrawing-in-a-digital-age [Accessed 30 January 2018].

Kit for grasping the world Whilst hanging the exhibition and preparing the space for the artist’s arrival I was reminded of the ways drawing can be infinitely translated and transferred. Arthur Wicks wonderful 1978 print the aforementioned, Kit for grasping the world displays an out-stretched hand as a measuring device for understanding and comprehending the landscape. An artwork that is simultaneously a drawing, print, documentation and instructional work. Many of the other works on display in The Drawing Room don’t strictly adhere to a fixed category of defined drawing. Instead, our expanded presentation grasps understandings of how drawing quickly changes and morphs into other media. Rather than a given technology, drawing is an interface of thought and feeling in transformation, generating a liveliness of artworks, audiences and processes in continuing relation to one and other.iii James Lynch Curator, Art Collection and Galleries

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Installation view Deakin University Art Gallery

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Anastasia Klose 27 February– 2 March 2018

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page 13 Anastasia Klose drawing, 2 March 2018 above and right Anastasia Klose The kill of the deer (details) 2018 french oil pastel on paper and adhesive tape

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Shane McGrath On the Outer 2015

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Euan Heng 6 – 9 March 2018

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page 17 Euan Heng begins work and artist workshop, 6 March 2018 above Euan Heng Propostion for painting - Icarus 2018 graphite, colour pencil and pastel on pattern making paper

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Kenny Pittock 13 – 16 March 2018

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page 21 Drawing portraits of Kenny Pittock by 2nd year Creative Arts students 13 March 2018. above and right Kenny Pittock Untitled 2018 Posca pen, ink and colour pencil on paper

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above and right Kenny Pittock Untitled 2018 Posca pen, ink and colour pencil on paper

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Zilverster – Sharon Goodwin and Irene Hanenbergh 20 – 23 March 2018

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page 27 Zilverster - Irene Hanenbergh (left) and Sharon Goodwin (right) 20 March 2018. pages 28-29 Zilverster Bedaurine - Gaja - Certe? (installation view) 2018 graphite and ink on Arches paper with hand torn edge pages 30-31 Zilverster Bedaurine - Gaja - Certe? (detail) 2018 graphite and ink on Arches paper with hand torn edge

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Anastasia Klose Born Melbourne, Australia, 1978 Lives and works Sydney, New South Wales

All works are copyright of the artist and courtesy of the artist and Tolarno Galleries, Melbourne.

Selected solo exhibitions: I Can’t Stop Living, Gertrude Contemporary, Melbourne, 2012; Refuse to Lose, Walker Street Gallery, Victoria, 2011; Nanna I’m still searching, Australian Centre for Contemporary Art, PopUp Program at the Venice Biennale Vernissage, Venice, Italy, 2011; I thought I was wrong, but it turned out I was wrong, The Australian Experimental Art Foundation, Adelaide, 2010; The Happy Artist, Tolarno Galleries, Melbourne, 2010; The Shortest Straw, Apartment, Melbourne, 2008; Anastasia Klose - The Best of… Spacement Gallery, Melbourne, 2006.

Selected group exhibitions: Menagerie, Australian Centre for Contemporary Art, Melbourne, 2015; Melbourne Now, National Gallery Of Victoria, Melbourne, Australia, 2013; Primavera Museum of Contemporary Art, Sydney, Australia, 2012; Contemporary Australia: Women, Queensland Art Gallery, Gallery of Modern Art, Brisbane, 2012; 21st Century: Art in the First Decade, Queensland Art Gallery, Gallery of Modern Art, Brisbane, 2011; TWMA Contemporary, Tarrawarra Museum of Art, Healesville, Victoria, 2010; Feminism Never Happened, Institute of Modern Art, Brisbane, 2010; Why we do the things we do, Perth Institute of Contemporary Art, Perth, 2009; Revolutions that turn: The 2008 Sydney Biennale, curated by Carolyn Christov- Bakargiev, online venue, 2008; Superstructure, West Space, Melbourne 2005

Selected bibliography: Michael Ascroft, Master of my inferiority, Be Young and Shutup , Issue 1, September 2006, [http://www.beyoungandshutup.org/article_ michael_ klose.html] Edward Colless, Undiscovered – Our Rising Art Stars – Anastasia Klose, Australian Art Collector, April 2006, p.130 Juliana Engberg, Uneasy Pieces, Art World, Issue 7, February/March 2009, p.60 Alexie Glass, Extimacy: A new generation of Feminism, Art and Australia, Vol. 47, Spring, 2009 Andrew Frost, Being a success is overrated – we should strive harder to fail, Sydney Morning Herald, 22 July 2009 Kitty Hauser, Public Works- Anastasia Klose, “Je suis une artiste Aussie!”, The Weekend Australian, Review, 11- 12 April 2009 Larrissa Hjorth, Photoshifting: Art Practice, Camera Phones and Social Media: The ramifications of new media, Photofile magazine, Issue 89, 2010 Anusha Kenny, Anastasia Klose: Becoming the person I am, Primavera 2012: Young Australian Artists, Museum of Contemporary Art, Sydney, catalogue, pp. 32 – 33 Natalie King, Critics Choice, Australian Art Collector, Issue 48, April – June 2009, p. 164 Robert Nelson, Twin Gardens of Artistic Eden depart at bitter bight, The Age, 1 April 2009 Gina McColl, Blowing Venice out of the Water, The Age, p.15, May 10 Andrew Stephens, Faking it – for very good reason, The Age, 12 December, 2013 Ashleigh Wilson, Women explore the themes of life in contemporary Australia, The Australian, April 23 www.tolarnogalleries.com

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Euan Heng Born Oban, Scotland, 1945. Arrived Australia, 1977 Lives and works Melbourne, Victoria

All works are copyright of the artist and courtesy of the artist and Niagara Galleries, Melbourne.

Selected solo exhibitions: make-believe, Niagara Galleries, Melbourne, 2016; Liquid Geometry, Niagara Galleries, Melbourne, 2013; Curious Music, Boutwell Draper Gallery, Sydney, 2011; A Fond Farewell, The Steeples, Newburgh, Scotland, 2010; E is For Elephant, Project Space, RMIT University, Melbourne, 2007; Turning for Shelter: A Survey Exhibition 1979–2005, Stonington Stables Museum of Art, Deakin University, Melbourne, 2006; Drawings, Australian Galleries, Sydney, 2005; Watercolours and Prints, Greenhill Galleries, Perth, 2003; Work in Progress, British School at Rome, Italy, 1999; Cycle, Latrobe Regional Gallery, Morwell, Victoria, 1991; Paintings, Watercolours and Drawings, 70 Arden Street Gallery, Melbourne, 1988.

Selected group exhibitions: Arthur Guy Memorial Painting Prize 2017, Bendigo Art Gallery, Bendigo, 2017; Deakin University Contemporary Small Sculpture Award, Deakin University Art Gallery, Melbourne, 2017; Between a rock and a hard place, Megalo Print Studio Gallery, Canberra, Australian Capital Territory, 2016; Geelong Contemporary Art Prize, Geelong Gallery, Victoria, 2014; A Collective Vision: Prints from the Art Gallery Permanent Collection 1970 – 2013, Castlemaine Art Gallery and Historical Museum, Victoria, 2013; Reading the Space: Contemporary Australian Drawing #3, NYSC, New York, 2013; Inspired editions, Robert Burns Birthplace Museum, Alloway, Scotland, 2012; Ultra Neon, Light Projects, Melbourne, Victoria, 2011; The Shilo Project, Ian Potter Museum of Art, University of Melbourne, 2009; Drawn Encounters, The Gallery at Wimbledon College of Art, London, 2008; Strange Geography, Kingsgate Gallery, London, 2007; Place Made, National Gallery of Australia, Australian Capital Territory, 2004; People in a Landscape: Contemporary Australian Prints, Cultural Centre of the Philippines, Manila and touring Taiwan, China, Singapore, Sri Lanka and Thailand, 2001; Recent Acquisitions, National Gallery of Victoria, Melbourne, 1997; 50th Anniversary Exhibition: Migration – Enriching Australia (1945–1995), The Australian National Maritime Museum, Sydney,

1995; Mixed Impressions, Ivan Dougherty Gallery, University of New South Wales, Sydney, 1994; Contemporary Australian Printmakers, Harbourfront Gallery, Toronto; Pratt Graphic Centre, New York, 1984; 10 Years, Dundee Young Painters: Dundee Museum and Art Gallery, Dundee, Scotland, 1977; Scottish Young Contemporaries, McClelland Galleries, Glasgow, Scotland, 1974.

Selected bibliography: Gary Catalano, Building a Picture: Interviews with Australian Artists, McGraw-Hill, Australia, 1997 Justin Clemens, Pictorial Suddeness: The Prints of Euan Heng, Deakin University, Melbourne, 2006 Robert Cook, ‘In the picture’, The West Australian, Weekend Extra, 26 April 2003 Kirsty Grant, Cutting Comments – Contemporary Linocuts 1995–1998, NETS, Victoria, 2000 Charles Green, ‘Euan Heng, Australian Galleries’, Artforum International, XL no.2, October 2001 Sasha Grishin, Australian Identities in Printmaking, The Australian Print Collection of the Wagga Wagga Regional Gallery, New South Wales, 2000 Peter Hill, ‘Zero Hour’, Sydney Morning Herald, Spectrum, 2003 Dr Greer Honeywill, ‘Euan Heng’ in Sonia Payes, Untitled. Portraits of Australian Artists, Macmillan Publishing, Melbourne, 2007 Jeff Makin, Critical moments, Macmillan Publishing, Melbourne, 2011 Susan McCulloch, The New McCulloch’s Encyclopedia of Australian Art, The Miegunyah Press and Aus Art Editions, Melbourne, 2006 Janet McKenzie, Australian Drawing #1, Macmillan Publishing, Melbourne, 2012 Laura Murray Cree, Awesome! Australian Art for Contemporary Kids, Craftsman House, Australia, 2002 Sheriden Palmer, ‘Euan Heng: The landscape of art – an artist’s tale’, Imprint, vol.32, no.3, Spring 1997 Robert Rooney, ‘Magic realism tour waiting to take you away’, The Australian, 14 August 1998 Kit Wise, Euan Heng: Conjured Constructions, Australian National University, Canberra, 2006 www.niagaragalleries.com.au 35

Kenny Pittock Born Melbourne, 1988 Lives and works Melbourne

All works are copyright and courtesy of the artist.

Selected bibliography:

Selected solo exhibitions:

Jane Albert, Sydney Gallery as Playful and Interesting As It’s Name, Broadsheet Sydney, 15 March 2018

52 Found Shopping Lists Written By People Who Need Milk, Bunjil Place Gallery, Victoria, 2018; Everyday Monuments, Artspace Realm, Victoria (with Carly Fischer), 2018; She Smiled At Me, Chan Hampe Galleries, Singapore, 2017; A series of self poor traits, Galerie Pompom, Sydney, 2015.

Selected group exhibitions: Suburbia, Cement Fondu, Sydney, 2018; Every Dog Will Have Its Day, Casula Powerhouse, Sydney, 2017; Open House, True Estate Gallery, Melbourne, 2017; Birds; Flight Paths in Australian Art, Mornington Peninsula Regional Gallery, 2017; Playful, Melbourne City Library, Melbourne, 2016; Cornucopia, Shepparton Art Museum, Victoria, 2016; Um…titled, Bus Projects, Melbourne,2016; Che Cosa!, Wollongong City Art Gallery, N.S.W, 2015; Life I Death, Anna Pappas Gallery, Melbourne, 2015; Art as a verb, Monash University Museum of Art, Melbourne, 2014; I Probably don’t like you, Death Be Kind, Melbourne 2014; NEW14, Australian Centre for Contemporary Art, Melbourne, 2014; Coming Soon, West Space, Melbourne, 2014; Hatched, Perth Institute of Contemporary Art, Perth, 2013; ANY AND EVERY THING AND ONE OTHER THING, Alaska Projects, Sydney, 2013; Is it straight?, George Patton Gallery, Melbourne University, Melbourne, 2012; Dot Dot Dot again, Lismore Regional Gallery, NSW.

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Carmen Angerer with Laura Jean, Art Humour Dialogue, un Magazine. Issue 11.2, Melbourne, pages 43-47 Andrew Frost, Young Hopefuls, Art Collector, April-June 2014, Issue 68, page 53 Fiona Gruber, Seinfeld, grand piano’s and talismans, The Guardian, 20 March 2014 Carrie Miller, 50 Things Collectors Need to Know, Art Collector, No. 3, Issue 75 Jan-March 2016, pages 80-81 Robert Nelson, NEW14 at ACCA is a Twinkling palette of light and vision, The Age, 26 March 2014 Helen Pitt, From Paddington to Parramatta; Artist’s paint their visions of suburbia, The Sydney Morning Herald 8 March 2018 Dan Rule, New faces get on board, The Age, 15 March 2014 Rebecca Varcoe, The fun art with Kenny Pittock, The Saturday Paper, 2 December 2017 Sharne Wolff, Home town 2, A series of self poor traits, The Sydney Morning Herald, Shortlist supplement, 12 May 2016 www.kennypittock.com

Zilverster Established 2010, Melbourne

Sharon Goodwin Born Melbourne, 1973 Lives and works Melbourne

Irene Hanenbergh Born Netherlands, 1966 Lives and works Melbourne

All works are copyright and courtesy of the artists and Sarah Scout Presents, Melbourne Zilverster has held solo exhibitions at Sarah Scout Presents, Melbourne, 2018 and 2015. Group exhibitions include: All the better to see you with, the Ian Potter Museum of Art, Melbourne University, Melbourne, 2017; Spring Art Fair at the Windsor Hotel, Melbourne, 2016 and at the Establishment Hotel, Sydney, 2015 2015; National Works on Paper Prize, Mornington Peninsula Regional Gallery, Victoria, 2016; I’m Genuinely Lost. Give me guidance Margret Lawrence Gallery, Melbourne 2016; Caves offsite, The Substation, Newport, Melbourne 2016; Lurid Beauty: Australian Surrealism and its echoes, National Gallery of Victoria, Melbourne, 2015-2016. In 2017 Zilverster undertook artist residencies at the Australian Tapestry Workshop, Melbourne and with Yarra City Council’s Room to Create program at Williams Reserve, Richmond.

Selected bibliography: Dylan Rainforth, Artists Sharon Goodwin and Irene Hanenbergh’s unlikely collaboration, The Age, 10 February 2015 Simon Maidment, Automatic Drawing published in Lurid Beauty: Australian Surrealism and its echoes, National Gallery of Victoria, Melbourne, 2015, pages 55 – 58. www.sarahscoutpresents.com www.zilverster.com

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Kenny Pittock Untitled 2018 Posca pen, ink and colour pencil on paper

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List of works from the Deakin University Art Collection included in the exhibition

WEST WALL 1. Barbara BRASH Bird 1953 linocut 11.3 x 17.5 cm 1986.56 2. John OLSEN Brett Whiteley about to Pounce 1979 lithograph 66 x 50.4 cm 1998.22 Gift of Grahame and Inge King, 1998 3. Mike PARR Untitled Self Portrait Set 1 #8 1989 copper plate drypoint etching 107.4 x 78.8cm 1993.96 4. Tim STORRIER Paper Journey 1982 lithograph, mixed media, collage 57 x 76 cm 1982.5 Purchase, 1982 5. Bob JENYNS Sculpture Design No.4 1979 coloured pencil on paper 38 x 28cm 1979.36 Purchase, 1979 6. Bob JENYNS Sculpture Design No.3 1979 coloured pencil on paper 38 x 28cm 1979.35 Purchase, 1979 7. Sidney NOLAN Untitled (Grampians) circa 1942 pastel on paper 13 x 17 cm 1983.1

8. Eric THAKE Sacred and Profane Love 1954 linocut 22 x 14 cm 2004.36 Donated through the Australian Government’s Cultural Gifts Program by Dr. Ursula Hoff, 2003 9. Linda JUDGE House Proud 3 1999 enamel on canvas 26 x 201 cm 1999.78 Purchase, 1999 10. John PERCEVAL Boys’ Ward, Stonnington 1938 pencil on paper 30 x 23 cm 1992.4 Purchase, 1992 11. Deborah KLEIN Mildred Pierce on St Kilda Pier 1995 linocut 74 x 53 cm 1996.20 12. Steaphan PATON Erasure 2016 synthetic polymer on colonial cotton canvas 56 x 36 cm 2017.65 Purchase, 2017 13. John BRACK (Mirrors and Scissors) 1966 Etching 38 x 56 cm 1986.53 14. Arthur WICKS Kit for Grasping the World 1978 Screenprint 76 x 57 cm 1978.3 Purchase, 1978

15. Peggy SHAW Selezione 1983 gouache on paper 61 x 46 cm 1984.2 Gift of the artist 16. Georg PENCZ King Porsenna, and Clelia Crossing the Tiber 1550 Engraving 8 x 11 cm 1995.34 17. Helen EAGER Hall Stand 1982 Linocut 41 x 24 cm 1992.265 18. Ann THOMSON Luna 1985 lithograph 42 x 62 cm 1998.39 Gift of Mr Guy Abrahams in memory of Christine Abrahams, 1998 19. Deborah WALKER The Tyranny 1991 Etching 35 x 28 cm 1992.19 20. David ROSE Radical 1971 Screenprint 67 x 48 cm 1992.127 NORTH WALL 1. Helen GEIER Adam and Eve 1976 Screenprint 53 x 76 cm 1998.14 Gift of Grahame and Inge King, 1998.

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List of works

CABINET 2. Ebony TRUSCOTT Form Drawings 2004 graphite on paper, unique artist book 25 x 105 cm (unfolded) 2016.343 Purchase, 2016 3. Treahna HAMM Yorta Yorta Tool Kit 2012 mixed media plant fibres 40 x 25 cm 2013.43 Purchase, 2013 4. Troy EMERY Wild Thing VII 2011 high density taxidermy foam and Tassel fringing 53 x 56 x 28 cm 2012.30 Purchase, 2012 NORTH WALL CONTINUED 5. Max COWARD Chinese Lion 1965 Linocut 25 x 33 cm 1965.1 Gift of the artist, 1965 6. Olga SANKEY Ad Infinitum 1983 lithograph 34 x 25 cm 1983.2 Purchase, 1983 7. William DELAFIELD COOK Capsicums 1981 conte and charcoal on paper 40 x 25 cm 1981.3 8. Noel COUNIHAN An American Artist 1962 coloured linocut 43 x 54 cm 1986.87 40

9. RAOKIN The Garden 1964 watercolour and pencil on paper 37 x 55 cm 2000.43 10. Helen MAUDSLEY Nudes 1986 watercolour and gouache on paper 43 x 43 cm (frame) 2007.01 Gift of the artist, 2007 11. Rob McHAFFIE Untitled (I usually wake up screaming) 2009 watercolour & pencil on paper 29 x 29 cm 2016.353 Purchase, 2016 12. Norma BULL Figures on a Beach (date unknown) watercolour and ink on paper 21 x 27 cm 1985.28 Gift of the Estate of Norma Bull, 1987 13. Janet DAWSON Parts of Fortune 1981 sprayed stencil 57 x 76 cm 1998.13 Donated through the Australian Government’s Taxation Incentives for the Arts Scheme by Grahame and Inge King, 1998 14. Bob JENYNS Sculpture Design No.1 1979 coloured pencil on paper 38 x 28 cm 1979.33 Purchase, 1979

15. Mary MACQUEEN Sunday Afternoon Practice (unknown date) watercolour on paper 24 x 27 cm 1954.1 Purchase, 1954 16. John BRACK Seated Nude 1986 Lithograph 77 x 57 cm 1998.8 Donated through the Australian Government’s Cultural Gifts Program by Grahame and Inge King, 1998 17. Noel COUNIHAN Mexican Girl 1970 linocut 62 x 43 cm 1992.216 18. Helen OGILVIE Old Slaughter House Yass, NSW 1972 oil on gesso on Masonite 15 x 21 cm 2004.24 Donated through the Australian Government’s Cultural Gifts Program by Dr. Ursula Hoff, 2003 19. Jennifer RICH Untitled 1973 softground etching 56 x 71 cm 1986.458 20. Sydney BALL Sericho 1980 screenprint 121 x 80.6cm 1998.33 Gift of Messrs Daryl and Julian Abrahams in memory of Christine Abrahams, 1998

Acknowledgements

Firstly, I wish to thank Leanne Willis, Manager and the Art Collection and Galleries team at Deakin for their unwavering support of this project which has challenged the traditional function of the gallery. Secondly, I would like to thank Brian Scales and Brad Rusbridge for their fine building and installation expertise. I would also like to acknowledge the continued support of the School of Communication and Creative Arts at Deakin including David Cross, Cameron Bishop, Simon Grennan, Ilona Jetmar, Hannah Bertram and Annika Koops for their enthusiasm and conviviality. Finally, I would like to thank the artists and their respective galleries for lending their work, time and positive energies to the project.

James Lynch

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The Drawing Room Ananstasia Klose, Euan Heng, Kenny Pittock and Zilverster - Sharon Goodwin and Irene Hanenbergh.

Exhibition dates 13 February to 29 March 2018 © 2018 the artist, the authors and publisher. Copyright to the works is retained by the artist 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. Unless otherwise indicated all images are reproduced courtesy the artists.

Photography is by Simon Peter Fox unless otherwise indicated.

Image measurements are height x width x depth.

Published by Deakin University 978-0-6483226-0-3 Online publication only Catalogue design: Jasmin Tulk 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 Tuesday – Friday 10 am – 4 pm Free Entry Deakin University CRICOS Provider Code: 00113B Cover image: The Drawing Room 2018 installation view Deakin University Art Gallery Back image: Anastasia Klose The kill of the deer 2018 French pastel, pencil and tape on paper courtesy of the artist and Tolarno Gallery, Melbourne Inner cover and back image: The Drawing Room 2018 installation view Deakin University Art Galleryr

Exhibition Curator: James Lynch, Art Collection and Galleries, Advancement

Facebook.com/ArtDeakin Twitter.com/ArtDeakin Instagram.com/deakinartgallery izi.travel - Deakin Art Collection and sculpture walk guides

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