Text - Re read

TEXT – RE READ

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TEXT – RE READ Andrew Christofides Tracey Coutts Janet Dawson Lesley Dumbrell Suzie Idiens Raafat Ishak Simon Klose Sean Loughrey Andrew Rogers Wilma Tabacco Stephen Wickham

Deakin University Art Gallery 24 October – 15 December 2023

Introduction

When Stephen Wickham first approached me with the concept for this exhibition, I was excited by the possibilities.

The origin or spark of an idea is something that I have long been interested in and to trace back to an article, book or even catalogue that has played a role in the development of an artwork is a fascinating concept.

Working in the arts over the years I have often had people question the more abstracted or non-objective pieces in the various collections. For example, when undertaking annual artwork audits and enquiring of an office occupant if they have any artworks in their area, the response was often ‘not unless you call that art…’ as they point over their shoulder.

To have such a simplistic response to works that are often conceptually intriguing has been over the years an endless source of frustration. So to have the art making process to some extent ‘demystified’ by considering the written word, is to encourage the viewer to look deeper into the work, read it beyond face value and consider the beginnings of the idea.

This is not an attempt to explain the work, or give it further gravitas, rather a call to look deeper and take more than an eight second glance at the work, if you watch the artist video you have to spend at least five minutes… a welcome reflection.1

Text - Re read

I thank the artists for being willing to participate in this exhibition and for their enthusiastic embracing of its concept, and thank them also for participating in the videos that are linked to their work via the scannable QR codes. Thank you also to Ben Gurvich from Benzen Video Productions for the development of those videos, Jasmin Tulk for the design of this catalogue and my colleagues within the Art Collection and Galleries Unit for their support, Claire, Tab, Cindy and James I thank you. I am delighted to present this exhibition as the now second exhibition held by the Centre for Abstract + Non-Objective Art. Lastly thank you to my co-curator Stephen Wickham.

His depth of knowledge and enthusiasm for this genre is inspiring and I have thoroughly enjoyed the opportunity to work with him once more.

Leanne Willis Senior Manager, Art Collection and Galleries Deakin University

1. Tate (2023), A guide to slowing looking Tate.

Available at: https://www.tate.org.uk/art/guide-slow-looking [Accessed 10 October 2023].

In 2017 Deakin University Art Gallery hosted The Void. Visible. Abstraction & Non-Objective Art. This exhibition was the first for the Centre for Abstract + Non-Objective Art at Deakin University.

The Centre was established to collect artworks, mount exhibitions and elucidate the history and place of Abstract and Non-Objective Art in Australian art. The Centre seeks to build an archive of primary material that can be accessed digitally and used for research into this field.

This Deakin University initiative was paused while the COVID-19 pandemic made its own tragic place in Australian history and the planned second exhibition was, like so much else, cancelled, postponed, rethought and now happily rejuvenated.

Text - Re read is the second exhibition held by the Centre for Abstract + Non-Objective Art. In addition to finished artworks, this exhibition presents a variety of materials and media that highlight the artist’s processes and concerns regarding books and texts of importance to each participant.

When first proposing this exhibition premise, I considered the notion I often hear, that of the artist as genius, other, outsider or one who is inspired by daemons and deities alike. It appears to some, that the worthiness or value of the art object is somehow greater if the hand of the artist is thought to be guided by some ineffable non-human force.

The idea of a direct correlation between genius and powerful sources of inspiration still have currency.

In my experience, the more exotic, esoteric or sublime the creative source is thought to be, the greater the awe and astonishment the artist is regarded with.

Western art history is brought to life with engrossing tales of the mad artist, or the divinely inspired genius with feet of clay. There must be a required myth, a grandiose vision that is something beyond either the invisible hand of the maker or a demonic/ divine enigma. In the absence of gods and angels, absinthe and madness, does human will provide the clue to greatness?

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In fact, the opposite is frequently true and on many occasions the origin of works, particularly in this genre, are not what appears at face value to be the creation of a mystical force, but have their origins clearly embedded in the written word.

The creative imagination is not diminished if the work declares this origin, it is the standing and influence of the written word in the artist’s practice that is of key interest and hence the premise of this exhibition.

The nexus between books and cultures has been the source of much of the great art of the occidental and oriental traditions. As much as this may be true, great art and artefacts continue to come from ancient and contemporary oral traditions where text is not central to cultural continuity and meaning.

European art history is as much a tension between the supremacy of one holy text over another and in the modern and post-modern eras, it is the rational and material circumstances that dominate cultural practices.

Modernity prized the educated, the progressive and all that was bounded by the scientific method and its avalanche of artefacts. Books of all types and subjects were the hallmark of personal and significant cultural standing. Being well informed and well-read seemed synonymous, artists as rational actors with imaginations and application.

Hence each artist invited to participate in this exhibition was asked to identify the source or origin of their idea, whether that be the series that the work came from or origins of a particular work. Books and articles of significance to each artist accompany the works that have been informed by them.

In one aspect of my work, I have looked back to Malevich’s Black Square from 1915. His work has been suggested as the first time a painting was done with the abandonment of classical naturalism instead presenting a pure form of painting. In this exhibition, you are invited to explore and hear from the other co-exhibitors by following the QR codes provided on the wall labels.

Art now navigates the era of AI, digital mazes and electronic labyrinths, where information retrieval and retention is immediate. The tactility of the book coexists with ephemera where light speed displaces the archaeology of knowledge. To misquote Professor Bernard Smith, sources and origins have become almost indecipherable.1 The internet is a place where identities are bought and sold, where intangible data replaces material culture. Block chain, non-fungible tokens and the blinking eye of the Midas cursor are now ubiquitous.

Have deep fakes become the new reality? Is a ten second view all I need to understand your origin story? Having already blasphemed against Bernard Smith I now corrupt the memory of Karl Marx as tradition continues to change and evaporates: all that is solid melts into the air....

Celebrating the thoughtful engagement with ideas, acknowledging the importance of words, texts, articles and books, from illuminated manuscripts to la poésie concrete words and the ideas therein, that have remained central to artmaking is not a backwards step, or a false reality. It is reviewing our engagement, re-reading our texts and celebrating their origins.

Happily today, moments, acts and networks of creativity are forever expanding, deepening our knowledge and understandings and do not come to artists from some luminiferous aether like Eureka or some ‘other’ worldly phenomena like The Fifth Element.2 Stephen Wickham

1. B ernard Smith ‘Modernism: That is To Say, Geniusism’ cited in Quarterly Journal of the Fine Arts, Volume 3, Number 2, Summer 1990, p. 56 2. T he fifth element refers to what was known as the aether, a special unknown substance that permeated the celestial sphere and was purer than any of the four terrestrial elements. The notion of a fifth element was broached by Plato and later written about by Aristotle, but neither philosopher used the term. The author also refers to the 1997 film of the same name, where the soprano character is symbolic of other worldly inspired consciousness.

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Andrew Christofides Book: The Civil Architecture of Vitruvius, 1813 edition. Vitruvius Pollio, Marcus. Translated

by William Wilkins, London, Printed by Thomas Davison, Whitefriars. For Longman, Hurst, Rees, Orme, and Brown, PaternosterRow. 1812.

Images left to right: Eternal Space II, 2015 acrylic on canvas 61 x 51 cm Photography by Michele Brouet Eternal Space III, 2015 acrylic on canvas 61 x 51 cm Photography by Michele Brouet

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Tracey Coutts Book: Design Rehearsals – conversations about Bauhaus lessons. Spector Books, Leipzig.

2019. ISBN 978-3-95905-270-2. Part 2: Questioning Knowledge. Tim Ingold In Conversation page 97.

Article: The Non-Objective World: Kasimir Malevich (exhibition catalogue). Paul Theobald and Company, Chicago 1959. Printed by I.S. Berlin Press; Part 1 – Introduction to the theory of the additional element in painting

Weave, 2016 acrylic on marine ply 102 x 64 cm Photography by Michael McMullan Opposite: (left) Untitled Series 1 (lines contract in), 2013 oil on marine ply 30 x 30 cm Photography by Michael McMullan (right) Untitled Series 2 (lines expand out), 2013 oil on marine ply 30 x 30 cm Photography by Michael McMullan

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Janet Dawson Book: First Man: The Life of Neil A. Armstrong, James R Hansen, Simon & Schuster USA, 2005. ISBN 0-7432-5631-X

(left) Parts of Fortune, 1981 sprayed stencil 89 x 66.5 cm Deakin University Art Collection, Purchase, 1981 (right) Untitled, 1972 charcoal on paper 71.3 x 85 cm Deakin University Art Collection, donated through the Australian Government’s Cultural Gifts Program by Anouk Hulme in memory of Etta and Emmanuel Hirsh 2021 Opposite: Easter Sunday Moon, 2019 acrylic and oil on panel 105 x 90 cm Deakin University Art Collection, Purchase 2023

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Lesley Dumbrell Book: Ian Paterson, A Dictionary of Colour – A lexicon of the language of colour, Thorogood Publishing Ltd, London, 2003

Gridelin, 2007 oil on linen 168 x 130 cm Courtesy of the artist and Charles Nodrum Gallery

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Suzie Idiens Book: Singular Forms (Sometimes Repeated): Art from 1951 to the Present.

Guggenheim Museum Publications. 2004. ISBN: 0-89207-308-X. Skinning Art. Mark C. Taylor. Page 25.

Article: The New Yorker. Under Review. June 15, 2022. How a Sculptor Made an Art of Documenting Her Life. Megan O’Grady

Untitled #9 (Pink Vertical), 2016 MDF, Polyurethane 118 x 22 x 11 cm Photography by Fiona Susanto Opposite: (left) Untitled #10 (Blue Vertical), 2016 MDF, Polyurethane 118 x 22 x 11 cm Photography by Fiona Susanto (right) Untitled #3 (Blue Wedge), 2017 MDF, Polyurethane 60 x 58 x 8 cm Photography by Fiona Susanto

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Sean Loughrey and Raafat Ishak Book: El Lissitzky. Life-letters-texts. Sophie Lissitzky-Küppers.

Introduction by Herbert Read. Published by Thames and Hudson, London, 1980.

Fanflag 7, Ocular Lab, 2006 150 x 60 cm Courtesy of the artists and Sutton Gallery Photographs courtesy the artists

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Simon Klose Book: Exhibition Catalogue Two Decades of American Painting author: Waldo Rasmussen (Lucy Lippard, G.R. Swenson) publisher: The Museum of Modern Art, New York Date 1967 Essay: Black on Black Author: Eugene Thacker Date: April 10, 2015 Publisher: website “The Public Domain Review”

no title, orange/pale green, 2023 acrylic on canvas on board 50 x 100 cm Opposite: (top) no title, orange/black, 2022 acrylic on canvas on board 40 x 80 cm (bottom) no title, green black/cream yellow (oil /gold), 2023 acrylic on canvas on board 40 x 80 cm

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Andrew Rogers Book: Sapiens; A Brief History of Humankind’ by Yuval Noah Harari Publisher: Harper; Illustrated edition, 10 February 2015 [English] ISBN 9780062316097

(left) I Believe IV, 2022 bronze and stainless steel 106 x 37 x 29 cm Photography Gavin Hansford (right) I Believe I, 2021 bronze and stainless steel 159 x 48 x 44 cm Photography Gavin Hansford Opposite I Believe II, 2021 bronze and stainless steel 181 x 44 x 39 cm Photography Gavin Hansford

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Wilma Tabacco Book: Charta: Dal papiro al computer, G. M. Cardona, Arnoldo Mondadori Editore, S.p.A., Milano

Lariat, 2022 oil on linen 183 x 183 cm Courtesy the artist and Gallerysmith Photography Mark Ashkanasy

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Stephen Wickham Book: Kasimir Malevich’s Black Square and the Genesis of Suprematism 1907–1915W. Sherwin Simmons Garland Publishing, Inc, New York & London. 1981.

ISBN 0-8240-3942-4 AACR2 Display page 314.

Article: Modern Painters. A Quarterly Journal Of Fine Arts. Volume 3 Number 2 June 1990. Modernism; That is to Say, Geniusism. Bernard Smith

But it’s getting there, 2023 oil on linen 30 x 30 cm, 92 x 54 cm, 27 x 26 cm Opposite Black Cruciform as Stupa Floor Plan, 1996 oil on linen 61 x 61 cm Deakin University Art Collection, Donated by the artist, 2017

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Artist biographies

Andrew Christofides Andrew Christofides was born in 1946 in Cyprus and migrated to Australia with his family in 1951.

He initially studied Economics at the University of NSW (1968–71), after which he travelled to Cyprus and the United Kingdom, where he lived from 1974 to 1982.

After completing studies in Fine Art at the Byam Shaw School of Drawing and Painting (1974–75) and the Chelsea School of Art (1975–78) in London, he received a Rome Scholarship and a studio residency at the British School in Rome (1978–79). This was followed by the Picker fellowship in Painting at Kingston Polytechnic in London (1979–80).

He has lectured in painting and drawing at numerous colleges of art in the United Kingdom and Sydney and was Head of Drawing at The College of Fine Arts (2003–2012).

He has had 37 solo exhibitions in New York, London and Rome, as well as in Sydney, Canberra, Adelaide and Melbourne.

Since 1975 he has been included in over 180 group exhibitions throughout Australia and overseas, including numerous museum and institutional exhibitions.

He is represented in public, institutional, corporate and private collections in Australia and overseas.

He is represented by Charles Nodrum Gallery in Melbourne and King Street Gallery on William in Sydney.

He currently lives and works in Sydney. www.andrewchristofides.com

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Tracey Coutts

Janet Dawson

Lesley Dumbrell

Suzie Idiens

Raafat Ishak

Tracey Coutts is an artist and designer predominantly working in painting and digital media. The process of technical drawing has been an inherent part of an interior design background. Her artistic practice concentrates on non-objective art forms, focusing on structural line work and geometric form. Continuing the drawing methods, using design tools as a means of construction, Tracey’s use of digital programs allows the interaction of non-objective ideas to extend beyond a two-dimensional platform, to then analyse the shifting of visual aspects occurring from two to three dimensional perspectives.

Janet Dawson, born in Melbourne in 1935, now lives and works in Ocean Grove, Victoria. After studies at the National Gallery School in Melbourne and the Slade and Central Schools in London, Dawson worked at Gallery A in Melbourne and held regular solo shows there from the 1960s through to the 80s.

Her early work was predominantly abstract painting, and since the 1980s she has also handled more figurative subjects including the human figure and still life. Dawson’s work has been the subject of numerous survey exhibitions including at the National Gallery of Victoria in 1979, the National Gallery of Australia in 1996, and a nationally touring show in 2006. Dawson was one of the few women to be included in The Field exhibition at the NGV in 1968 and has since been established as one of country’s most respected and celebrated artists.

For over forty years Lesley Dumbrell has been refining her technique of geometric abstract painting and is regarded today as one of Australia’s most respected artists in the field.

Suzie Idiens is a contemporary artist known for her geometric wall sculptures characterised by highly reflective surfaces. By using industrial materials and a meticulous process to remove any evidence of her own hand in the creation of her pieces, they become objects in their own right, mirroring their surroundings and making the observer integral to the work. She is interested in the subjective nature of perception and the paradox that arises when viewing reductive abstract art - the effects are self-referential and rational while simultaneously evoking a visceral experience. Her practice balances intuitive decisions with formal concerns, methodically adjusting geometric forms and restricting colour to a monochrome palette, resulting in singular objects with a minimalist aesthetic that bridge conventional notions of painting and sculpture. Making drawings, soft sculptures and installations are also part to her creative process.

Born Cairo 1967; arrived Melbourne 1982; lives and works Melbourne

Tracey received her Bachelor of Arts (Honours) in April 2015, this has followed a Bachelor of Creative Arts (Visual Arts), both from Deakin University, and a Diploma of Arts (Interior Design). She has exhibited across Australia in Melbourne, Sydney and Perth and has been an associate artist of Langford 120, 2016, completed an art residency at Gunyah, North Arm Cove, NSW and has works in the collection of Justin Art House Museum, Prahran, Vic. www.traceycoutts.com.au

Born in Melbourne in 1941, Dumbrell studied fine art at RMIT and taught at Prahran Technical College before holding her first exhibition of hard-edge painting at Bonython Gallery in Sydney in 1969.

She came to prominence in the 1970s with large scale optical paintings and through her involvement in the women’s art movement, including being a founding member of the Women’s Art Register and participating in the influential feminist magazine “Lip”. In 1990 she moved to Thailand, and has since maintained two home studios, one in Bangkok and one in Euroa in central Victoria.

Dumbrell’s richly coloured and intensely lined paintings are essays in colour, geometry and optical perception – as well as being an evocation of her surroundings; whether it be the tropical flora and bustling streets of Bangkok, or the rolling hills and vast skies of the Strathbogie Ranges, the work is about environment and atmosphere. www.lesleydumbrell.com

Born in the UK and raised in Germany, Idiens graduated from Middlesex University, London (1997) and studied at the Royal College of Art, London (1998). Her works are presented in public collections in Australia including Wollongong Regional Gallery and ArtBank, and private collections across Australia, Europe, UK and USA. Recent group exhibitions include Diadikasia, Galerie Pompom, Sydney (2021), Monochrome: Empty and Full, Margaret Lawrence Gallery, VCA, Melbourne (2018), Abstraction Twentyeighteen, Stephen McLaughlan Gallery, Melbourne (2018) and Visions of Utopia, Penrith Regional Gallery (2017). Idiens lives and works in Sydney.

Working across painting, sculpture, installation and site-specific drawing, Raafat Ishak’s practice is informed by the history of painting and architecture.

Raafat’s practice is generated through ubiquitous acts of research, experimentation, withdrawal, exclusion and fatigue. While self consciously embroiled in and submitting to the canonical historical impetus of early Twentieth Century modernism and the obscene undertones of pagan desert practices, Raafat’s meditation on the place of and logic for painting is premeditated on speculations on the complicity of the apathetic gesture in negotiating a troubled and grieving world.

Recent individual exhibitions include: Eye Looking at Large Glass Broken at Heide Museum of Modern Art, 2023, Eye Looking at Large Glass Broken two, Sutton Gallery, 2021, Chicken River, Gertrude Contemporary and Withdrawal Courtesies, Sutton Gallery, 2018: 1977, Sutton Gallery, Melbourne, Bushrangers, Platform Hero Billboard, Melbourne, 2016; Apnea, Sutton Gallery, Melbourne, 2015; Proposition for a banner march and a black cube hot air balloon (in collaboration with Tom Nicholson), Shepparton Art Museum, Victoria, 2012; and Raafat Ishak: Work in Progress, The Ian Potter Museum of Art, University of Melbourne, 2010.

Recent group exhibitions include: Overdrawn, Margaret Lawrence Gallery, Melbourne and Ninyang Academy of Fine Arts, Singapore, 2018; 100 Masterpieces of Modern and Contemporary Arab Art, The Barjeel Collection, Institute du Monde Arabe, Paris, 2017; A decolonial geographic, Devonport Regional Gallery, Devonport, 2017; Painting, More Painting, Australian Centre for Contemporary Art, Melbourne, 2016; The Other’s Other, Artspace, Sydney, 2012; Alienation, Barjeel Art Foundation, Sharjah, United Arab Emirates, 2012; The Future of a Promise, Venice Biennale, 2011; NEW010, Australian Centre for Contemporary Art, Melbourne, 2010; Cubism and Australian Art, Heide Museum of Modern

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Art, Melbourne, 2009; and The 6th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / Gallery of Modern Art, Brisbane.

Raafat’s work is held in many significant public and private collections, he is a founding member of Ocular Lab Inc and is represented by Sutton Gallery, Melbourne. Raafat is currently head of Painting at the Victorian College of the Arts, University of Melbourne.

Simon Klose

Sean Loughrey

Andrew Rogers

Wilma Tabacco

Stephen Wickham

Simon Klose began making and exhibiting art as a conceptual artist in 1971. In addition to a long commitment to artmaking Klose has spent some time lecturing in art schools and directing and curating public art galleries, exhibition programs and art collections in three states of Australia. More recently, as an artmaker, the artworks have drifted from rigorous minimal images and objects to a visually stimulating series of images with origins across psychology, Ikat weaving and Tapa cloth amongst other material.

Sean Loughrey was born in Melbourne in 1964 and studied at Warrnambool Institute of Advanced Education (now Deakin University), the Victorian College of the Arts, Melbourne and RMIT University, Melbourne. He completed his PhD at the Victorian College of the Arts and Music, University of Melbourne in 2016. He is currently a Lecturer in Art and Performance at Deakin University. He has been involved in exhibitions and collaborative projects for artist-run spaces and publicly funded galleries since 1988. He was also involved with the artist run initiative/collective ‘Ocular Lab’ between 2001-2010.

Andrew is a distinguished and internationally recognised artist. His critically acclaimed sculptures and photographs are exhibited internationally and held in numerous private and prominent public collections around the world.

Wilma Tabacco was born in the province of L’Aquila, Italy and has lived in Australia since childhood.

Her qualifications include Bachelor of Commerce (1972) and Diploma of Education (1973), Melbourne University; Diploma of Fine Art (1979), Phillip Institute, Melbourne; Master of Arts (1995), PhD (2006), RMIT University. She has lectured in painting, drawing and printmaking at the University of Melbourne, Canberra School of Arts, ANU and at RMIT in Melbourne and Hong Kong.

Stephen Wickham studied painting at the Victorian College of the Arts and graduated in 1974.

He informally pursued interests in photography.

The National Gallery of Victoria first acquired his photographs in 1974. Wickham’s works on paper, paintings, prints and photographs have been represented in private and public collections in Australia and overseas. He continues to exhibit in private and public galleries.

Simon Klose studied at Prahran College of Technology, Preston Institute of Technology, Victorian College of the Arts and Phillip Institute of Technology, finally graduating with a Post Graduate Diploma in Printmaking.

Exhibitions have been irregular but continuous since 1971, commencing at Pinacotheca Gallery and include Powell Street Gallery, Niagara Gallery, Charles Nodrum Gallery and Five Walls Gallery in the commercial sector and National Gallery of Victoria, Benalla, Ararat, Contemporary Arts Society,Sydney, Sydney NonObjective, Inhibodress Gallery Sydney in the non commercial sector. Artworks are held in public collections of Shepparton, Benalla and Burnie Regional Galleries as well as the National Gallery of Victoria and National Gallery of Australia study collection.

Simon Klose was awarded a Travel Grant from the Australia Council to study sculpture parks whilst Director of McClelland Gallery.

Sean works within a multi-disciplinary art practice, which includes photography, video, painting, drawing and sound-based projects. His Installations, paintings and photographic work examine the notion of imagined worlds. At times these ‘worlds’ acknowledge political histories, at other times histories within art.

The Installation projects are theatrically inspired, ‘imagined worlds,’ staged in and outside the gallery context. Many of these projects have “re-imagined” a specific work of Samuel Beckett as a springboard for a new work. The PhD research examined 1950s Communist Party of Australia archival material, Beckett’s Krapp’s Last Tape (1958) and the term ekphrasis – the telling of vision, in which ‘voice,’ seen as a type of material, was collectively exhibited.

Most recent studio-based work has examined photography as material, in which digital and analogue processes are united reflecting on representational and non-representational histories alongside associated political voices.

Both Rogers’ land art projects as well as his cast bronze and stainless steel sculptures are the subject of many publications by significant authors and documentary films which have been shown by Ovation TV, Discovery Channel, ABC USA, CBS, CNN, National Geographic and Fox Arts in the USA, Europe, Asia and Australia.

Rogers’ body of work is diverse and substantial.

He receives many international commissions for large-scale works in bronze and stainless steel and has created Rhythms of Life, the largest contemporary land art undertaking in the world. A connected series of 51 massive stone sculptures, or Geoglyphs, around the globe visible from space. The project has involved over 7,500 people in 16 countries across 7 continents.

She has received grants from the Australia Council including a studio residency in Italy and an Asialink residency in Seoul, Korea.

In 2011 she and Dr Irene Barberis established Langford120, a contemporary gallery space that closed in 2018 but still initiates occasional projects.

In her work Wilma Tabacco uses abstraction to map a broad range of pictorial fantasies premised on her interest in cultural histories, archaeological artefacts, architectural ruins. Through meticulously fine-tuned colour relationships, form and spatial constructions and pristinely painted surfaces she provides visual material for speculation on a past recast in the present to invoke the future.

Tabacco has presented 46 solo exhibitions since 1988, in Australia, Italy and Korea and participated in over 250 group exhibitions, including in New York, Dubai, London, Seoul, Paris, Edinburgh.

Her works are included in national and state collections including NGA, NGV, MOMA at Heide, GOMA Brisbane, Artbank, and private collections in Australia, USA and Europe.

Non-objective art has been at the centre of his painting and graphic works. His long-term photographic projects around Mt Buffalo National Park and Barwon Heads have been widely exhibited and collected.

Selected works are represented in collections at The NGA, NGV, State Library of Victoria, Penrith Regional Gallery, Geelong Gallery, Benalla Art Gallery, Gippsland Art Gallery, Wollongong Art Gallery, Melbourne University Collection, Australian Embassy Washington, MAMA, Counihan Gallery, Museum of Modern Art at Heide, Ballarat Fine Art Gallery, McClelland Gallery, Victorian College of the Arts Collection, Art Bank, Commission for The Future, New England Regional Art Museum, Horsham Regional Art Centre, New England Regional Art Museum, Ballarat Fine Art Gallery, Monash Gallery of Art, Australia Print Workshop Archive, Warrnambool Art Gallery, Burnie Regional Art Gallery, RACV Collection, State Library of South Australia and the National Library of Australia; as well as in Australian and international private collections.

Stephen Wickham lives in Barwon Heads Victoria.

www.wilmatabacco.com

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Text – Re read Andrew Christofides Tracey Coutts Janet Dawson Lesley Dumbrell Suzie Idiens Raafat Ishak Simon Klose Sean Loughrey Andrew Rogers Wilma Tabacco Stephen Wickham Deakin University Art Gallery 24 October – 15 December 2023

© 2023 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 of the artists.

Photography is by Simon Peter Fox unless otherwise indicated.

Image measurements are height x width x depth.

Exhibition curators: Leanne Willis and Stephen Wickham Published by Deakin University ISBN 978-0-6459431-0-8 Edition 500 copies Catalogue design: Jasmin Tulk Deakin University Art Gallery Melbourne Campus at Burwood 221 Burwood Highway Burwood 3125 T +61 3 9244 5344 E artgallery@deakin.edu.au deakin.edu.au/art-collection Gallery hours Monday to Friday 11 am – 5 pm Free Entry Deakin University CRICOS Provider Code: 00113B

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