UTS: GALLERY & ART COLLECTION
CONTENTS 2011 IN REVIEW HIGHLIGHTS & ACHIEVEMENTS STAFF ACTIVITIES WIDENING PARTICIPATION UTS GALLERY SUMMARY EXHIBITION PROGRAM UTS ART COLLECTION SUMMARY ACCESSIONS LOANS
Reporting period: Jan–Dec 2011 Contact person: Tania Creighton, Curator, UTS Gallery & Art Collection
2011 IN REVIEW UTS is dedicated to the presentation of innovative practices to allow engagement with diverse social and research communities. Reflecting this commitment to freedom of enquiry, UTS Gallery & Art Collection plays an integral role in fostering creativity and creative uses of technology, with the aim of generating ideas and the forums to investigate them. 2011 was another active and successful year with over 30 engagement events hosted, including the University Art Museums Australiaâ€™s (UAMA) biannual meeting. Over 15,000 visitors enjoyed an artistic program of six temporary exhibitions, featuring works by 39 artists across two venues.
Incidental Data installation view with detail of Pen Prints in process by Daniel Eatock
As well as a publication guide accompanying each exhibition, there were thirteen public talks with participating artists, curators and guest speakers. Facilitating engagement with academia, these events also contributed to UTS thought leadership and creative practice. UTS Art Collection managed 11 acquisitions, 11 new loans, dispatched 32 closed loans and over 250 location changes. A significant number of these moves were artworks relocated to enhance UTS public spaces and offices, with the remainder relocated to temporary storage as a result of UTS City Campus Master Plan development.
Natural Digression installation view with Nanoplastica (left) by Erica Secombe and Touching Space by Ellis Hutch
HIGHLIGHTS & ACHIEVEMENTS UTS GALLERY An autonomous and interdisciplinary space, the gallery critically engages through curated exhibition programs, presenting the work of international and local practitioners. Featuring artists from as far afield as Canada, USA, Hungary, the UK and Thursday Island, the exhibitions showcased divergent mediums. From needlepoint to interactive installations, historical artifacts to light and soundscapes, digital prints, photography and painting to durational artworks ‘creating’ themselves in transit or in the space throughout the course of the show. One of our aims is to support early career artists through exhibition and collection. As a result of our first exhibition, Natural Digression, several works were purchased by the national Artbank collection. All 2011 exhibitions clearly enacted the UTS descriptor, a place where creativity meets technology. Part of Art Month, Natural Digression was a tightly curated exhibition presenting works by 7 women, most undertaking PhDs at the time. Erica Seccombe, a recent
Synapse resident Visiting Fellow in the Australian National University (ANU) department of Applied Maths, accessed the latest scientific imaging techniques to create Nanoplastica, a digital animation rendering molecular data of insects in shape, movement and colour. Signaling a possible new direction for the UTS Art Collection a 3-channel work of video art was acquired, Christian Thompson’s Heat. This acquisition was the result of curatorial research for our second exhibition, change has come, presented in the Tower Foyer exhibition space. The opportunity for emerging curator Nicole Foreshew to curate this project was made possible through Arts NSW Indigenous Program funding. Our 2011 artist-in-residence, Alex Davies, staged The Black Box Sessions, a major interactive installation developed during his time in Linz, Austria. As part of Sydney Design 11, UTS Visual Communications academic Dr Kate Sweetapple curated Incidental Data which was seen by a record number of visitors on UTS Open
Day. Another large scale 3-channel video was featured in The Fall before Fall, Daniel Mudie Cunningham’s poetic meditation on memorialisation, memory and media coverage around 9/11. Our final exhibition was conceived and curated by UTS Gallery staff member, Holly Williams. Creative Accounting examined our relationship to money and the economic system, timely given instability in the financial markets and the rise of movements such as Occupy Wall Street. The exhibition contributed to the debate with humor, beauty and surprise; bringing together artistic mediums including sculpture, painting, video and photography and included objects from the Powerhouse Museum and the Westpac Archives. A Wednesday night public program series accompanied the exhibition with rich and innovative content. Other public program highlights included the ‘In Conversation’ for The Fall Before Fall, with artist Elvis Richardson and curator Katie Dyer, and another with Andrew Frost and Alex Davies. In August the Data Poetry seminar attracted a full house.
change has come installation view with Heat by Christian Thompson Incidental Data installation view with detail of Library Card by Chris Gaul in use
UTS ART COLLECTION Several new artworks were acquired via the UTS Gallery exhibition program, a practice we aim to continue to create a lasting legacy of exhibition programming. An historically important set of photographs taken by Max Dupain in 1978, including one a signed original, were also purchased. These evocative, black and white silver gelatin prints feature the Kuring-gai Campus just after its completion. They are currently exhibited in refurbished public spaces at that campus, as part of a university initiative to enliven the Kuringgai Campus. Early in the year we took delivery of two striking new commissions, portraits of the Chancellor and Vice-Chancellor, by local artist Danelle Bergstrom. We were also delighted to accept the generous donation from Pat Corrigan of four photographs by contemporary New York/Melbourne based photographer Matthew Sleeth. At year’s end an exciting project to reconstruct an early Ken Unsworth sculpture began.
Online activities expanded with more exhibition resources and publications available for download, and a new blog highlighting work in the UTS Art Collection. Social media has enabled access to talks, press reviews and radio interviews. These initiatives have been well received and have built a dedicated following. In June, artworks from the Collection were incorporated into an exhibition titled Touch Too showcasing academic research by Dr Anne Cranny-Francis in the UTS Tower Foyer exhibition space. The curatorial team assisted in the delivery of other foyer exhibitions including; Unsafe Haven, a photographic response to the threatened repatriation of Afghan refugees, by Hazara and UTS Alumnus, Abdul Karim Hekmat. This was followed by Unseen Ways an exhibition of eight Sydney artists working within specialised or supported creative studio environments.
STRATEGIC PLANNING Widening Participation Strategy (WPS) funding, accessed through the Equity & Diversity Unit (EDU), has enabled the appointment of an Education & Outreach Coordinator. This fixedterm position works as part of the Gallery team to develop programs for secondary and tertiary students from low socio-economic schools (low SES), providing an exciting new pathway for prospective students to experience UTS. Workshops with associated Resource Packs were provided to over 100 students visiting from five target low SES schools; including students from Tranby and Eora Indigenous colleges. This WPS is to be extended into 2012. Concluding 2011, the preparation of the UTS Art Strategy commenced, to be ratified by UTS Senior Executive in the first quarter 2012. This strategy will chart the next five years for UTS Gallery & Art Collection, looking towards the new gallery space, and consolidating our role within the new UTS campus and local community.
ACKNOWLEDGEMENTS Our programs are made possible by the financial assistance of generous sponsors and those who provide invaluable in-kind support. Foremost amongst these are Coopers and Oyster Bay Wines and Media Partner 2ser. I would also like to acknowledge the following partners: Art Month Sydney; UTS Jumbunna Indigenous House of Learning; Transforming Cultures Research Centre; Timeâ€™s Up, Object Gallery; Powerhouse Museum and Sydney Design; Westpac Banking Group Archives; Refraction; DAB LAB research gallery; Bangarra Dance Theatre. Other funding support came through the Australia Council, the Australian Governmentâ€™s arts funding and advisory body, City of Sydney, and Arts NSW. The Widening Participation Strategy (WPS) is assisted by the Australian Government through funding from the Higher Education Participation and Partnerships Program (HEPPP) distributed by the Department of Education, Employment and Workplace Relations (DWEER).
Much gratitude goes out to the many artists and curators who have generously contributed to our program this year and to all the UTS academics and staff who provide instrumental support for our activities through participation on committees, on panel discussions or through venue hire for events. Once again, heartfelt thanks to UTS Art Advisory Committee Chair Luca Belgiorno-Nettis and all the AAC members for their time and generous counsel and also the Art Gallery & Exhibitions Working Party, in particular Mark Lillis for his guidance and genuine support. My sincere appreciation to our very creative, able and committed curatorial team, Holly Williams, Janet Ollevou and Felicity Sheehan. I also acknowledge the valuable contributions of Alice McAuliffe, our new Education & Outreach Coordinator, as well as the contribution of installers Kenzee Patterson, Levon Broederlow, George Pizer and John Webb; it is a pleasure to work with them all. Tania Creighton, March 2012
The Fall Before Fall installation view with The End, Now 7 Years Later and Recover by Elvis Richardson (foreground) and Hold Your Breath by Daniel Mudie Cunningham (background)
STAFF ACTIVITIES TANIA CREIGHTON Curator, UTS Gallery & Art Collection
HOLLY WILLIAMS Assistant Curator/Program Coordinator, UTS Gallery
Co-hosted meeting with 11 University Art Museum Australia (UAMA) Directors; competition judging UTS In-Fusion Festival Photography; partnered on Sydney Design talk; Australian Design for the next decade; assisted on Tower Foyer exhibitions including Unseen Ways & Unsafe Haven.
Curated Creative Accounting exhibition and public program at UTS Gallery; initiated The Department of Art - Sydney association of academic art museums & galleries; UTS Project Management Course, EEP project initiation
Training: Introduction to Financial Management tools training; UTS Project Management Course, EEP project initiation; Mental Health First Aid training; Adobe Indesign Training workshop. Attended: Networking meetings with The Department of Art; Sydney association of academic art museums & galleries; City of Sydney New Century Garden Public Art Forum at 4A Gallery; Planning meetings for UTS participation in ISEA 2013; Stakeholder consultations on UTS Wayfinding Design & Public Spaces and Digital Media Production; CUSP project dinner & Now and When: Australian Urbanism launch at Object Gallery; Central Park artist-in-residency program launch; National Cultural Policy Workshop at MGNSW; insite Conference & Workshop: Reprogramming the art museum: Curatorial & education strategies for the 21st century at AGNSW and follow up consultation; TFC/ICE Cultural Exchange Showcase.
JANET OLLEVOU Assistant Curator, UTS Art Collection (Part-Time) Training: UTS Project Mgmt Course, EEP project initiation. Attended: THATCamp (Technology and Humanities conference), Faculty of Arts and Design, University of Canberra
Attended: insite Conference & Workshop: Reprogramming the art museum: Curatorial & education strategies for the 21st century at AGNSW; curatorial research visits to Museum of Old and New, Hobart and 21st Century, GOMA, QAG, Brisbane; Charlotte Cotton lecture, National Media Museum London, NAS
ALICE McAULIFFE Education & Outreach Coordinator UTS Gallery (Part-Time) Training: Diploma of Government (Community Capacity), University of New England; Communication Styles workshop, UTS; UTS Project Management Course, EEP project initiation; Adobe Indesign Training workshop Attended: Developing Audiences for Contemporary Art and Craft, MGNSW, Living as Form summit, New York
WIDENING PARTICIPATION In 2011 UTS Gallery was awarded a grant to initiate an Education and Outreach Program in an attempt to plant the seed of tertiary education in the minds of secondary students from disadvantaged backgrounds. The program was run through the Equity and Diversity Unit under the Widening Participation Strategy (WPS). Visual Arts students in Year 9 and Year 10 were invited to UTS Gallery to engage in artist led workshops designed to extend and enhance students’ understanding of the exhibitions and context of the work’s production. For each workshop an accompanying education resource was written giving more information and context concerning the artists and their practice. The education resources linked the exhibitions with Stage 5 (Years 9 & 10) of the NSW Visual Arts syllabus and could be used as a learning resource for teachers to stimulate classroom discussion after the event. Five schools visited during three exhibitions, The Black Box Sessions, Incidental Data and Creative Accounting, and nine workshops were held involving over 110 students. As well as a full colour printed education resource each student
was given information on studying at UTS, course information and upcoming WPS events. A curator’s talk for the exhibition change has come was presented in collaboration with Jumbunna Indigenous House of Learning (JIHL) for Eora TAFE and Tranby College students. A follow up visit to Tranby College with JIHL staff and Indigenous FASS academic Heidi Norman gave the students more specific information about the benefits and possibilities of studying at UTS. On Indigenous Literacy Day (7 September), local Indigenous high school students were invited to attend a movement workshop based on Michael Riley’s exceptional photographic series, Cloud (2000). The series is on loan to UTS from the Corrigan Collection. The workshop was developed in collaboration with Bangarra Dance Theatre to compliment their choreographed piece inspired by this series. The WPS is assisted by the Australian Government through HEPPP and DWEER funding.
Alice McAuliffe introducing students to Michael Riley’s Cloud series for Indigenous Literacy Day
Year 9 students producing their own artworks as part of a WPS workshop for the exhibition Incidental Data in August
Creative Accounting installation view with various adding and banking machines on loan from the Westpac Banking Group Archives
2011 EXHIBITION SUMMARY NATURAL DIGRESSION 8 March–8 April seven artists, one curator, 2,270 visitors, three public programs and events
CHANGE HAS COME 28 April–3 June 11 artists, one curator, (n/a) visitors, two public programs and events
INCIDENTAL DATA 2 August–2 September six designers & artists, one curator, 3,950 vistors, nine public programs and events
THE FALL BEFORE FALL 13 September–14 October two artists, 2,200 visitors, three public programs and events
THE BLACK BOX SESSIONS 31 May–15 July one artist, six week artist-in-residence, 1,950 visitors, three public programs and events
From left exhibition opening for Natural Digression; installation view of Emily McDaniel’s work on the ‘smart slab’ in change has come, UTS Tower Foyer; WPS student workshop during The Black Box Sessions
CREATIVE ACCOUNTING 25 October–25 November 12 artists, one curator, 2, 870 visitors, eight public programs and events
From left exhibition opening for Incidental Data; installation view of Elvis Richardson’s work in The Fall Before Fall; exhibition opening for Creative Accounting
NATURAL DIGRESSION 8 Marchâ€“8 April Opened by Rosalyn Diprose, Professor of Philosophy, University of NSW.
Natural Digression installation view with work by Kirsten Farrell
Natural Digression brought together seven crossdisciplinary artists whose work connects through a shared curiosity of how visual narratives are created to describe the moment of passing between fact and fiction. Influenced by literature, history, philosophy and science, the artists combined high and low technologies, working across mediums such as needlepoint, video, animation, paint, hot glue and collage constructions.
(foreground), Penelope Cain, (centre left), Al Munro (centre right) & Erica Secombe (background) Natural Digression installation view with work by Waratah Lahy (left), Rose Montebello (background) & Kirsten Farrell (foreground)
PARTICIPANTS Penelope Cain, Kirsten Farrell, Ellis Hutch, Waratah Lahy, Rose Montebello, Al Munro and Erica Seccombe. Curated by Yolande Norris.
STRATEGIC RELATIONSHIPS Internal engagement: Transforming Cultures Research Centre for The Art of Fact & Fiction. External engagement: Part of Art Month Sydney.
PUBLIC PROGRAM ·· Panel Discussion The Art of Fact & Fiction on 7 April. UTS academics Katrina Schlunke & Lian Loke joined artist, Erica Seccombe. ·· Three floortalks for students from ANU, Meadowbank & Ultimo Tafes.
MEDIA HIGHLIGHT Review by Tracy Clement ‘Natural Digression’ Art Guide Australia, May/June.
PUBLICATION Colour, folded A5 exhibition guide with essay by Yolande Norris, designed by Caper Creative.
VISITOR COMMENTS Great work!! I particularly like the 3D animal work & video art. Sean Jackson. I am an artist from Canada, passing by, I really liked the show! Clear concepts, lovely execution! Great show!! Helene Lefebure.
CHANGE HAS COME 28 Aprilâ€“3 June UTS Tower Foyer exhibition space, Building 1. Opened by Professor Michael McDaniel, Director of Jumbunna Indigenous House of Learning.
change has come installation view with Jonathan Jonesâ€™ sitespecific installation untitled
Through the diverse work of 11 artists, change has come reflected on the power of digital and electronic media as a mediator for change and possibility. The exhibition showcased large projections, video, animation, light and soundscapes that conjure up the past, as well as re-imagining the present and future.
(chevrons), 2011 UTS Tower change has come installation view with work by Shay Tobin (left), Christian Thompson (centre) and Francis Wallace (right)
PARTICIPANTS Kresna Cameron, Destiny Deacon and Virginia Fraser, Jonathan Jones, Emma Loban, Emily McDaniel, Vanessa Summerfield, Christian Thompson, Shay Tobin, Francis Wallace, Joshua Yasseries. Curated by Nicole Foreshew.
STRATEGIC RELATIONSHIPS Internal engagement: UTS Jumbunna Indigenous House of Learning, Marketing and Communications Unit (MCU). External engagement: Arts NSW, Eora TAFE and Tranby College.
PUBLIC PROGRAM ·· Artist & curator ‘In Conversation’ held on Thursday 5 May with Nicole Foreshew, Jonathan Jones and Shay Tobin.
MEDIA HIGHLIGHT ‘Questioning change, creating possibility’ U:Magazine, April 2011, interivew with the curator. The Black Book, May 2011, NSW calendar & interview with the curator, blackbook.com.au
PUBLICATION Folded A5 exhibition guide with text by Nicole Foreshew, designed by Gary Vicente.
THE BLACK BOX SESSIONS 31 Mayâ€“15 July Created by the 2011 artist-in-residence, Alex Davies, The Black Box Sessions presented a spectacle writ large in the intimacy of a personal theatre. Audience members experienced unique performances in a pitch-black space by a troupe of international entertainers, captivating crooners and burlesque beauties. Drawing on surveillance technology and notions of peepshows, the performances were viewed via an infrared camera and monitor system in an installation environment which shifted the relationship between performer and spectator.
The Black Box Sessions installation views
PARTICIPANTS Alex Davies, 2011 artist-in-residence. PUBLIC PROGRAM ·· Artist and critic ‘In conversation’ with Andrew Frost and Alex Davies held on Monday 6 June.
STRATEGIC RELATIONSHIPS Internal engagement: Faculty of Arts & Social Sciences (FASS). External engagement: WPS target high schools, Time’s Up, the Australian Government through the Australia Council
PUBLICATION Folded A5 exhibition guide with essay by Adam Jasper, designed by Holly Williams.
MEDIA HIGHLIGHT Review by Gail Priest in Real Time, e-dition 103, 12 July 2011. VISITOR COMMENT Interesting, scary, awesome, love the peep hole effect! Great idea. Jane Ng
INCIDENTAL DATA 2 Augustâ€“2 September Through inventive and unexpected ways, six artists and designers provided insights into our incidental activities, capturing the unseen data of the everyday. Devoid of graphs, charts and diagrams, at first glance this exhibition seemed to have little to do with information graphics but each work in some way measured, recorded and revealed overlooked phenomena and human activity. Many of the works also incidentally produced data â€“ information visualisation a by-product of a process, not the primary intention.
Incidental Data installation view with work by Christopher Baker (left) and Daniel Eatock (right) Incidental Data installation view with Mk3 Postal Drawing Project (left) and Tree Drawing Larch on Easel #1 (4pen) The Bow, Borrowdale, Cumbria (right) by Tim Knowles and Orphan by Sam Winston (background)
PARTICIPANTS Christopher Baker (US), Daniel Eatock (UK), Chris Gaul (Australia), Stacy Greene (US), Tim Knowles (UK), Sam Winston (UK). Curated by Dr Kate Sweetapple. PUBLIC PROGRAM ·· Floortalk with Dr Kate Sweetapple held on 11 August. ·· Data Poetry seminar held on 10 August with Kate Sweetapple, Mitchell Whitelaw from the University of Canberra, Interaction Designer Elisa Lee, and Ben Hosken from Flink Labs. PUBLICATION Folded A3 exhibition guide with essay by Dr Kate Sweetapple, designed by Chris Gaul.
STRATEGIC RELATIONSHIPS Internal engagement: Visual Communications course in the School of Design, Faculty of Design Architecture and Building (DAB). External engagement: WPS target high schools, Sydney Design 11, presented by the Powerhouse Museum. MEDIA HIGHLIGHT Review by Kate Britton, City Hub, 18/08/11, p 42. VISITOR COMMENTS Amazing. Interesting. Surprising and informative. Oscar So beautiful! Fabulous exhibition – sharp concepts, solid execution. Lauren Brown
THE FALL BEFORE FALL 13 September–14 October With a shared conceptual interest in how history, time and place are represented through the death and obsolescence of material culture, Daniel Mudie Cunningham and Elvis Richardson contemplated 9/11 a decade after the event. Conceived as a memento mori, the artists considered the cultural and social processes that animate our understanding of 9/11 through video and installation-based artworks.
The Fall Before Fall installation view with Daniel Mudie Cunningham’s Hold Your Breath The Fall Before Fall installation view with Elvis Richardson’s works clockwise from centre: Recover, Tomorrow, The End, and Now 7 Years Later
PARTICIPANTS Daniel Mudie Cunningham, Elvis Richardson. PUBLIC PROGRAMS ·· Artist & curator ‘In conversation’ with Elvis Richardson and Katie Dyer held on 13 October. ·· Floortalk with Daniel Mudie Cunningham held on 15 September. ·· Panel discussion held on 13 September with UTS PhD candidate Andrea Connor, academic and journalist Marcus O’Donnell and writer, Ann Finegan. PUBLICATION Folded A5 exhibition guide with essay by Anna Gibbs, designed by JULdesign.
STRATEGIC RELATIONSHIPS Internal engagement: Faculty of Arts & Social Sciences (FASS). MEDIA HIGHLIGHT Pictorial ‘The Fall Before Fall’ Das Superpaper, Issue 21, October 2011. VISITOR COMMENTS A beautiful mausoleum. Sinead Roarty
CREATIVE ACCOUNTING 25 October–25 November Opened by Anne Dwyer, Deputy Vice-Chancellor and Vice-President (Corporate Services) UTS. Drawing from alternative currencies, banking archives, pop culture and contemporary art, Creative Accounting scratched below the surface of the economic system to reveal money’s enigmatic side. It brought to light some of the stories that surround currency - from the history of banking to the intricacies of anti-counterfeit patterns. Casting a critical eye, the exhibition aimed to reinvigorate our engagement with money and the economic system beyond next week’s pay packet or the latest stock market crisis.
PARTICIPANTS Conrad Bakker (USA), Melanie Gilligan (CAN), Andrew Hurle (AU), Yves Marchand & Romain Meffre (FR), Sanne Mestrom (AU), Kenzee Patterson (AU), David Shapiro (USA), Janos Sugar (HUNGARY), Mark Wagner (USA), Time/Bank (USA). Loans from Powerhouse Museum & Westpac Banking Group Archives. Curated by Holly Williams. PUBLICATION Folded A3 exhibition guide with essay by Holly Williams, designed by Chris Gaul. STRATEGIC RELATIONSHIPS Internal engagement: DAB, Business, Library. External engagement: WPS target high schools, Powerhouse Museum, Westpac Banking Group Archives.
PUBLIC PROGRAM ·· From Global Financial Crisis to Cosmic Accounting held on 9 November with UTS financial risk expert Prof. Harald Scheule and futurist Malcolm Green. ·· Financial Aesthetics held on 2 November with artist Andrew Hurle, Powerhouse Museum curator and archaeologist, Dr Paul Donnelly and design strategist Evert Ypma. ·· Missing Money + Sleight of Hand held on 16 November with magician Adam Mada and UTS academic and forensic accountant Hera Antoniades. ·· Dollars+Cents/Show+Tell held on 23 November. ·· Floortalk with Holly Williams held 16 November.
MEDIA HIGHLIGHT ABC Radio National Artworks curator interview with Amanda Smith on 6 November. VISITOR COMMENT The culmination of ideas and works displayed by creative accounting was exceptional! Many of us lie impervious to the effects of money & state of our current economy and your exhibition highlighted their different meanings. Well done! Lanny P
installation view with
installation view with
work by Mark Wagner
(left) and Andrew Hurle
CW Dickinson) by Andrew
Tim Knowles Mk3 Postal Drawing Project, 2011, perspex, cardboard, pen, ink on paper, Purchased 2011
UTS ART COLLECTION
2011 COLLECTION SUMMARY The UTS Art Collection expanded with several new acquisitions, including some previously exhibited at the UTS Gallery and Tower Foyer exhibition space, as well as commissioned and donated works. In April, Danelle Bergstrom’s painted portraits of Chancellor Vicki Sara and Vice-Chancellor Ross Milbourne were unveiled and are now on display in the Chancellery alongside portraits of their predecessors. The hypnotic 3-channel digital video Heat by Christian Thompson was seen in the exhibition change has come in the Tower Foyer space and is the first digital video work to be included in the UTS Art Collection. MK3 Postal Drawing by UK artist Tim Knowles and a photograph from the series Ruins of Detroit by French artists Yves Marchand and Romain Meffre were both included in exhibitions at UTS
Gallery during the year, added to the collection’s international holdings. Closer to home, three photographs by Max Dupain depicting the buildings at UTS’s Kuringgai campus are now a feature of its newly refurbished public spaces. The photographs were taken by one of Australia’s leading Modernist photographers and commissioned at the time the campus was awarded the prestigious Sulman Award for architecture. Work has continued behind the scenes in the management of the collection, with the aim to consolidate the existing holdings and establish a firm foundation for its future development. INWARD LOANS One new loan was Poroplastic 1: Red Octopus, a sculpture created from the parts of a motorcycle in an exploded view from the artist Richard Goodwin. By coincidence, Goodwin was awarded
Yves Marchand & Romain Meffre, Bagley-Clifford Office of the National Bank of Detroit, 2005, type C photograph. Gift of the artists, 2011
Matthew Sleeth, Southern Lights, Shinjuku Southern Terrace [Tokyo], 2006, type-C photograph. Gift of Patrick Corrigan, 2011
the 2011 Wynne Prize from the Art Gallery of NSW for another of his motorcycle sculptures in this series. The sculpture was installed on the mezzanine level of the Building 10 atrium and replaces the Black Bridle sculpture placed there in 2010. Later in the year a selection of photographs from Pat Corriganâ€™s collection were returned to the lender, as they were accepted to the permanent collection at the National Gallery of Australia. Subsequently, nine new paintings by indigenous artists were received on loan from the Corrigan Collection. OUTWARD LOANS The Archibald prize winning painting by Euan MacLeod, Self Portrait / Head Like a Hole (1999) returned from an extended loan at the end of 2011. Surface Tension was a major survey exhibition of MacLeodâ€™s work which toured regional galleries for more than 12 months from November 2010.
Two works from the Corrigan Collection of Western desert paintings were sent out on loan for inclusion in the exhibition 21st Century Beginnings at the Gold Coast City and Penrith Regional galleries. CIRCULATION LOANS In 2011, rotation of artworks on display resulted in more than 250 works being circulated across the City, Haymarkets, and Kuring-gai campuses. With the completion of the new Student Housing tower Yura Mudang, the sculpture Oceania by Alun Leach-Jones is on display once again. The courtyard it occupies outside the UTS Gallery is adjacent to the new DAB teaching spaces and a natural venue for cultural events on campus. OTHER ACTIVITIES As a part of our conservation program, the sculpture Growth Forms by Margel Hinder was cleaned following professional advice from an artefacts conservator.
Danelle Bergstrom Portrait of Vice-Chancellor Ross Milbourne 2011, oil on canvas
In June, two artworks from the permanent collection were included in Touch Too â€“ an exhibition held in the Tower Foyer to showcase the research activities of Dr Anne Cranny-Francis from the Transforming Cultures research centre at UTS. Munkki by Uhra Simberg-Ehrstrom and Vacillation by Savanhdary Vongpoothorn were selected alongside a variety of paintings, photographs, objects and digital media works in an exploration of the world of touch. Throughout the year Collection staff worked with other departments to improve internal
processes and provide curatorial advice. This included facilitating the incoming loans and installation of Touch Too and providing assistance as required on other exhibition projects such as the Infusion student photography contest and exhibition. Towards the end of 2011, a major restoration project was commenced on two works by sculptor Ken Unsworth. This project (completed in early 2012) was undertaken in consultation with the artist and involves the rebuilding of one sculpture and the stripping and repainting of the other.
Danelle Bergstrom Portrait of Chancellor Vicki Sara 2011, oil on canvas
Other activities and outcomes included selection and installation of high impact posters for Yura Mudang, the new student accommodation building. 2011 saw the implementation of a new Communications and Engagement Plan. Developed under the guidance of the Marketing and Communications Unit, the plan was devised to encourage engagement by the university community with the Art Collection and to make best use of social media and other resources on campus.
Eight blog posts were made on what is planned to be a monthly â€˜highlightsâ€™ feature. These were promoted through the gallery e-news, staff notices and word of mouth. The UTS Art Collection and blog were twice featured on the back cover of U: magazine, the monthly campuswide publication.
2011 ACCESSIONS Method
Vendor / Donor
3 channel digital video
Chalk Horse Gallery
black and white photograph
black and white photograph
black and white photograph
MK3 Postal Drawing
perspex, cardboard, pen, ink
Untitled #1 [Flinders]
Type C photograph
Northwest from Shinjinku
Type C photograph
Southern Lights, Shinjinku Southern Terrace [Tokyo]
Type C photograph
Type C photograph
Yves Marchand & Romain Meffre
Bagley-Clifford Office of the National Bank of Detroit. From the Ruins of Detroit series
Type C photograph
2011 INWARD LOANS Loan no.
Poroplastic 1 - Red Octopus
stainless steel, plastic, motorcycle parts
I Split Your Gaze
acrylic on canvas
acrylic on canvas
acrylic on canvas
Antara Munu Mini Mamu
acrylic on canvas
acrylic on canvas
acrylic on canvas
acrylic on canvas
acrylic on canvas
acrylic on plywood
Front & inside covers: Al Munro, Thinking about Science and Drawing II series, (Nos 1-6) (details), pigment ink on paper, each 76 x 56cm. From Natural Digression, UTS Gallery 2011 Photography credits: Silversalt Photography: Cover and inside covers; pages 1–5, 9, 11–16, 19–22, 24–25 Alex Davies: 8, 13, 17-18 David Lawrey: 23 Danelle Bergstrom: 29–30 © All images courtesy and copyright the artist or copyright holder. Not to be reproduced without permission