Exhibition Proposal | Curatorship: Theory and Practice

ARTH6045 ASSESSMENT TASK 3: EXHIBITION PROPOSAL

THE MOON AND SPACE: ART, CULTURE, AND SCIENCE

PREPARED FOR THE NATIONAL GALLERY OF AUSTRALIA (NGA) October 2018

LAI, Edmond Yiu Man u5464247 Keng Yen-Chi u6764245

1

TABLE OF CONTENTS 1 – EXHIBITION TITLE ........................................................................................................ 3 2 – EXHIBITION DETAILS.................................................................................................... 3 3 – EXHIBITION CONCEPT .................................................................................................. 3 4 – SAMPLE DISPLAY LABELS OF ARTWORKS ..................................................................... 5 5 – PUBLICATION .............................................................................................................. 8 6 – MEDIA RELEASE .......................................................................................................... 9 7 – EDUCATION PROGRAM & PUBLIC EVENTS ................................................................. 10 8 – EXHIBITION SPACE DESIGN ........................................................................................ 11 REFERENCE LIST .............................................................................................................. 14

APPENDIX 1 – LIST OF ARTWORKS TO BE DISPLAYED IN THE EXHIBITION ......................... 16 APPENDIX 2 – OUTLINE OF THE EDUCATION PROGRAM AND PUBLIC EVENTS .................. 33 APPENDIX 3 – OUTLINE OF THE DESIGN OF THE EXHIBITION SPACE ................................. 37

2

1 – EXHIBITION TITLE The Moon and Space: Art, Culture, and Science

2 – EXHIBITION DETAILS Date: July 16 – September 29, 2019 Location: Gallery 2E, Level 1, NGA Type of Exhibition: Temporary exhibition; free entry (no ticket required)

3 – EXHIBITION CONCEPT July 21, 1969, it was the day that mankind took its “one giant leap” as 600 million people around the world watched Neil Armstrong set his foot on the moon. 1 On July 20, 1969, at 20:17 Coordinated Universal Time (UTC), commander Neil Armstrong and pilot Edwin Aldrin of NASA’s Apollo 11 mission landed the lunar module ‘Eagle’ onto the surface of the moon. Six hours later, Armstrong exited the lunar module and became the first human to walk on the moon, saying his famous words: “That’s one small step for man, one giant leap for mankind.” 2 As the world gathered around their televisions and prepared to witness a defining moment in human exploration, the pictures they saw were coming through an Australian telescope. It was the then state-of-the-art the Parkes Radio Telescope, ‘the Dish’, located in central NSW which played an integral role in providing nearly all of the 2.5-hour footage of the moon landing. 3 It was a great moment in the history of the Parkes Radio Telescope and Australia that we allowed the world to witness such remarkable event in amazement.

Titled The Moon and Space: Art, Culture, and Science, this temporary exhibition is proposed to be opened on July 16, 2019 for celebrating the 50th Anniversary of the first man landing on the moon. This exhibition will highlight the role, the importance and the fascinating power of the moon in our art and cultural history. By investigating the moon through a variety of creative fields and unveiling the at times astonishing ways such a distant entity could captivate artists’ minds, it will explore our ongoing fascination with the moon and the broader outer space. Meanwhile, through the connection of art and space science, the exhibition also aims to call attention to a strong and renewed interest in the moon and space, both in art and as a springboard for a new “space race” era in which Australia may again play an important role in contributing to the next great space discovery.

1

“First Moon Landing Fast Facts,” CNN, last modified July 13, 2018, https://editionm.cnn.com/2013/09/15/us/moon-landing-fast-facts/index.html.

2 “Moon Landing 1969,” Australian Conservatives, last modified July 21, 2018, https://www.conservatives.org.au/moon_landing_1969.

3 Robert Virtue, “Remembering Australia's role in man landing on the moon,” last modified July 21, 2014, http://www.abc.net.au/local/stories/2014/07/21/4050043.htm.

3

Despite that it was not until the late 1950s that we started to gain more knowledge about other planets in the Universe from the space race conducted between the United States and the Soviet Union, mankind has long been interested in the moon and has been incorporating the moon into their arts and cultures. The moon is ever-present, whether through form or feeling. It is always surrounded by a sense of mystique that has made it a prime object of investigation for artists and scientists. 4 In art, the moon is a popular feature, and it has often been used as a tool for mood. The moon shining brightly in the night sky has been depicted by artists for many centuries in almost every country in the world. Its powerful, tranquil presence gives the viewer a reason to pause and relax, or to contemplate some spiritual or philosophical meaning. With one side constantly turned away from earth and a proven yet largely still unexplored connection to nature, womanhood and humankind itself, it has quickly become a canvas for artists’ fascination with mystery and allusion.

To the ancient people, the moon and the sun were the most immediate and visible aspects of the cosmos. They influenced their thinking and fuelled their imagination to think beyond the world and life. 5 In both Western and Asian cultures including Roman, Chinese, Japanese, and Indian, the moon was often worshipped and perceived as symbols of gods, life and death, mortal existence, and females. While the Indigenous people of Australia shared similar mystical stories and perceptions about the moon like the other cultures, they also made use of the ecliptic and the shadow of the moon as tools for navigation. 6 In addition to symbolising various religious figures and myths, the moon is always inextricably intertwined with the ideas of beauty and romance. As night falls, the moon stands out in the complete darkness and captures people with its sacred beauty. Moreover, this celestial orb creates the perfect backdrop for a budding romance. It has been considered to have ethereal qualities to stimulate people’s dreamy moods and pursuit of love.7 To a certain extent, the moon is definitely about feelings.

While art and science will never replace each other, there seems to be a common misconception that they are vastly different and that they never overlap. In fact, creativity is as essential to the scientific process as it is to the artistic method. Artists and scientists share a curiosity for the unknown, an appreciation for the beauty of the worlds they explore, and an interest in creating something new. More recently, “space art" or "astronomical art" has become a genre of modern artistic expression that strives to show 4

Trisha Balster, “Why the Art World Has Always Been Fascinated by the Moon,” last modified September 28, 2018, http://www.anothermag.com/art-photography/11208/why-the-art-world-has-always-been-fascinatedby-the-moon.

5 Katherine Komaroff, Sky gods: the Sun and Moon in art and myth (Milford: Universe Books, 1974), 14.

6 Kirsten Banks, “Aboriginal astronomy can teach us about the link between sky and land,” last modified May 21, 2018, https://www.theguardian.com/commentisfree/2018/may/21/aboriginal-astronomy-can-teach-usabout-the-link-between-sky-and-land.

7 Barsha Nag Bhowmick, “Why is the moon considered so romantic,” last modified November 22, 2016, https://blogs.timesofindia.indiatimes.com/life-n-style/why-is-the-moon-considered-so-romantic/.

4

the wonders of the outer space and the Universe. Even we humans employ increasingly sophisticated telescopes, probes, rovers and other technological marvels in order to learn more about our solar system and beyond, we cannot quite photograph theoretical space objects like black holes and wormholes, for instance. 8 With the help from artists who engage their own imaginations to envision and extrapolate scientific concepts into fantastical craters and overlarge moons, with science-fiction vibrancy, space art helps make the dream of space exploration a reality.

4 – SAMPLE DISPLAY LABELS OF ARTWORKS The sample tombstones and extended labels of two artworks of the exhibition are shown below. Please refer to Appendix 1 for the full list of artworks that are proposed to be displayed in the exhibition.

Artwork No. 1:

Tombstone Mick Namarari Tjapaltjarri (1926-1998) Moon Dreaming (1978) synthetic polymer paint on composition board 44.9 x 60.9 cm Aboriginal and Torres Strait Islander Art Collection National Gallery of Australia, Canberra

8

Kastalia Medrano, “The Art of Space Art,” last modified September 14, 2017, https://www.theparisreview.org/blog/2017/09/14/the-art-of-space-art/.

5

Extended Label Mick Namarari Tjapaltjarri was one of the key foundation members of the painting movement that commenced in the early 1970s at Papunya Tula, which has been credited with bringing Aboriginal art, especially "dot painting", to world attention and inspiring many other Australian Aboriginal artists and styles. He went on to paint impressive larger works on canvas in the ensuing decades and is represented in numerous Australian and international collections.

Moon Dreaming is part of a series of artworks about the artist’s Moon Dreaming, which was produced for the 1978 film, Mick and the moon. This painting presents a beautiful rendition of the density and the spatial comprehension of the Universe and the cosmology, as though the viewers were looking down from the heavens through the stars, past the moon and the night onto the landscape of the Western Desert region. The large circular moon, in varied grades of orange, takes prominent position on the board. It exerts its presence on the surrounding landscape bathing it in a lighter orange hue. The dark shapes are representations of stone axes and ceremonial objects.

6

Artwork No. 13:

Tombstone Marion Borgelt (born 1954) Lunar arc: figure D (2007) hoop pine plywood, composition board, aluminium leaf, shellac, French polish, polyurethane 146 x 364 x 16 cm collection National Gallery of Australia, Canberra

Extended Label Marion Borgelt is well known for her poetic responses to themes of motion and time, including nature’s cycles and rhythms. In her practice, there is a common thread – the interplay of polarities – the organic and the man-made, light and shade, the conceptual and the sensual, the cosmic and the primordial. Her dynamic is derived from the shifting balance of dualities.

Lunar arc: figure D is comprised of ten components. Installed in the shape of a semi-circle, such stylised form explores the evocative potential of optical illusion and abstraction to evoke the phases of the moon. As the moon orbits the earth, it seemingly changes appearance due to its position in relation to the earth and sun. This work also represents sequential and continual revolution of universal bodies, and alludes to the nature of time itself. The gradually folding forms are set off by the flat, black circles set behind each silver face, giving the illusion of a shadow or a black hole set in the wall. The soft metallic leaf finish adds an ethereal lightness to the form, providing a stark contrast.

7

5 – PUBLICATION Taking into account the relatively smaller scale and shorter duration of The Moon and Space than other exhibitions presented in the major exhibition galleries of the NGA, a brief guide brochure will be produced instead of a “full-size” exhibition catalogue book. Using the current Map + highlights trail leaflet of the NGA as a reference, the guide brochure of this exhibition will be produced similarly in the size of 21 cm high x 14.7 cm wide, with both sides of the paper printed, and quad-folded to have four panels on each side.

Following the cover page will be two short essays, with a maximum length of 500 words each, related to the theme and topic of the exhibition. The first piece of writing will be a foreword about the concept and design of the exhibition. This section will be written by the curators, Edmond Lai and Yen-Chi Keng, of the exhibition. In addition to explaining the depictions of the moon and space in different cultures and various types of artworks, it will also interpret the role of art in science and raise discussions about the relationship between the two.

For the second essay, the NGA shall invite Blue Mountain-based artists David Haines and Joyce Hinterding to talk about their unique “art-meets-science” projects. Haines and Hinterding have more than two decades of collaborative practice that essentially marries art and science. In 2016, they sent a camera up into space with an idea to create a musical composition of the mini space odyssey from the edge of the atmosphere back to earth. By sharing their experiences of how science has captured their imagination and made them become curious will match perfectly with the theme of the exhibition.

On the other hand, the brochure will contain a map of the gallery space of the exhibition.

Highlight works of the exhibition will be indicated on the map, and their images will also be included. The last panel of the brochure will be reserved for the acknowledgement of the sponsors and partners of this exhibition and for advertising relevant public events.

8

6 – MEDIA RELEASE THE MOON AND SPACE: ART, CULTURE, AND SCIENCE MEDIA RELEASE 15 JULY 2019 WHEN ART, CULTURE, AND SCIENCE COLLIDE: THE MOON AND SPACE OPENS AT NGA The National Gallery of Australia today celebrates the 50th Anniversary of the first manned moon landing mission with the opening of a free exhibition, The Moon and Space. On July 21, 1969, Neil Armstrong and Edwin Aldrin became the first men who set foot on the moon.

It was not only a victory of the United States, but it was also a huge step forward for mankind in space exploration. Fifty years passed and the NGA is very glad to take part in commemorating such major scientific breakthrough with the rest of the world.

Since the beginning of human history, the moon has acted as a “cultural mirror” to our beliefs, understanding and ways of seeing. Over the centuries, the moon has been interpreted both as a god and as a planet. Throughout history, the moon has inspired artists, poets, scientists, writers and musicians all over the world. The ethereal blue light cast by a full moon, the delicate crescent following the setting sun, or the mysterious dark side of the moon has evoked passion and exploration. Different cultures around the world have their own historical, cultural, scientific and religious relationships to the moon.

Drawn exclusively from the NGA’s outstanding collection, this exhibition tells the story of mankind’s ongoing fascination with the moon, and explores the link between art and space science. From paintings to Sci-Fi movies, superstition to science, myths to missions, this exhibition features 30 diverse works that will take the viewers on an adventure to explore space. Highlights include the famous Aboriginal artist Mick Namarari Tjarpaltjarri’s Moon Dreaming, Bronwyn Oliver’s sculpture Comet, the dazzling Hindu watercolor Krishna’s fluting summons the entrance gopis for Autumn moon festival, and Yousuf Karsh’s amazing photograph portrait of Neil Armstrong, Edwin Aldrin and Michael Collins – The Apollo II Crew Astronauts.

The Moon and Space is proudly supported by Questacon and the Australia Space Agency.

The exhibition is now opened to the public until September 29, 2019 in Gallery 2E on level 1 at the NGA. MEDIA ENQUIRIES Megan Reeder Hope, Communications Manager National Gallery of Australia E: megan.reederhope@nga.gov.au T: 02 6240 6700 M: 0435 103 735

9

7 – EDUCATION PROGRAM & PUBLIC EVENTS Education Program ‘Interpreting Space with Art’ will be an education activity specifically developed in cooperation with Questacon to encourage and facilitate learning within The Moon and Space exhibition. This education program attempts to help potential audiences further understand how space exploration and imagination play a significant role in different arts and cultures, and to increase their interests in aeronautical and astronomical science.

‘Interpreting Space with Art’ will be a facilitator-led learning activity, and it can be tailored to accommodate students of Year 1 – 12. The activity is expected to run for 1.5 hours, consisting two sessions – a guided walkthrough of the exhibition and a DIY art workshop.

The facilitators (guide) and assistants of this activity should be proper staff of the NGA who have had experience in delivering educational programs instead of volunteers who operate the free daily tours. Due to the fact that this program involves both artistic and scientific contents, staff will therefore receive proper training offered by Questacon.

Public Events Regarding public events, the NGA will be holding a series of talks and presentations throughout the lifespan of the exhibition. Artists, scholars, researchers, and scientists from various institutions like the Australia Space Agency, ANU Mount Stromlo Observatory, Canberra Deep Space Communication Complex, and Questacon, will be invited to give speeches and share their passion and curiosity of space exploration. They will be free of charge and the public is welcomed to participate in the talks.

On the other hand, the NGA will also organize several night film screenings on Saturdays. To tie in with the theme of the exhibition, movies from the science-fiction genre and documentaries about space exploration will be selected. While these screenings are ticketed events; free snacks and soft drinks will be provided.

More details of the proposed education program and public events are provided in Appendix 2.

10

8 – EXHIBITION SPACE DESIGN Floor Plan of the Exhibition Space, Gallery 2E (with indications of the display positions of artworks):

11

Various Perspectives of the Exhibition Space, Gallery 2E:

12

***The design of the exhibition space is explained in detail in Appendix 3.

13

REFERENCE LIST Australian Conservatives. “Moon Landing 1969.” Last modified July 21, 2018. https://www.conservatives.org.au/moon_landing_1969.

Balster, Trisha. “Why the Art World Has Always Been Fascinated by the Moon.” Last modified September 28, 2018. http://www.anothermag.com/artphotography/11208/why-the-art-world-has-always-been-fascinated-by-the-moon.

Banks, Kirsten. “Aboriginal astronomy can teach us about the link between sky and land.”

Last modified May 21, 2018. https://www.theguardian.com/commentisfree/2018/may/21/aboriginal-astronomy-canteach-us-about-the-link-between-sky-and-land.

Bitgood, Stephen C. “Visitor Circulation: Is There Really A Right-Turn Bias?.” Visitor Behavior 10, no. 1 (Spring 1995): 5.

Clery, Daniel. “Physicist who inspired Interstellar spills the backstory—and the scene that makes him cringe.” Science. Last modified November 6, 2014. http://news.sciencemag.org/people-events/2014/11/physicist-who-inspired-interstellarspills-backstory-and-scene-makes-him.

CNN. “First Moon Landing Fast Facts.” Last modified July 13, 2018. https://editionm.cnn.com/2013/09/15/us/moon-landing-fast-facts/index.html.

IMDB. “A Trip to the Moon (1902).” Accessed October 20, 2018. https://www.imdb.com/title/tt0000417/?ref_=fn_al_tt_1.

IMDB. “Footprints on the Moon: Apollo 11 (1969).” Accessed October 20, 2018. https://www.imdb.com/title/tt0129931/.

IMDB. “Interstellar (2014).” Accessed October 20, 2018. https://www.imdb.com/title/tt0816692/.

IMDB. “Star Trek (2009).” Accessed October 20, 2018. https://www.imdb.com/title/tt0796366/?ref_=ttls_li_tt.

Komaroff, Katherine. Sky gods: the Sun and Moon in art and myth. Milford: Universe Books, 1974.

Medrano, Kastalia. “The Art of Space Art.” Last modified September 14, 2017. https://www.theparisreview.org/blog/2017/09/14/the-art-of-space-art/.

Nag Bhowmick, Barsha. “Why is the moon considered so romantic.” Last modified November 22, 2016. https://blogs.timesofindia.indiatimes.com/life-n-style/why-is-themoon-considered-so-romantic/.

14

Rice, Danielle, and Philip Yenawine. “A Conversation on Object‐Centered Learning in Art Museums.” Curator: The Museum Journal 45, no. 4 (October 2002): 289-301.

Tzortzi, Kali. “Movement in museums: mediating between museum intent and visitor experience.” Museum Management and Curatorship 29, no.4 (2014): 327-348.

UNESCO. “UNESCO Initiative for World Cinema.” Accessed October 20, 2018. http://portal.unesco.org/en/ev.php-URL_ID=3122&URL_DO=DO_TOPIC&URL_SECTION= 201.html. van Dijk, Elisabeth M.A.G., Andreas Lingnau, and Hub Kockelkorn. “Measuring Enjoyment of an Interactive Museum Experience.” In Proceedings of the 14th ACM International Conference on Multimodal Interaction, 249-256. New York: Association for Computing Machinery, 2012.

Virtue, Robert. “Remembering Australia's role in man landing on the moon.” Last modified July 21, 2014. http://www.abc.net.au/local/stories/2014/07/21/4050043.htm.

15

APPENDIX 1 – LIST OF ARTWORKS TO BE DISPLAYED IN THE EXHIBITION This exhibition seeks to present a balance of historical and contemporary art from different cultures around the world.

Artwork No. 1:

Mick Namarari Tjapaltjarri (1926-1998) Moon Dreaming (1978) synthetic polymer paint on composition board 44.9 x 60.9 cm Aboriginal and Torres Strait Islander Art Collection National Gallery of Australia, Canberra

Artwork No. 2:

Paul Nabulumo (born 1971) The Sun, the Moon and the Star (2014) natural earth pigments on eucalyptus bark 204 x 74 cm collection National Gallery of Australia, Canberra

16

Artwork No. 3:

Unknown artist Krishna's fluting summons the entranced gopis for Autumn Moon festival [Sharad purnima] shrine hanging [pichhavai] (c. 1840) opaque watercolour, gold and silver on cotton 291.8 x 311 cm collection National Gallery of Australia, Canberra

Artwork No. 4:

Tsukioka Yoshitoshi (1839-1892) A streetwalker (Tsujikimi) (1887) colour woodblock print on paper 33 x 22.2 cm (image); 37 x 25.2 cm (sheet) One hundred phases of the moon Collection National Gallery of Australia, Canberra

17

Artwork No. 5:

Tsukioka Yoshitoshi (1839-1892) Looking suitable: the appearance of a brothel geisha of the Koka era (1844- 1848) (1888) colour woodblock print on paper 36.6 x 25 cm Thirty-two aspects of customs and manners Collection National Gallery of Australia, Canberra

Artwork No. 6:

Leonard de Koringh (active 1930s) Floating nude with stars and moon (c. 1930) etching, print in green ink with plate-tone on cream wove paper (edition of 50) 12.4 x 19.8 cm (image); 17.6 x 26 cm (sheet) signed ‘Leonard de Koringh’ lower right; inscribed ‘2/50’ lower left collection National Gallery of Australia, Canberra

18

Artwork No. 7:

Marc Chagall (1887-1985) No title (couple and moon) (1952) lithograph print in colour inks on paper 64 x 50.4 cm (image); 75.8 x 54.4 cm (sheet) collection National Gallery of Australia, Canberra

Artwork No. 8:

John Coburn (1925-2006) Barbara Coburn (1931-1985) Blue moon (1959) screenprint in colour inks from five stencils (A/P, edition of 10) 38.5 x 33 cm (image); 46.9 x 38.1 cm (sheet) signed ‘John Coburn’ lower right; signed ‘Barbara Coburn imp 1/3’ lower left collection National Gallery of Australia, Canberra

19

Artwork No. 9:

Greg Daly (born 1954) Moon light (2010) ceramics, vessels, porcelain, lustre glaze 33 x 30 x 30 cm collection National Gallery of Australia, Canberra

Artwork No. 10:

David Band (1959-2011) Larry Rawling (born 1938) Devil moon. (1997) screenprint in colour inks on thick off-white paper (A/P, edition of 16) 95 x 75 cm signed and dated 'd. band 97' verso, lower right; titled 'devil moon' verso, lower centre; inscribed 'P/P' verso, lower left The Larry Rawling print workshop archive of Australian screenprints 1959 - 2006 Collection National Gallery of Australia, Canberra

20

Artwork No. 11:

Hertha Kluge-Pott (born 1934) Eclipse (1968) relief print in brown ink, from one found record disc; drypoint, etching and aquatint, print in colour inks with plate-tone on smooth cream wove paper (A/P, edition of 10) 65.2 x 46 cm (image); 76.4 x 57 cm (sheet) signed and dated ‘Hertha Kluge-Pott 68’ lower right; titled ‘eclipse’ lower left; inscribed ‘4/10’ lower left collection National Gallery of Australia, Canberra

Artwork No. 12:

Janet Dawson (born 1935) Moon at dawn through a telescope, January 2000 (2000) oil on canvas 122 x 122 cm collection National Gallery of Australia, Canberra

21

Artwork No. 13:

Marion Borgelt (born 1954) Lunar arc: figure D (2007) hoop pine plywood, composition board, aluminium leaf, shellac, French polish, polyurethane 146 x 364 x 16 cm collection National Gallery of Australia, Canberra

Artwork No. 14:

Janet Dawson (born 1935) Eclipse of the moon (1993) pastel and charcoal on paper 27 x 38.8 cm collection National Gallery of Australia, Canberra

22

Artwork No. 15:

David Rose (1936-2006) Space game (1970) screenprint in colour inks from seven stencils on smooth cream wove paper (edition of 25) 69.5 x 58.6 cm (image); 78.9 x 58.6 cm (sheet) signed and dated ‘david rose 1970’ lower right; titled ‘space game’ lower left; inscribed ‘25/25’ lower left collection National Gallery of Australia, Canberra

Artwork No. 16:

Yinka Shonibare Mbe (born 1962) Refugee astronaut (2015) fibreglass, printed cotton, net, wood, metal and plastic objects, steel baseplate 208 x 93 x 90 cm collection National Gallery of Australia, Canberra

23

Artwork No. 17:

Leanne Alexander (active 1980s) The distance from the moon II (1989) print in black ink, chine colle of green and ochre Japanese rice paper on off-white wove paper (A/P, edition of 10) 25 x 38 cm (image); 38 x 56 cm (sheet) signed and dated ‘L. Alexander ‘89’ lower right; titled ‘ ‘The Distance of the Moon II’ ’ lower centre; inscribed ‘A.P.W. Proof 2/2’ lower left collection National Gallery of Australia, Canberra

Artwork No. 18:

Leanne Alexander (active 1980s) The distance from the moon III (1989) print in black ink, chine colle of light brown, purple, green and ochre Japanese rice paper on off-white wove paper (A/P, edition of 10) 25 x 38 cm (image); 38 x 56 cm (sheet) signed and dated ‘L. Alexander ‘89’ lower right; titled ‘ ‘The Distance of the Moon III’ ’ lower centre; inscribed ‘A.P.W. Proof 2/2’ lower left collection National Gallery of Australia, Canberra 24

Artwork No. 19:

Leanne Alexander (active 1980s) The distance from the moon V (1989) print in black ink, chine colle of light brown Japanese rice paper on off-white wove paper (A/P, edition of 10) 25 x 38 cm (image); 38 x 56 cm (sheet) signed and dated ‘L. Alexander ‘89’ lower right; titled ‘ ‘The Distance of the Moon V’ ’ lower centre; inscribed ‘A.P.W. Proof 2/2’ lower left collection National Gallery of Australia, Canberra

Artwork No. 20:

Robert Rauschenberg (1925-2008) Arena II, state II (1969) lithograph print in one colour on paper (A/P, edition of 50) 119.4 x 81.2 cm signed and dated ‘RAUSCHENBERG 69’ lower right; inscribed ‘STATE I RTP’ lower right Stoned moon Collection National Gallery of Australia, Canberra

25

Artwork No. 21:

Robert Rauschenberg (1925-2008) Sky garden (1969) lithograph print in six colours on paper (A/P, edition of 35) 225.9 x 106.4 cm signed and dated ‘RAUSCHENBERG 69’ lower centre; inscribed ‘RTP’ lower centre Stoned moon Collection National Gallery of Australia, Canberra

Artwork No. 22:

Robert Rauschenberg (1925-2008) Space (1994) vegetable dye, water transfer print on white wove deckle paper (edition of 50) 104 x 68.4 cm signed ‘RAUSCHENBERG 17/22 HC 94’ lower centre; stamped ‘21’ lower left (surrounded by ‘Rauschenberg. Felissimo Tribute.’ in double circle); inscribed ‘HC 17/22’ verso, lower right collection National Gallery of Australia, Canberra

26

Artwork No. 23:

Alexandra Exter (1882-1949) Costume model of a Martian guard for the film Aelita (c. 1923) watercolour on cardboard, cotton, steel wire and tacks 26.2 x 12.2 x 5.7 cm collection National Gallery of Australia, Canberra

Artwork No. 24:

Tim Johnson (born 1947) Daniel Bogunovic (born 1970) UFOs per se (2013-14) synthetic polymer paint on canvas 20.3 x 15.2 cm (each); 90 x 180 cm (overall) collection National Gallery of Australia, Canberra

27

Artwork No. 25:

Joseph Turner (1828-1883) View of the moon from the Great Melbourne Telescope (1874) black-and-white, albumen silver photograph on paper 10.3 x 9.9 cm (image); 35.2 x 24.2 cm (sheet) collection National Gallery of Australia, Canberra

Artwork No. 26:

David Moore (1927-2003) C.S.I.R.O. Radio Telescope, Parkes, N.S.W. (1961) Type C colour photograph 49.2 x 39 cm collection National Gallery of Australia, Canberra

28

Artwork No. 27:

Yousuf Karsh (1908-2002) The Apollo II Crew Astronauts Neil Armstrong, Edwin Aldrin, Michael Collins (1969) gelatin silver photograph on paper 27.4 x 35 cm signed 'Yousuf' lower left collection National Gallery of Australia, Canberra

Artwork No. 28:

Bronwyn Oliver (1959-2006) Comet (1991) copper wire 25 x 99 x 25 cm collection National Gallery of Australia, Canberra

29

Artwork No. 29:

Marian Crawford (born 1955) Penetrometer on the surface of the moon (1990) drypoint and etching, print in blue ink with plate-tone on off-white wove paper (edition of 7) 11.8 x 7.8 cm (image); 24.5 x 20.5 cm (sheet) signed and dated ‘MC 90’ verso, lower right; titled ‘Penetrometer on the surface of the Moon’ verso, lower centre; inscribed ‘VPW 2/2’ verso, lower left The Australian Print Workshop archive of Australian prints 1981 - 2002 Collection National Gallery of Australia, Canberra

Artwork No. 30:

Bea Maddock (1934-2016) Canberra eclipse (1977)

30

etching and aquatint, print in black and brown ink on cream wove paper (A/P, edition of 65) 50.6 x 37.1 cm (image); 75 x 56 cm (sheet) signed and dated ‘Bea. Maddock ‘77’ lower left; inscribed ‘A/P’ lower left; inscribed ‘BM 77-10’ verso, lower right Commonwealth Games Print Portfolio Collection National Gallery of Australia, Canberra

Artwork No. 31:

Thomas Mitchell (1792-1855) John Carmichael (1803-1857) Chart of the Zodiac, including the stars of the 4th magnitude, between the Parallels of 24°½ declination North & South (c. 1831) engraving and aquatint, print in black ink on white wove paper 40 x 60.8 cm (image); 41.1 x 64 cm (sheet) collection National Gallery of Australia, Canberra

31

Artwork No. 32:

William Slight (1828-1887) Planisphere of the southern sky (c. 1890) dyed leather, tooled with gold leaf, print in black ink on paper 49.4 x 48 cm (closed book); 49.4 x 96 cm (opened book) collection National Gallery of Australia, Canberra

32

APPENDIX 2 – OUTLINE OF THE EDUCATION PROGRAM AND PUBLIC EVENTS Education Program Interpreting Space with Art - Dates: Monday to Thursday (by booking four weeks in advance) - Location: NGA Gallery 2E (Session 1); NGA Play (Session 2) - Duration: 1.5 hours - Target Audience: Year 1-12 students - Number of Participants: 15-20 students - Fee: $10 per student

Session 1: Guided Walkthrough of the Exhibition 1. Introduction to Apollo 11's first moon landing mission: To provide the audience with relevant knowledge and background information of the historical event that the exhibition celebrates.

2. Appreciating the artworks displayed in the exhibition: To help the audience develop a deeper understanding of the connection between art, the moon, ad space. And also, to encourage the audience to seek a personal relevance with the topic of the exhibition.

3. Group discussion: To conduct further discussion about the artworks. This is when object-based learning takes place. Referring to the Visual Thinking Strategies, the participants will be asked to explain what they had observed. Each comment will be respected, and the facilitator will invite the participants to respond to each other’s view. 9 The guided group discussion could encourage critical thinking.

Session 2: DIY Art Workshop This part of the education program aims to encourage learning through “play”. By providing enjoyment and fun, interactive activities can facilitate engagement and motivation, and thus it can support and deepen the learning process. 10 Using one of the artworks in the NGA’s collection – Fiona Hall’s Comet book (1986) as the idea, the audience will be given the materials to create their own comet book.

9

Danielle Rice and Philip Yenawine, “A Conversation on Object‐Centered Learning in Art Museums,” Curator: The Museum Journal 45, no. 4 (October 2002): 289-301.

10 Elisabeth M.A.G. van Dijk, Andreas Lingnau, and Hub Kockelkorn, “Measuring Enjoyment of an Interactive Museum Experience,” in Proceedings of the 14th ACM International Conference on Multimodal Interaction (New York: Association for Computing Machinery, 2012), 249-256.

33

Everyone has different imaginations, and everyone is an artist. By adopting creativity, everyone will end up with a unique artwork, and through the hole in the comet book, everyone will see different things which can only be observed and sensed by themselves.

Public Events Night Film Screenings - Dates: July 20, August 24, September 21, 2019 - Location: The Lawn of Old Parliament House/ NGA Gandel Hall (if rainy) - Time: 18:00-21:30 - Fee: $20 per adult; $15 per student/ concession - Number of auditoriums: 150 seats Three films have been selected to be screened on different dates: A Trip to the Moon (1902), Footprints on the Moon: Apollo 11 (1969), Star Trek (2009), and Interstellar (2014).

34

A Trip to the Moon is a short film directed by Georges Méliès in 1902. The film has been regarded as the first science fiction film in human history, and it is listed as the first “World Heritage” film by UNESCO.11 This film tells the story of a group of astronomers who travel to the moon by being shot in a capsule from a giant cannon. They explore the moon, later captured by moon-men, and then escape and return to the earth.12 Although the film is only fourteen minutes long, it fully demonstrates human’s imagination of space in the early 1900s.

A more recent movie Star Trek, released in 2009 and directed by J.J. Abrams, will be screened along with A Trip to the Moon. Star Trek is the eleventh film in the Star Trek film franchise. The movie talks about the incredible story of a young crew’s maiden voyage onboard the most advanced spaceship ever created: the U.S.S. Enterprise. In the midst of an incredible journey full of optimism, intrigue, comedy and cosmic peril, the new recruit must find a way to stop an evil alien race whose mission of vengeance threatens all of mankind.13 By showing these two films together, they reveal how our imagination of space travel and exploration have expanded throughout the past decades while maintaining great passion for achieving such a possibility in the future.

11

“UNESCO Initiative for World Cinema,” UNESCO, accessed October 20, 2018, http://portal.unesco.org/en/ev.php-URL_ID=3122&URL_DO=DO_TOPIC&URL_SECTION=201.html.

12 “A Trip to the Moon (1902),” IMDB, accessed October 20, 2018, https://www.imdb.com/title/tt0000417/?ref_=fn_al_tt_1.

13 “Star Trek (2009),” IMDB, accessed October 20, 2018, https://www.imdb.com/title/tt0796366/?ref_=ttls_li_tt.

35

The third film selected is the 1969 documentary film Footprints on the Moon: Apollo 11, directed by Bill Gibson. In the film, viewers are able to watch the entire footage which recorded the mission from launch to landing on the moon, and then back to the Earth. 14 In addition to its educational and historical significance, the film is a time machine that leads viewers back to 1969, to experience the joy of the moment when Neil Armstrong made his first step onto the moon surface.

The forth film chosen is the 2014 Sci-Fi movie Interstellar, directed by Christopher Nolan. In the film, earth's future has been riddled by disasters, famines, and droughts, and there is only one way to ensure mankind's survival: Interstellar travel. A newly discovered wormhole in the far reaches of our solar system allows a team of astronauts to go where no man has gone before, a planet that may have the right environment to sustain human life. 15 The film focuses on the story of the team of explorers undertaking the most important mission of traveling beyond this galaxy to discover whether mankind has a future among the stars. Meanwhile, it also brings attention to some ethical and social problems with its poignant depiction of humanity's decline and global pollution. Regarding the concepts of the elements in space like wormholes and black holes in the film, they are all based on Einstein's general relativity equations and nothing violates the established physical laws. 16

14

“Footprints on the Moon: Apollo 11 (1969),” IMDB, accessed October 20, 2018, https://www.imdb.com/title/tt0129931/.

15 “Interstellar (2014),” IMDB, accessed October 20, 2018, https://www.imdb.com/title/tt0816692/.

16 Daniel Clery, “Physicist who inspired Interstellar spills the backstory—and the scene that makes him cringe,” last modified November 6, 2014, http://news.sciencemag.org/people-events/2014/11/physicist-who-inspiredinterstellar-spills-backstory-and-scene-makes-him.

36

APPENDIX 3 – OUTLINE OF THE DESIGN OF THE EXHIBITION SPACE Object Display The entire exhibition can be divided into five sections. The first section contains Australian Aboriginal and Asian works on the South wall of the gallery. By depicting ancient traditions, these works show the long-standing connection between mankind and the moon. The second section continues with mainly Western works displayed on the second half of the South wall, and on the entire West wall. They demonstrate how artists have been inspired by space and have been creating artworks with such theme. This section also presents some artworks in which the moon is used as a symbol and an element of beauty and romance.

The third section comprises a few contemporary works which will be exhibited on the North wall. There will be a few “Sci-Fi” works in which the artists illustrate their creative imagination of advanced space science and technology. The forth section is the showcases placed in the middle of the gallery. The works displayed in the showcases include a sketch of space suit, and some scientific sky charts. The final section presents the story of the Apollo 11 moon landing mission on the East wall of the gallery. In addition to the photographs portraying the American astronauts and the Australian satellite disk that are associated to the historical event, there will also be a 50-inch TV screen showing a short video telling the story of the Apollo 11 mission and its influence on art and science.

On the hand, a total of two introductory wall panels will be installed in the exhibition. The first introductory panel will be placed on the South wall near the East entrance of the gallery. It will talk about the main concept of this exhibition and also the interconnected relationships between art, science, the moon, and space. The second introductory panel will sit next to the TV screen on the East wall. It will contain information of the Apollo 11 moon landing mission.

Decoration and Lighting To echo with the theme of the exhibition, the floor of the gallery will be covered with a large floor sticker printed with the image of the moon surface. Moreover, the walls of the gallery will also be decorated with wallpapers of the image of the starry Universe. This will allow visitors to feel like walking on the moon and going on an adventure into the space.

Due to the darker color of the floor sticker and wallpapers, spotlight will be used to light up the artworks to make them clearly visible. The Conservation Department of the NGA will be consulted in order to ensure appropriate conditions for the works of art. Risk management procedures will also be implemented to ensure that safety and appropriate conservation practices are observed.

37

Direction of Flow Understanding and guiding the direction of visitor flow within the exhibition gallery is important for presenting the exhibition concept and theme, and improving visitor experience.

This exhibition is designed to be viewed in the clockwise direction for the best experience.

To accommodate the two entrances that allow access into Gallery 2E, the East wall of the gallery is designed to act as both an introductory and a conclusive section of the exhibition.

Visitors coming into the gallery from the North entrance are firstly briefed about space science – the history of the Apollo 11 moon landing event, and they will continue their adventure into the arts, starting with exploring the Australian Aboriginal and Asian art section on the South wall. Whereas for visitors entering the gallery from the East entrance, it is expected that they will first look at the artworks, and finish their tour with learning more about space science from the works related to the Apollo 11 moon landing mission.

According to research about visitor behaviors in museums and exhibitions, visitors tend to walk in the same direction as the wall of the path extends. 17 No matter which entrance of Gallery 2E that the visitors will use, they will enter the gallery along the left-hand wall, and thus they will continue to walk along that wall. While some publications describe visitors in museum have a right-turn bias; they may show a different circulation pattern if there is another stronger force on the hierarchy, for example the attraction of a landmark exhibit. 18 17

Stephen C. Bitgood, “Visitor Circulation: Is There Really A Right-Turn Bias?,” Visitor Behavior 10, no. 1 (Spring 1995): 5.

18 Kali Tzortzi, “Movement in museums: mediating between museum intent and visitor experience,” Museum Management and Curatorship 29, no.4 (2014): 339-340.

38

With the giant size of Artwork No. 3: Krishna's fluting summons the entranced gopis for Autumn Moon festival being visually appealing, it is predicted that visitors would be attracted towards the South wall once they enter the gallery, and they would walk in a clockwise direction.

39