GPG PROGRAM SEMESTER ONE 2022

GEORGE PATON GALLERY | LEVEL 2 UNION HOUSE | OPEN 11am – 5pm MONDAY TO FRIDAY

 

23 February to 4 March
Opening event: 5-7pm Wednesday 23 February

Documenting Space
Gabrielle Bergman, Ellyn Faye, Jack Murray and Anna Steele
Curated by Gabrielle Bergman

Documenting Space provides an examination of both the physical and historical conditions of the George Paton Gallery within the context of its location at Union House. It will exhibit work from an artist, an architect, and an interior designer, all of which have a unique and sensitive approach to the observation, documentation, design, and intervention within spatial environments.

 

 

9-18 March
Closing event: 5-7pm Thursday 17 March

ENTRANCE GALLERY
Archive in Play
Linda Studena

Linda Studena experiments with photography, print, drawing and assemblage to explore the symbology of common objects, based on her interest in the socio-political dimensions of personal, historical and living archives. Archive in Play presents a series of works using methods of recording, erasure, and disruption that generate new associations of place, memory and time.

IMAGE Linda Studena, Cross Section Cabbage.  Oil paint on ceramic, 2021

 

MAIN GALLERY
Domesticated
Bella Froebel, Ebony Hoiberg, Emily King, Maddie Mo, and Caitlin Aloisio Shearer
Curated by Steph Markerink

Domesticated is a multi-disciplinary group exhibition which playfully explores intersections between domesticity and feminism. The exhibition examines the politics and emotion of domestic spaces, represents contemporary uses of traditional ‘feminine’ crafts, and touches on the history of the George Paton Gallery as a hub for feminist artists in the 70’s.

IMAGE Bella Froebel, Underneath. Digital photograph, 2018

 

 

23 March to 1 April
Closing event: 5-7pm Thursday 31 March

ENTRANCE GALLERY
Bread Cake
Siro Cavaiuolo

The worst thing that can happen to a cake is to find a hair in it. What do you get when you overknead dough? Bread Cake is a search for structure in non-rational semantics, pushing quiet domestic transgressions to absurd conclusions.

IMAGE Siro Cavaiuolo, Bread Cake. Digital photograph, 2021

 

MAIN GALLERY
oiled and covered and never mentioned
Skye Malu Baker, Cade Burgess, Wandi Cao, and Claudia Saballa Hobbs
Curated by Cade Burgess

Four artists develop their exploration of shame and feminism established in 2021 virtual exhibition ERINYS, alongside guest artist Claudia Saballa. oiled and covered and never mentioned presents multidisciplinary artwork in response to PRAWNS DE JO, a poem by Selima Hill.

IMAGE Wandi Cao, Room 1616. Photograph, 2021

 

 

6-14 April
Closing event: 5-7pm Wednesday 13 April

ENTRANCE GALLERY
A Geography of Moments
Christina Darras

Every day I wake up around 3 am. I crack open a chocolate bar for breakfast, and as I tare the foil, the day starts. A person in transition looks for a safe place to be. It takes time to feel at home. However, rituals create familiarity. I rescue the foils because they represent this moment of safety and calm and place them on the wall as a memory of the day. They create a map, a geography of moments. The silver shine reflects the value of every moment, and the foil’s fragility represents the absurdity of safety.

IMAGE Christina Darras, A Geography of Moments. Rescued chocolate foils, 2021

 

MAIN GALLERY
The Fold
Lily Baxter, Eliza Cullen, Lauren Johnston, Ellie Murtagh, Liana Prosia, Lilly Skipper, Madelaine Sloane, Shelley Spangler
Curated by Lilly Skipper

Artists negotiate the motivating forces that drive and decompose movement and flexions. This elastic force of the body and material alike, is determined in hardness and fluidity. Comparatively, works consider the finite body to the infinities of material through the cohering, unifying parts forming the tunic of The Fold.

IMAGE Lily Baxter, Eliza Cullen, Lauren Johnston, Ellie Murtagh, Liana Prosia, Lilly Skipper, Madelaine Sloane, Shelley Spangler, The Fold. Digital photograph, 2021 

 

 

27 April to 6 May
Closing event: 5-7pm Thursday 5 May

ENTRANCE GALLERY
SIGNS
Alice Edy

Alice Winstone Edy works with experimental typography to explore the interplay of the verbal/visual dimensions of language. For this exhibition, Edy explores the potentialities of “found text” in signage, via analog and digital practices. BELOVED is an archive of gravestone rubbings from the Melbourne General Cemetery; a book of only one word. SIGNS is part of a series of LED light poems that investigate the effects of repetition and movement on meaning.

IMAGE Alice Edy, Beloved. Video still, 2021

 

MAIN GALLERY
Venus in Tullamarine
Nicholas Currie, Ella Howell, Cat Lawrance, and Katie Paine
Curator, Cameron Hurst. Catalogue editor, Jeremy George

Famed for the outlandish classic The Magic Pudding, the legacy of Norman Lindsay — anti-modernist, author, libertine and, most importantly, artist — continues to cast a long, shifting shadow over Australian art and cultural history. In Venus in Tullamarine, key works from the University’s Lindsay collection are exhibited alongside responses from student artists. For a new generation of art historians and artists looking at 20th century Australian art, who is Norman Lindsay?

IMAGE Norman Lindsay, Untitled – (the Procession), detail. Lithograph, 27.9cm x 40.2cm. University of Melbourne Art Collection. Courtesy of A., C. and H. Glad, c. 1908

 

16-27 May 2022
Opening event: 5-7pm Thursday 19 May

When you think about feminism, what do you think?
George Paton Gallery: Feminisms 1975-2022
Curated by Emma Shaw and Sandra Bridie, with Caroline Phillips from the Women’s Art Register

In a reprisal of the letters show of 1975, where the George Paton Gallery sent out a call for responses to the question, When you think about art what do you think? we are asking the question When you think about feminism, what do you think? Responses are invited from students and the general public in the form of letters, text pieces, performances, videos, small artworks, and objects and will be exhibited as one component of this exhibition.
GPG: Feminisms looks at the history of feminist engagement in the programs of the George Paton Gallery from the 1970s to today. Reviewing the nature of the various feminisms that have emerged over the past 50 years and where these sit in today’s climate, we will hold discussions with current women/non-binary departments and groups within the university and outside which will bring these conversations up to date.

The exhibition will include; documentation of events in the GPG from 1974 to today, a video program of performances and responses to our When you think about feminism, what do you think? callout, and in the Entrance Gallery there will be an installation by the Women’s Art Register, an ongoing archive of women’s art that was born in the George Paton Gallery in 1975. The inception of the W.A.R. by Director Kiffy Rubbo and Assistant Director Meredith Rogers was a direct result of the historic visit to the GPG by leading feminist, curator and art critic Lucy Lippard during the seminal International Women’s Year of 1975.

IMAGES: LEFT F-generation: feminisms, art, progressions. Panel discussion at MUDfest, 2015. Photo by Richard Aldous

RIGHT Lucy Lippard visits the GPG, July 1975. Photo by Sue Ford, George Paton Gallery Collection, University of Melbourne archives

 

ENTRANCE GALLERY
Installation by the Women’s Art Register (WAR)

 

Following a series of women-only exhibitions and meetings at the Ewing (now George Paton) Gallery, a meeting was arranged in 1975 by then-Directors Kiffy Rubbo, Meredith Rogers and artists Lesley Dumbrell and Erica McGilchrist to discuss setting up an archive of local women’s art. Amidst the energy and activism of that International Women’s Year, the group put a call-out to contemporary women artists to each submit two slides of work, received 160 slides in short order, and the Women’s Art Register was born.

Assessed as a ‘Collection of National Significance’ through the Heritage Collections Council in 2009, this unique archive now houses documentation of over 5000 artists and continues as Australia’s living archive of women’s art practice. Since 1975 the Women’s Art Register has provided an inclusive, independent platform for research, education, advocacy and support, enhancing the status of women artists and addressing issues of equity, professional practice and cultural heritage.

IMAGES
LEFT Women’s Art Register volunteer Regina McDonald working on Pat Hillcoat collection, 2021. Photo by Caroline Phillips
MIDDLE WAR Stories- Women’s Art Register at The Roundtable, ACCA, 2018. Photo by Caroline Phillips
RIGHT Monash University student viewing WAR slide kit, 2018. Photo by Caroline Phillips