#artsintern

EXHIBITION PLANNING 

Look into history of the exhibition site and any significant documentation of events relating to Aboriginal history?

Commercial event – need to look into curating to sell.

200 year anniversary of first Aboriginal land grants Bungaree.

Building panels for exhibition to our specifications (still to be measured up and confirmed).

Who we are inviting?

 'A Listers'

Further developing the exhibition theme - history of the site, measuring time, reflection, new beginnings, cycles of the moon, quality of light etc.

Potential political and personal issues to be considered regarding aspects of the exhibition - highlighting the need to be culturally and politically sensitive.

Book published with Gordon’s work about seasons in Tasmania – Potentially looking at doing an exhibition in Autum or spring of next year?

Going out on an excursion in order to generate inspiration.

COLLECTION MANAGEMENT 

Works by K.D – where are the works – storage location of them all, condition reports on them – research on what the pricing should be, plus other fields?

Long term for Keeping Place - which works are core to the collection? Grouping the collection.

Meeting K.D in late September – Working with Karla in condition reports and documentation.

Working towards documentation of urban art by Aboriginal women?

Away from the gallery, I enjoyed a trip to London last weekend where I succeeded in dragging my lovely host Helena to Whitechapel Gallery to see their current exhibitions Spirit of Utopia and, in particular, Black Eyes and Lemonade: Curating Popular Art.

Spirit of Utopia, [ground floor], Whitechapel Gallery.

I have been particularly interested by the Folk Art Collection at Compton Verney (which I talked a little bit about in my post from Weeks 3 & 4) and so I was keen to see how a renowned contemporary London gallery would treat this ‘genre’ which is often associated with the notion of ‘Outsider’ art. Although the actual exhibit turned out to be very small in the end, it was extremely interesting to look back at archival documents which revealed how the original Black Eyes and Lemonade was curated in 1951.  (I have reviewed this exhibition in my previous post). I also was very pleased to see Enid Marx making an appearance, who I have got to know through Compton Verney’s recently re-hung display of her own works and collection of objects.

  Arty things aside, most of my photos from my weekend in the capital seem to be of food (of course), so it seems a shame not to include one to end with! We sampled the delights of Brick Lane’s market food, delicious cakes in the lovely Morena bakery and finished with French cuisine in Saint Christopher’s Place.