What's On at John Curtin Gallery

Stewart Scambler
Source, 2024
ceramic, 188.5 x 141 cm

Source is a material response to the travels Scambler has made through the land surrounding Yandanyirra (The Fortescue River). Across his journey, Scambler collects materials such as brick clay, iron ore fines, dust collected on his vehicle and ochres gifted to him by a Yindjibarndi Elder. These materials combine to produce the distinctive surface colour. In this work Scambler explores his interest in the land as home and driver of cultural identity, along with the sun as an energetic force that brings both life and death. He embraces the uncertainty of using local unrefined materials in his works, taking the unexpected results as final in this large ceramic form.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Winner 2023
#stewartscambler

@js_prize #collectorsclubperth
Supported by @lendlease and #thenavigatorscircle

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Portrait image by Ezra Alcantra

Brendan Van Hek
Minimal dirt (JCG), 2024

A small marble slab rests on the gallery floor in front of a larger dirt rectangle rubbed onto the wall, as if mirroring or mimicking it. The charged space between the two is in constant flux, never settling, inviting viewers to continuously question their relationship. Through contrasting material qualities—marble`s permanence and dirt`s impermanence—the piece challenges conventional ideas of value and hierarchy. The tension between these elements blurs the boundaries between what is considered lasting or valuable, pushing us to reconsider our assumptions about material importance and the dynamic interactions between objects in space.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Inaugural Winner 2011
#brendanvanhek

@js_prize #collectorsclubperth @curtinalumni
Supported by @lendlease and #thenavigatorscircle

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Portrait image by Ezra Alcantra

🎧 JCG Curator Lia McKnight recently joined Maxxi May on Artbeat to talk about 2 of our current exhibitions now on.

If you didn`t get a chance to hear it live or you would like to listen again - just follow the 🔗 link in our bio or find at https://rtrfm.com.au/story/whats-on-at-john-curtin-gallery/

Catch RTR`s Artbeat on FRIDAYS 9AM-12PM @rtrfm 🙏 @maxximay @lia_mcknight

DON’T MISS OUT! Only a few weeks left before `Brett Whiteley: In the Studio` closes and this comprehensive collection of artworks heads back over east.

On until 15 December.
Mon - Fri 11am-5pm, Sun 12-4pm
Free admission.

Brett Whiteley: In the Studio is an @artgalleryofnsw and the @brettwhiteleystudio touring exhibition. This project has been assisted by the Australian Government’s Visions of Australia program

#BrettWhiteley #perthart #inthestudio #agnsw #artexhibitionperth

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Brett Whiteley: In the Studio installation views at the John Curtin Gallery, 2024

Jarrad Martyn
Curiosity, 2024
oil on linen, 41 x 31 cm
Endurance, 2024
oil on canvas, 160 x 149 cm
Sojourner, 2024
oil on linen, 37 x 31 cm
Represented by Stala Contemporary

Jarrad Martyn’s practice is centred on investigating the changing legacy of history and the archive over time. These works respond to his father’s photo archive created while working in Antarctica in 1985. Martyn collages archive and personal material to create abstractions that reflect on the preservation and recollection of both personal and collective memory. His use of digital and analogue technologies including painting and photography work together to distort and re-present history along with commonly held beliefs. These works call for new conversations about collective memory, the fallible human experience, and Martyn’s interest in the human impact on the environment.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Winner 2018
@jarradmartyn @stalacontemporary

@js_prize #collectorsclubperth @curtinalumni
Supported by @lendlease and #thenavigatorscircle

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Portrait image by Ezra Alcantra

Jacky Cheng
Cicada, 2024
Kozo paper, gold thread, linen and cotton thread, wool, black rope, metal rod

Cicada examines one of many Taoist symbols that embody transformation, notions of death and protection, honour and the cyclical nature of life. Such cycles are represented in the cicada, a powerful symbol of rebirth and immortality. Jacky Cheng takes black and white Kozo paper, linen, gold and silver threads and Cricula silk cocoons to draw out the opulence, longevity and auspiciousness of her symbolic exploration. Moving between her two cultures – born in Malaysia of Chinese heritage and now residing in Yawuru Country (Rubibi/Broome) – Cheng interrogates notions of ‘home’ and ‘belonging’ to nurture her identity and cultural background.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Winner 2022
@jackychengart

You can also hear from Jacky during our Studio Making Forum, Fri 29 Nov 10am-2:30pm. For more info follow link in our BIO or via our website: www.curtin.edu.au/jcg/events/studio-making-forum/

@js_prize #collectorsclubperth @curtinalumni
Supported by @lendlease and #thenavigatorscircle

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Portrait image by Ezra Alcantra

Susan Roux
Ground(lace)ness / Traliegrond, 2024
Canson photographic paper, Hahnemuhle paper, oil pigment, thread, ink., 200 x 150 cm
Represented by Art Collective WA

The structure and flesh of the prickly pear plant forms the central motif in Ground(lace)ness / Traliegrond. In this large-scale work on paper, the prickly pear’s texture emerges through a laboriously and intensely stitched process that emulates the sharpness of the fruit’s needles. Through building up chiaroscuro textures with thread and paper, a vast landscape appears which belies the fragility of its construction. In this work, Susan Roux reflects on the history and use of the prickly pear.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Winner 2020
@susanrouxart @artcollectivewa

@js_prize #collectorsclubperth
Supported by @lendlease and #thenavigatorscircle

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Portrait image by Ezra Alcantra

Jacobus Capone
End & Being (minute 16), 2024
inkjet print on Canson rag photographique, 60 x 60 cm
End & Being (minute 19), 2024
inkjet print on Canson rag photographique, 60 x 60 cm
Represented by Moore Contemporary

(Minutes 16 & 19) are stills taken from larger work by Jacobus Capone titled End & Being. Inspired by Percy Shelley’s poem ‘Mont Blanc: Lines Written in the Vale of Chamonix’, Jacobus uses the text as a lens through which to sensitively examine the ecological fallout of an irreversibly warming planet. The predominant gesture guiding End & Being was a gruelling daily act of visiting Bosson`s Glacier in Chamonix on foot. Jacobus held a minute of silence with the glacier for 89 consecutive days, amassing 151,122 vertical metres of elevation gain over 1864 kilometres.

25 Oct – 15 Dec 2024
This 10 Year Retrospective of the John Stringer Prize is celebrated with an exhibition of new works by past winners, each influenced by studio visits and patronage from the Collectors Club and highlights a distinctive and eclectic representation of West Australian artistic practice.

Winner 2016
@jacobus_capone @moorecontemporary

@js_prize #collectorsclubperth
Supported by @lendlease and #thenavigatorscircle

Tues 3 Dec 11am – free event
Join us for a Curtin Campus Art Collection Tour focusing on Howard Taylor’s public artworks here at Bentley Campus and celebrating the return of ‘Tree Forms’ back to its originally commissioned home in the Library.

Acknowledged as one of the most significant Australian artists of the 20th century, painter and sculptor Howard Taylor (1918-2001) was influenced by the Western Australian landscape, particularly the coastal forests of his home in Northcliffe.

Starting at the Gallery, visit & learn about our significant collection of public artworks by Howard Taylor, guided by Campus Public Art Coordinator and artist Mikaela Miller. Works to be explored include:

Way Through (1977-78) was the first major sculpture to have been commissioned by Curtin University (then WAIT).

Cyclops (1965) and its partner work, Untitled, Brass Relief (1965) were added to the collection as a gift from the ANZ Bank with the demolition of their former CBD headquarters in 1989.

Finishing with Tree Forms (1971) to its home in the newly refurbished Library building.

For further information, visit: https://events.humanitix.com/campus-public-art-tour-focus-on-howard-taylor or follow LINK in our BIO

@curtinuniversity @curtinuniversitylibrary @curtin_mcasi @curtinbfagrads @curtin.humanities @curtinlifeaustralia @curtinalumni @explorecurtin #publicart #campusart #sculpture #howardtaylor

@australianbaroque
Thu, 21 Nov, 7pm
Mozart’s Piano Quartets

With the internationally acclaimed fortepianist and Patron of Australian Baroque, Dr Geoffrey Lancaster AO, we present Mozart’s two sublime Piano Quartets KV 478 and KV 479—a form of chamber music invented by Mozart himself. Containing keyboard writing that was considered unplayable in Mozart’s time, these magnificent works are universally regarded not only as revealing the composer at his very best, but also as the ‘jewel in the crown’ of Mozart’s fortepiano chamber music.

For further information and to book: https://events.humanitix.com/mozart-s-piano-quartets