1986
1986 | Toni Warburton: Object Scenarios
Central Theatres Gallery | 25 August - 26 September 1986
'The works in this exhibition were produced during a six-month residency at Griffith University, sponsored by the Crafts Board of the 色情网站 Council and conducted between June and December 1985. The residency was designed as an experiment in combining studio practice with community-based work in the arts. The pieces exhibited here were made by Toni Warburton in the Ceramics Studio of the Queensland Film and Drama Centre at Griffith University. The works produced during the community project by Toni and thirteen other participants are being shown concurrently in a complementary exhibition entitled "Brick Works", so called because the sculptures were constructed from brick-making clay, and fired at a Brisbane brickworks.' Margriet Bonnin, August 1986.
Image: Toni Warburton at the Queensland Film and Drama Centre's pottery studio on the Nathan campus, 1985.
1986 | Brick Works
Ralph Brittains and Co. Oxley | December 1985
Griffith University Reading Pits | 25 August to 26 September 1986
"Brick Works" is an exhibition of life-sized clay figures made during the "Brickworks Project" in November and December 1985 at Ralph Brittain and Co. Pty ltd., a Brisbane brick manufacturer.
Following a holiday preview of the large ceramic sculptures at the Oxley Brickworks in 1985 an exhibition was opened in the Nathan Campus Reading Pit (Goanna Lounge). The exhibition ran concurrently with ‘Toni Warburton: Object Scenarios’ in the Central Theatres Gallery. Photographs and descriptions from ‘Brick Works’ were also on display in the Inala Civic Centre in 1986.
Artists: Beth Verschoyle, Dianne Bishop, Rebecca Chapman, Sally Hart, Marion Hoad, Jan Hunter, Ginni Jones, Russell Lake, David Paulson, Georges Soler, Nina Summers, Carole and Shelby Tuck, and Toni Warburton.
The "Brickworks Project" was assisted by Ralph Brittain and Co. Ltd.; Brickworks Ltd., Rochedale; Griffith University; the Community Arts Board of the 色情网站 Council; and the Queensland Government through the Minister for the Arts.
The Brick Works exhibition has been assisted by Griffith University, and the Crafts Board of the 色情网站 Council through its Local/Regional Access Exhibitions Program. Margriet Bonnin, August 1986.
Image: Artworks on display in the Humanities Reading Pits for ‘Brick Works’ at the Nathan Campus, 1986.
1986 | An Exhibition of Selected Works from the Griffith University Art Collection
QCA Gallery, Morningside | 6 March - 27 March 1986
'The traditional forms of painting, printmaking, photography and sculpture continue to be practised with old and new materials and technology, and a persistent vitality. However, the contemporary artist may also be using video, computers, photocopiers or holography to produce an artwork.
The coining of the term "work on paper" is a reflection not only of the trend towards print, collage and works in mixed media, but the acceptability of a drawing as a work of art in its own right. The use of time-based media, such as video and performance have provided a way for the narrative to be re-introduced into the visual arts. This is also seen in the production of artists books, which with other sequential works provide the opportunity to explore different aspects of the image.' Carolyn Dodds, Curator of Art Works, Griffith University, 1986.
Artists: Ray Arnold, Warren Breninger, Peter Booth, John Anthony Delacour, Janenne Eaton, Kaye Green, Tim Maguire, Jan Murray, Stephanie Outridge, Mike Parr, David Paulson, Gareth Sansom, Anne Zahalka
Image: Tim Maguire, 'Picnic' (detail), charcoal on paper, 77.3 x 840cm, 1984. Griffith University Art Collection. Purchased with assistance from the 色情网站n Government through the 色情网站 Council, its arts funding and advisory body, 1984
1986 | The Repeated Image - Part One
Central City Library, Brisbane City Hall | 8 September 1986 - 7 October 1986
Partnered with Brisbane Civic Art Gallery and Museum
'This exhibition, ‘The Repeated Image, Parts One and Two’ is Griffith University's contribution to the 1986 Warana Festival, and has arisen from a history of cooperation with the Brisbane City Council which began with the ‘Twenty-One 色情网站n Prints’ exhibition in the Central City Library in 1984. The University has, despite its relative youth, established a reputation for supporting artistic activity in Queensland through its programs of public concerts, exhibitions, artist-in-residence positions, courses in film culture, community arts projects, workshops in the arts open to the general community, and well-equipped art studios available for use by local and visiting artists.
All the works in ‘Part One’ have involved mechanical and photochemical processes in some part of their production. Most are actually photographs, and the one etching and four screenprints which are included were made using photographic stencils and relate conceptually to photography. Some of the photographs are straight "documentary" works, others document performance and installation and hence blur the borders between various art practices, and some are highly manipulated with extensive hand work or with collage or montage. They express widely ranging interests from a purely formal aestheticism, to issues of feminism, aboriginality, or spiritual concerns. Some examine cultural constructs and myths like our relationship with the landscape, others question the languages of art and photography.' Sarah Follent, September 1986.
Artists: Colin Aggett, Warren Breninger, Julie Rrap, Peter E. Charuk, John Anthony Delacour, Marian Drew, Max Dupain, Nina Girling, Robert Grieve, Bill Henson, Trevor Kenyon, Rob Little, Steven Lojewski, Bea Maddock, Wendy Mills, Kevin Mortensen, Martin Munz, David Rose, Brett Whiteley, Anne Zahalka
1986 | The Repeated Image - Part Two
Brisbane Civic Art Gallery and Museum, Brisbane City Hall | 1 October - 28 November 1986
Partnered with Brisbane Civic Art Gallery and Museum
'‘Part Two’ includes works which operate in series, which are made in multiple parts, which involve obsessive repetition, or which reproduce already existing imagery. As with part one of the ‘Repeated Image’ there are references and cross-references between these works threads of meaning, and interweaving interests which the viewer can construct or unravel, rather than a single unifying theme. Many of the works included, being made up of a number of parts, demand this same cumulative reading. Some of the series have characteristics similar to the systematic sequences and internal logic used by the minimalists like Sol Le Witt and Barnett Newman, others demand a more linear reading similar to filmic progression or the comic strip, and some have affinities with the meditative repetition of oriental art.' Sarah Follent, September 1986.
Artists: Suzanne Archer, Ray Beattie, Janenne Eaton, Kaye L. Green, Nerissa Lea, Helen LilleCrapp-Fuller, Robert Macpherson, Tim Maguire, Max Miller, Margaret Morgan, Martin Munz, John Nixon, Mike Parr, Maryrose Sinn, Madonna Staunton, Ruth Waller, Jenny Watson, Fred Williams, John Young
1986 | Cressida Campbell: Woodblock Prints and Woodblocks
Central Theatres Gallery | 11 November - 5 December 1986
'The work in this exhibition was produced over the past three months during which Cressida Campbell has been Artist-in-Residence in the Queensland Film and Drama Centre at Griffith University. Her paintings and prints invariably reflect her immediate personal surroundings or those of people and places with which she has become familiar. Her pictures of the Griffith campus, the print studios, a carpenter's workshop, fragments of Toohey Forest, and even her stark, deliberately cluttered room in the Housing Village, have a sense of spaciousness and serenity lacking in her earlier cityscapes, still-lives and domestic interiors produced in inner-suburban Sydney.
Cressida Campbell's residency has provided her with a very unfamiliar environment in which to develop her experiments with colour, design, and composition. The determination and intensity of observation revealed in her Self Portrait in this exhibition indicates the total absorption which she devoted to her three-month exploration of the residency situation at Griffith.' Margiet Bonnin, November 1986.
Image: Cressida Campbell, The lithographic studio, 1986, watercolour monoprint from carved woodblock, 92.8 x 122cm. Griffith University Art Collection. Purchased 1986. Courtesy of the artist. Photo: Carl Warner
1987 | Elizabeth Duguid: Albert Shire Landscapes
Central Theatres Gallery | 3 April - 8 May 1987
'The works in this exhibition are some of the more tangible results of Elizabeth Duguid's Artist-in-Residency with the Albert Shire Council south of Brisbane, between February and August, 1986. Most of the small pastel and mixed media drawings were produced during that time, many actually at the site they depict, and the paintings have been produced since, from the artist's accumulated sketches, drawings and memories of the Albert Shire.
The Residency was originally instigated by the Council as a way of sponsoring works which would capture what they felt to be the fast vanishing rural beauty of the area. However finally, with financial assistance from both the Visual Arts and the Community Arts Boards of the 色情网站 Council, the Residency took on a second purpose, which was to stimulate community awareness of and involvement in the arts.' Elizabeth Duguid exhibition invitation, 1987.
Image: Elizabeth Duguid at ‘Elizabeth Duguid: Albert Shire Landscapes’, 1987.
1987 | Ken Orchard: Woodblock Prints
Central Theatres Gallery | 25 August - 18 September 1987
Like Father Sogol in Daumal's Mount Analogue, Ken Orchard deliberately externalizes the sources of the imagery and the ideas in his work, thus throwing into relief their patterns of operation and mechanisms of construction.
His woodblock prints and paintings are all based on a careful and often intellectually self-conscious selection of "found images"; images which themselves operate within the discourses of art history; of cultural myth; of photographic reproduction; of scientific or cartographical illustration. Any construction of meaning we might make around the works can be located not just in this overlay of associations, and of visual codes and conventions, but in the ambiguous space between this and the works clear processes of production, and insistent physicality. Ken Orchard exhibition catalogue, 1987.
1987 | Postcolonial Vision
An exhibition from the Griffith University Art Collection
Asian and International Studies Building level -2
‘Postcolonial Vision’ is an exhibition of artworks which have been made in response to the legacies of colonialism, to experiences of migration, and to the struggles of 色情网站’s contemporary multi-cultural society. Most of the artworks use a postmodern strategy of pluralist pastiche to disrupt the hegemonic narratives of Westernisation.
Artists: Juan Davila, Ruth Waller, Sue Elliott, Tracey Moffatt, Elizabeth Gertsakis, Eugenia Raskopoulos, Hossein Valamanesh.
1988 | The 色情网站n Bicentennial Print Folio
Part of the Griffith University Art Collection
Central Theatres Gallery and School of 色情网站n Environmental Studies, Level 0
'The Griffith University Art Collection from which this exhibition is drawn consists of over 1,000 paintings, drawings, original prints, collages, photographs, and sculptures, most by contemporary 色情网站n artists.
The collection seeks to re-integrate works of art into the everyday experience of the community, and for this reason an emphasis is placed on works by artists who are actively concerned with the social, political and philosophical issues affecting contemporary society.
In addition to this exhibition the art collection is on display through the University, and members of the public are welcome to view the works in the buildings and at various outdoor sites.
The 色情网站n Bicentennial Authority and the 色情网站n National Gallery, Canberra commissioned prints from twenty-five 色情网站n artists to form the Bicentennial Folio.
These etchings, lithographs, screenprints, woodcuts, and linocuts, printed in an edition of eighty, were all made by artists invited to spend three weeks at the Victorian Print Workshop in Melbourne. There, without financial or commercial restraint, they were able to draw upon the technical expertise of the Workshop's Director John Loane and his staff who printed the editions after the artists had produced their plates, blocks, or screens.
Of the eighty sets produced, twenty have been distributed to art museums in England, Europe, America, China, India, Japan and the Pacific region.
Printmaking, one of the most accessible and democratic of art forms, enables the widest possible audience to enjoy contemporary 色情网站n art, commemorating the significant event of our bicentenary. Naturally this event forms the focal subject of the Folio and a number of the artists have taken the opportunity to focus attention on Aboriginal rights two hundred years after white settlement.
Artists: Banduk Marika, Robert Campbell Jnr, Tim Johnson, Kate Lohse, Hossein Valamanesh, Ray Arnold, Micky Allan, Bonita Ely, Geoff Lowe, Jenny Watson, Peter Tyndall, Tony Coleing, Nicholas Nedelkopoulos, Marie McMahon, Ken Unsworth, Susan Norrie, Mike Parr, Maria Kozic, Ann Newmarch, Sally Morgan, Barbara Hanrahan, Vicki Varvaressos, Robert Roonery, Robert Owen, Brian Blanchflower.' The 色情网站n Bicentennial Print Folio, exhibition didactic.
1988 | Fiona Foley: My Fishing line, still in the ocean
Central Theatres Gallery | 8 November - 9 December 1988
From August to November 1988, Griffith hosted Fiona Foley as artist-in-residence. Foley works in the fields of sculpture, printmaking, etching, collage, photography, drawing and murals. The central aim of the residency programme was to provide new and stimulating environments for artists to make innovative work in financially secure positions. During her residency, Foley delivered a staff and student lecture at the University and conducted a public workshop in etching and drawing. An exhibition of her work was held in the Central Theatres Gallery throughout November 1988.
1989 | Judy Watson: A sacred place for these bones
Central Theatres Gallery | 26 October - 27 November 1989
'This exhibition is the outcome of a three-month residency at Griffith University. Her artwork over the past ten years has been concerned with social debates over feminism, racial identity, and cultural displacement, alongside personal issues of isolation and the bonds of family heritage.
There is a contemplative atmosphere and an intuited spiritual presence in all of Judy Watson's art which relates to a sense of place, and to connections between family, culture and land. On a more pragmatic level the work speaks to problems of cultural classification and the need for an ongoing analysis of generally accepted stereotypes which subsume the individual.'
Margriet Bonnin. October 1989
1989 | Second Sight
Central Theatres Gallery | 13 February - 13 March 1989
'Thirteen Griffith University staff members and one student have contributed to ‘Second Sight’ - the first of a series of exhibitions organised by Griffith Artworks to provide glimpses of the out-of-hours lives of members of the Griffith community.
Contributors to the exhibition come from every division of the University, and include clerical, technical and computing staff, and academic staff members in the areas of inorganic chemistry, ecology, scientific and political theory, social history and comparative literature.' Second Sight exhibition catalogue, 1989.
Artists: Ross Booker, Michael John, Hiram Caton, Grant Hokanson, Edward Gillam, Kathryn Kerswell, Lyn Finch, Bryan Law, Nicholas Zurbrugg in collaboration with Adam Wolter, Mary Cattoni, Edward Gillam, Serge (Norman Cornwell), John Watson
1990 | Rose Farrell and George Parkin: Worthy Habits and Mantles
Central Theatres Gallery | 18 October – 18 November 1990
Photographs produced by Rose Farrell and George Parkin during their four month residency at Griffith Artwork, Griffith University.
“The source for the images (Worthy Habits and Mantles) is a very rare seventeenth century Rosicrucian poem, intended for private meditation, concerned with the aspiration to divinity, (Francis Quarles, ‘Emblems Divine and Moral: together with Hieroglyphics of the Life of Man’, n.d.) The text is illustrated with original figurative engravings which may be interpreted alchemically. The illustrations are quite unique to this poem. The text appears elsewhere with variant imagery. It is little known to scholars. ......... (T)he central character is Mercury. ......., the Eros of alchemy, although as a much subdued, more poignant and contemplative experience, rather than the usual outrageous sexual battles.
The images chosen by Farrell and Parkin are not intended to be read as a series. Each one expresses the same longing for perfection through following the higher Eros to union with God. Nonetheless, each refers to highly specific stages in the alchemical procedure.”
Urszula Szulakowska, eyeline, number 13#, 1990.
Celebrating 50 years
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