Brief prose cv

Dr Julie Gough             Brief prose CV   2014

Julie Gough is an artist, independent curator and writer who lives in Hobart, Tasmania. Her research and art practice often involves uncovering and re-presenting often conflicting and subsumed histories, many referring to her family’s experiences as Tasmanian Aboriginal people. Current work in installation, sound and video provides the means to explore ephemerality, absence and recurrence.

EDUCATION                               Commencing art studies in 1991, Gough completed a B.A in Visual Arts at Curtin University, West Australia in 1993 and a BA (Visual Arts) Honours, 1st Class (1994) University of Tasmania, Hobart. The award of a Samstag Scholarship (UNISA, 1997) resulted in a MA (Visual Arts) from Goldsmith’s College, University of London (1998). In 2001 Gough completed a PhD (Visual Arts) University of Tasmania. (Transforming histories: The visual disclosure of contentious pasts. http://eprints.utas.edu.au/2644/). A previous degree in Prehistory and English Literature (BA, University of West Australia, 1987) was instrumental in the development of Gough’s ongoing interest in merging archival research, field work and art making.

EXHIBITING                                Gough has exhibited in more than 115 group exhibitions and 20 solo exhibitions. Her first major opportunity was Perspecta, Art Gallery of New South Wales (1995). The following year she held her first solo exhibition Dark Secrets/Home Truths, Gallery Gabrielle Pizzi, Melbourne (1996). Recent exhibitions include The Lost World (part 2) (solo) Cambridge University Museum of Archaeology and Anthropology UK and Contemporary Art Tasmania (CAST) (2013), The Lost World (part 1) (solo), CAST, Tasmania (2013), unDisclosed – 2nd National Indigenous Art Triennial, National Gallery of Australia and touring (2012); Deadly – In-between Heaven and Hell, Tandanya National Aboriginal Cultural Institute, Adelaide (2012); IMMEMORIAL, Vargas Museum, University of the Philippines (2010) and Chan Contemporary Art Space Darwin (2011); The Robinson Cup, Queen Victoria Museum and Art Gallery, Launceston (2011); Clemenger Contemporary Art Award, NGV (2009); Redlands Westpac Art Prize, Mosman Gallery (2009); The Missing (solo) Bett Gallery, Hobart (2011); Fugitive History (solo), Bett Gallery, Hobart (2008); The Ranger (solo), South Australian School of Art Gallery, UNISA (2007); Interrupted – Renditions of unresolved accounts (solo), Turner Galleries, Perth (2007); Musselroe Bay (solo), Gallery Gabrielle Pizzi, Melbourne (2007); Thresholds of Tolerance, ANU (2007); An Other Place, Long Gallery, Hobart (2007); Power and Beauty – Indigenous Art Now, Heide Museum of Modern Art (2007-08); Zones of Contact – Biennale of Sydney (2006); Trace, Liverpool Biennale, UK (1999).

REPRESENTATION                  Gough’s art has been reviewed in more than 100 newspaper articles, journals and books and her work is represented in most major Australian collections including the Art Gallery of New South Wales, Art Gallery of South Australia, Art Gallery of West Australia, National Gallery of Australia, National Gallery of Victoria, National Museum of Australia, Parliament House, Australian National University, Powerhouse Museum, Queen Victoria Museum and Art Gallery Launceston, State Library of Queensland, State Library of Tasmania, Tamworth Regional Gallery, Tasmanian Museum and Art Gallery, Artbank, City of Port Phillip, Devonport Regional Gallery, Flinders University, Janet Holmes à Court collection, Margaret Levi & Robert D. Kaplan collection Seattle, Mildura Arts Centre, Murdoch University. Julie Gough is represented in Australia by Bett Gallery (Hobart) and Gallery Gabrielle Pizzi (Melbourne).

EMPLOYMENT                         Curator, TESTING GROUND, Salamanca Arts Centre, Hobart (2013- touring 2014), curatorial team member – INSIDE: Life in Children’s Homes at NMA (National Museum of Australia, 2011- touring). Curator, Tayenebe – Tasmanian Aboriginal women’s fibre work (http://static.tmag.tas.gov.au/tayenebe/) at the Tasmanian Museum and Art Gallery (2009), and in 2008 curated The Haunted and the Bad, Linden – St Kilda. Previous employment includes Lecturer, Creative Arts, James Cook University, Townsville (2005 – 06); Curator, Indigenous Art, National Gallery of Victoria (2003 – 04); Lecturer, Aboriginal studies, Riawunna, Centre for Aboriginal Studies, University of Tasmania (2002 – 03); Interpretation Officer, Aboriginal Culture, Parks & Wildlife Service, Hobart (2000 – 01). Gough has, to date, examined 21 Australian postgraduate university degree submissions.

PUBLICATIONS  include: Gough, J, 2014, Honouring the past / making a future – The Tasmanian Aboriginal shell necklace tradition’ andLola Greeno: Cultural Caretaker’ in (ed) Smith, Sandra, 2014, Lola Greeno: Cultural Jewels, Object Gallery, NSW, pp.108-116, 159, ISBN: 978-0-9578180-1-9

Gough, J, 2014 ‘Forgotten lives – the first photographs of Tasmanian Aboriginal people’, 2014, in: Calling the Shots: Aboriginal Photographies, edited by Dr Jane Lydon, Aboriginal Studies Press, Australian Institute of Aboriginal and Torres Strait Island Studies (AIATSIS), Canberra, Australia, ISBN: 9781922059598, pp.20-52

Gough, J, 2011, ‘The Conciliation (etching)’, Alisa Bunbury (ed.) This Wondrous Land: Colonial Art on Paper, National Gallery of Victoria, ISBN: 9780724103447

Gough, J, 2009, Tayenebe – Tasmanian Aboriginal Women’s Fibre work, Tasmanian Museum and Art Gallery Hobart. ISBN:978-0-9806327-1-2

Gough, J and Naylor, S, 2009, ‘Circuit Breaking? Indigenous Australian Art and Critical Discourse’, Crossing Cultures: Conflict, Migration and Convergence(ed) Jaynie Anderson, Miegunyah Press, University of Melbourne, ISBN: 978‐0‐522‐85711‐5, ch.164, pp.820‐825

Gough, J, 2006, ‘Being collected and keeping it real’, Keeping Culture: Aboriginal Tasmania, (ed) Amanda Jane Reynolds, National Museum of Australia, Canberra, ISBN: 1 876944 48X, pp. 9-20

Gough, J, 2006, ‘Being there, then and now – aspects of south east Aboriginal art’, Landmarks, (ed) Judith Ryan, National Gallery of Victoria, ISBN: 0 7241 0267 1, pp.125 -131

Gough, J, 2005, ‘Aboriginal Art’, ‘ Langerrareroune (Sarah Island)’, ‘Oyster Cove’, ‘Penemeroic, Toinneburer, Rawee’, ‘West coast Aboriginal escapes’, in (ed.) Alison Alexander, The Companion to Tasmanian History, Centre for Tasmanian Historical Studies, University of Tasmania, ISBN: 186295223X, five entries p.1, 206, 261-2, 268-9, 383

Gough, J, 2004, ‘Richard Browne’, Benjamin Dutterau’ ‘Conrad Martens’, ‘John Skinner Prout’, in ed. Lindsay, Frances, 2004,The Joseph Brown Collection, National Gallery of Victoria, 2004, ISBN: 0724120523, pbk,p.40; p.42; pp 46-7; p.50

Gough, J. & Purich, T, 2004, ‘Minyma Tjuta: Many women working with fibre and the figures of Kantjupayi Benson’ in ed. Judith Ryan, Colour Power – Aboriginal Art post 1984, National Gallery of Victoria, 2004, ISBN: 0724120566 pbk, pp.126 -130

Gough, J, 2000, ‘Cultural Relevance and Resurgence: Aboriginal Artists in Tasmania Today’, Oxford Companion to Aboriginal Art and Culture, ed. Sylvia Kleinert and Margo Neale, Oxford University Press, ANU, 2000, ISBN: 0195506499, pp.255-259

Gough, J, 2000, ‘Physiological Adaptation to Cold and other true horror stories’, Oxford Companion to Aboriginal Art and Culture, ed. Sylvia Kleinert and Margo Neale, Oxford University Press, ANU, 2000, ISBN: 0195506499, p.97

Gough, J, 2000, ‘History, Representation, Globalisation and Indigenous Cultures: A Tasmanian Perspective’, in Indigenous Cultures in an Interconnected World, eds Claire Smith and Graeme Ward, Allen & Unwin, 2000, ISBN: 186448926X, pp.89-108

 MEMBERSHIPS                        Gough is a Board member of Art Monthly Australia journal (2012 +) and a Director Member of the Indigenous Australian Art Commercial Code of Conduct (2009+). She has been a member of the publishing committee of AIATSIS (Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra), judge of the Fremantle Print Prize, National Aboriginal and Torres Strait Islander Art Award, the Indigenous Ceramic Art Awards, the National Interpretation Australia Awards, the Cossack Art Prize.

AWARDS                                       In 2012 Gough was awarded the Liverpool UK Studio Residency (2013), Visual Arts and Crafts Board, Australia Council (OZCO), in 2014 and 2010 awarded an OZCO New Work Grant, and in 2006 a Visual Arts and Crafts Board (OZCO) Fellowship, State Library of Victoria Creative Fellowship, and State Library of Tasmania Fellowship. During 2010 Gough undertook art residencies at Hazelhurst Regional Gallery, NSW and the National Sculpture Factory, Cork, Ireland. In 2009, a Manning Clark House Residential Fellowship resulted in the transcription and online publication of 362,000 words of Van Diemen’s Land depositions from 1820-1860 held in the National Library of Australia: http://manuscript3251.wordpress.com/about/

 

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