Brief prose cv

Dr Julie Gough             Brief prose CV    

Julie Gough is an installation, sound, and video artist, writer, and a curator of First People’s Art and Culture at the Tasmanian Museum and Art Gallery in Hobart. She is a Trawlwoolway woman whose Briggs-Johnson-Gower family have lived in the Latrobe region of North West Tasmania since the 1840s, with Tebrikunna their Traditional Country in far north eastern Lutruwita (Tasmania). Julie’s paternal family immigrated to Melbourne from Glasgow in 1948. Gough’s research and art practice involves uncovering and re-presenting subsumed and often conflicting histories.

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. 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                                Since 1991 Gough has exhibited in 29 solo and 181 group 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: Rivus: Biennale of Sydney, 2022; Ever Present, National Gallery of Australia and National Gallery of Singapore, 2021-2022; Tarnanthi, Art Gallery of South Australia, 2021; Eucalyptusdom, Powerhouse Museum, NSW, 2021; TENSE PAST (solo), Tasmanian Museum and Art Gallery, 2019; Divided Worlds, Adelaide Biennial, 2018; Defying Empire, NGA (National Gallery of Australia), 2017; THE NATIONAL, Museum of Contemporary Art, NSW, 2017; With Secrecy and Despatch, Campbelltown Arts Centre, 2016; 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, National Gallery of Australia, 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; The Missing (solo) Bett Gallery, Hobart, 2011; Clemenger Contemporary Art Award, National Gallery of Victoria, 2009; Redlands Westpac Art Prize, (winner) Mosman Gallery, NSW, 2009; 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 Biennial, UK, 1999; Perspecta, Art Gallery of New South Wales, 1995.

REPRESENTATION                  Gough’s art has been reviewed in more than 200 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).

EMPLOYMENT                        Currently (2018+)  Curator (half-time) First People’s Art and Culture, Tasmanian Museum and Art Gallery; 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 ( at the Tasmanian Museum and Art Gallery (2009), and in 2008 curator, 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.



Tense Past (Tebrikunna Press, 2021);  Fugitive History (UWA Press, 2018);  Shale (A Published Event, 2018); Tayenebe – Tasmanian Aboriginal Women’s Fibre work (Tasmanian Museum and Art Gallery, Hobart, 2009).

Selected Articles / Chapters

Gough, J, 2021, ‘The Unsettled’, in Nicholas Chare and Mitchell B Frank (eds), History and Art History – looking past disciplines, Routledge, New York, ISBN: 978-0-367-25601-2 (hbk), 30             Nov. 2020, pp.54-71

Gough, J, 2020, ‘The artist as detective in the museum archive: a creative response to   repatriation and its historic context’, pp.835 – 853 in (eds), Cressida Fforde, C. Timothy McKeown, Honor Keeler, Routledge Companion to Indigenous Repatriation, Routledge, Oxon, UK, ISBN: 978-1-138-30358-4 (hbk) 5 Mar. 2020.

Gough, J,  2018, ‘tayenebe, exchange — Reviving Aboriginal fibre work in Tasmania’,     pp.197-   199, in Bronwen Douglas, Fanny Wonu Veys, and Billie Lythberg, Collecting in the  south sea – The Voyage of Bruni d’Entrecasteaux 1791-1794,   Sidestone Press, Leiden, ISBN: 9789088905742

 Gough, J,2016, ‘The Possessed Past. Museum: infiltration and Outreach and the  Lost World (Part 2)’, pp.51 – 102, in Carroll, Khadija von Zinnenburg. and Gough,     Julie. and Viejo-Rose, Dacia. and Smith, Ellen. and Balzar, Christoph. and Adams,  Mark. and Thomas, Nicholas.  The importance of being anachronistic : contemporary Aboriginal art and museum reparations / essays by Khadija von  Zinnenburg Carroll, Julie Gough, Dacia Viejo-Rose, Ellen Smith and Christoph Balzar ; with photographs by Mark Adams and a foreword by Nicholas Thomas; edited by Khadija von Zinnenburg Carroll  Discipline in association with Third Text Publications [Melbourne, Victoria]  2016

Gough, J, 2016, ‘Colonial Representation and Appropriation of the Tasmanian Aboriginal shell necklace’, pp.65 – 73, and ‘The Gift of Sharing’, pp. 97 – 99, in Kanalaritja: an unbroken string, Tasmanian Museum and Art Gallery, Hobart, ISBN: 9344187003074

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’, 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 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 member of FAHA, Fellow (elected member) Australian Academy of Humanities (2021+); Aboriginal Arts Advisory Committee member, MCA (Museum of Contemporary Art), Sydney, (2020+); Moonah Arts Centre (MAC) Aboriginal Advisory Committee (2020 +); Digital History Tasmania (2021+); AIATSIS (Australian Institute of Aboriginal and Torres Strait Islander Studies) (2007 +). She has been a member of the TAAC, Tasmanian Aboriginal Advisory Council, Tasmanian Museum and Art Gallery (2015-2018); Aboriginal Arts Advisory Committee member, Arts Tasmania (2015 – 2018);  First Peoples Roadmap working Group, Australian Museums and Galleries Association (AMAGA)(2019-2020); Art Monthly Australia journal (2012-2016); Director Member of the Indigenous Australian Art Commercial Code of Conduct (2009-2015); publishing committee, AIATSIS (Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra (2010-2014); CRAFT AUSTRALIA (2009 – 2010). Gough has judged  the Hadleys Art Prize, 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.


2022  COOMBS fellowship and residency, School of Art and Design, Australian National University

2020  Sydney Living Museums, Artist research residency, May – June

Grant, publication: TENSE PAST: Arts Projects for Individuals and Groups: Australia Council for the Arts (April), and Arts Tasmania (July)

2018   Artist funding, Kochi Muziris Biennale, Kochi, Kerala, India. Nov 2018 – March 2019, (Australia Council for the Arts)

2017  Helen Lempriere Sculpture Prize, August 2017

2015 – 2016   Development Grant, Australia Council for the Arts, July: Galway Arts Festival / Oct – Dec: Chile, various events/residency. Self directed research and residency in Chile (Sept – Dec) as part of Black Matter – a Chilean/Tasmanian project conceived and managed by independent curator Francisca Moenne. Attendance at Galway Arts Festival / installation of artwork at Galway Arts Centre.

2015   AAANZ (Art Association of Australia and New Zealand ) Annual prize for an Indigenous Writer. Julie Gough for ‘Honouring the past / making a future – The Tasmanian Aboriginal shell necklace tradition’ and ‘Lola Greeno: Cultural Caretaker’ in Lola Greeno: Cultural Jewels, Object Gallery, NSW, pp.108-116, 159, ISBN: 978-0-9578180-1-9. Judge: Stephen Gilchrist (26 Nov. 2015)

In 2012 Gough was awarded the Liverpool UK Studio Residency (2013), Visual Arts and Crafts Board, Australia Council (OZCO), in 2014 and 2010  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: