THE ALTERNATIVE ARCHIVE
The Alternative Archive exhibition is the first comprehensive survey of regional contemporary arts practice in Western Australia in 20 years. This exhibition presents the work of 40 contemporary artists critically selected from over 200 artists involved in a state-wide exhibition project in 2019 that stretched from Kununurra in the north-east Kimberley, to Esperance on the south-east coast. Each exhibition was locally curated within regional communities beyond the metropolitan boundaries of Perth. The curatorial premise developed for The Alternative Archive enabled this state-wide enterprise to become a project of linkage – both from regional site to capital, as well as between each and every regional site themselves – and was built upon the notion that artists often are their community’s story tellers, socio-historical archaeologists and keepers of alternative histories – in effect creators and custodians of a community’s ‘alternative archive’.
The Alternative Archive is co-curated by John Curtin Gallery Director, Chris Malcolm and independent curator Anna Louise Richardson.
Featuring artists: Craig Allsop, Agnes Yamboong Armstrong, Gabrielle Butler, Debbie Carmody, Tina Carmody, Kgukgi Catherine Noble Howard, Chan Dalgarno, Annette Davis, Mary-Lou Orliyarli Divilli, June Djiagween, Alana Grant, Charmaine Green and Mark Smith, Jan Goongaja Griffiths, Peggy Madig Griffiths, Naomie Hatherley, Pansy Hicks, Maitland Hill, Jason Holmes, Karen McClurkin, Serena McLauchlan, Jeanne Melville, Sarah Mills, Claudette Mountjoy, Brenda Mingen Ningarmara, Lyn Nixon, Ellen Norrish, Marianne Penberthy, Deidre Robb, Loreen Samson, Violet Samson, Michelle Slarke, Gary Smith, Tania Spencer, Louise Tasker, Casey Thornton, Monique Tippett, Lizzie Troup, James Walker, and Ben Galmirrl Ward.
The Alternative Archive was originally developed for Connect to the Creative Grid, an initiative of the Regional Arts Partnership Program supported by the State Government of WA and Country Arts WA with additional funding support from the Australian Government through the Regional Arts Fund. The Alternative Archive survey exhibition and symposium program has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, the Department of Local Government, Sport and Cultural Industries, ART ON THE MOVE, GalleriesWest, Southern Forest Arts and Regional Arts WA.
John Curtin Gallery, Perth, WA.
14 May - 30 July 2021.
CLICK HERE FOR FOR MORE INFORMATION ABOUT THE REGIONAL PROJECT
CLICK HERE TO VIEW THE CATALOGUE
The Alternative Archive is co-curated by John Curtin Gallery Director, Chris Malcolm and independent curator Anna Louise Richardson.
Featuring artists: Craig Allsop, Agnes Yamboong Armstrong, Gabrielle Butler, Debbie Carmody, Tina Carmody, Kgukgi Catherine Noble Howard, Chan Dalgarno, Annette Davis, Mary-Lou Orliyarli Divilli, June Djiagween, Alana Grant, Charmaine Green and Mark Smith, Jan Goongaja Griffiths, Peggy Madig Griffiths, Naomie Hatherley, Pansy Hicks, Maitland Hill, Jason Holmes, Karen McClurkin, Serena McLauchlan, Jeanne Melville, Sarah Mills, Claudette Mountjoy, Brenda Mingen Ningarmara, Lyn Nixon, Ellen Norrish, Marianne Penberthy, Deidre Robb, Loreen Samson, Violet Samson, Michelle Slarke, Gary Smith, Tania Spencer, Louise Tasker, Casey Thornton, Monique Tippett, Lizzie Troup, James Walker, and Ben Galmirrl Ward.
The Alternative Archive was originally developed for Connect to the Creative Grid, an initiative of the Regional Arts Partnership Program supported by the State Government of WA and Country Arts WA with additional funding support from the Australian Government through the Regional Arts Fund. The Alternative Archive survey exhibition and symposium program has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, the Department of Local Government, Sport and Cultural Industries, ART ON THE MOVE, GalleriesWest, Southern Forest Arts and Regional Arts WA.
John Curtin Gallery, Perth, WA.
14 May - 30 July 2021.
CLICK HERE FOR FOR MORE INFORMATION ABOUT THE REGIONAL PROJECT
CLICK HERE TO VIEW THE CATALOGUE
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Lyn Nixon, Fragments, 2019, photographs based on images supplied by the Mandurah community, 11.5 × 17cm each
James Walker, Plane Spotting – Traverse 30 Days, 2019, oil and pencil on aluminium composite panel, 30 components, 30 × 18.5cm each. Courtesy of the private collection of Megan Christie and the private collection of Mark Nidorf.
Sarah Mills, Extinct, 2019, mixed media installation with carved organic material, 300 × 300cm
Tina Carmody, Wiru Kapi, 2017, photograph, acrylic and resin on board, 91cm × 100cm
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Louise Tasker, Water Rights Series – Nelson Location, 2019, sterling silver, copper, fine silver, marron gastroliths, steel, 7.5 × 5 × 0.7cm (left)
Louise Tasker, Water Rights Series – Water Markers, 2019, fine silver, copper, sterling silver, steel, 9 × 1 × 1cm (right)
Louise Tasker, Water Rights Series – Water Markers, 2019, fine silver, copper, sterling silver, steel, 9 × 1 × 1cm (right)
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Claudette Mountjoy, Confidence, 2019, video recording of performance, duration 3:15 minutes
Naomie Hatherley, Keeping Score – Her Rules, Her Game: West Kimberley Football League, 2019, oil on vintage tin score plates, 120 × 90cm
Pansy Hicks, Munni Munni, 2019, acrylic on canvas, 30 × 30cm (left)
Pansy Hicks, Munni Munni Hill, 2019, acrylic on canvas, 68 × 39.5cm (right)
Courtesy of Roebourne Art Group
Pansy Hicks, Munni Munni Hill, 2019, acrylic on canvas, 68 × 39.5cm (right)
Courtesy of Roebourne Art Group
Charmaine Green & Mark Smith, Unravelling Archives 1, 2019, woodcut print, collage, glitter on watercolour paper, 76 × 56cm (right)
Charmaine Green & Mark Smith, Unravelling Archives 2, 2019, woodcut print, collage, glitter on watercolour paper, 76 × 56cm (left) Courtesy of Geraldton Regional Art Gallery collection
Charmaine Green & Mark Smith, Unravelling Archives 2, 2019, woodcut print, collage, glitter on watercolour paper, 76 × 56cm (left) Courtesy of Geraldton Regional Art Gallery collection
Karen McClurkin, Rene and the ‘God of Ugly Things’, 2019, oil, acrylic, giclee print on gesso, hessian and board, 20 × 30.5cm
Violet Samson, (left to right):
Bush Seeds, 2019, acrylic on canvas, 30 × 30cm
Bush Seeds and Plants, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 30 × 30cm
Courtesy of Roebourne Art Group
Bush Seeds, 2019, acrylic on canvas, 30 × 30cm
Bush Seeds and Plants, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Bush Seeds, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 20 × 20cm
Wild Flowers, 2019, acrylic on canvas, 30 × 30cm
Courtesy of Roebourne Art Group
Loreen Samson, Salt Ponds, 2019, acrylic on canvas, 100 × 59cm. Courtesy of Roebourne Art Group
Ben Galmirrl Ward, Behn River, 2017, natural ochre and pigment on canvas, 100 × 200cm. Courtesy of Mossenson Art Collection
Marianne Penberthy, An Offering, 2019, gauze, found metal objects, adhesive, tannin, cotton thread, 96 components, 9 × 9cm each
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Jeanne Melville, Where the Journey Leads, 2019, copper, brass, nickel, aluminium, metal wires, mica and paper, 112cm diameter
Tania Spencer, 40 Babies a Year Born Here, 2019, copper wire, iPad, digital feed, 65 × 215cm
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Michelle Slarke (left to right):
Phials – Artefacts after Burning series, 2019, phials (glass, metal, rubber) recovered from old hospital tip/burned sites, soil, ash, charcoal, aluminium, PVA, stainless steel support, 9.5 × 30 × 90cm
Ampoules – Artefacts after Burning series, 2019, glass ampoule parts recovered from old hospital tip/burned sites, soil, ash, charcoal, lake salt, aluminium, PVA, stainless steel support, 5 × 30 × 90cm
Re-made – Artefacts after Burning series, 2019, objects recovered from old hospital tip/burned sites (glass, metal, china), mallee, wire, charcoal, ash, soil, lake salt, PVA, stainless steel support, 2 × 30 × 90cm
Phials – Artefacts after Burning series, 2019, phials (glass, metal, rubber) recovered from old hospital tip/burned sites, soil, ash, charcoal, aluminium, PVA, stainless steel support, 9.5 × 30 × 90cm
Ampoules – Artefacts after Burning series, 2019, glass ampoule parts recovered from old hospital tip/burned sites, soil, ash, charcoal, lake salt, aluminium, PVA, stainless steel support, 5 × 30 × 90cm
Re-made – Artefacts after Burning series, 2019, objects recovered from old hospital tip/burned sites (glass, metal, china), mallee, wire, charcoal, ash, soil, lake salt, PVA, stainless steel support, 2 × 30 × 90cm
Jason Holmes, Anonymous Woman #2: Alternate Archive of Post-cards from big Pankrác Prison, Floreat Beach, Lake Disappointment, Kuditji, Eden, 2019, laser print on Hahnemuhle paper, rakehead, hand-made stamps, dimensions variable (front)
Jason Holmes, Anonymous Woman #1: Dagmar Dáša Šimková – Byly Jsme Tam Taky, 2019, eucalypt bark, eucalypt resin, dimensions variable (back)
Jason Holmes, Anonymous Woman #1: Dagmar Dáša Šimková – Byly Jsme Tam Taky, 2019, eucalypt bark, eucalypt resin, dimensions variable (back)
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Chan Dalgarno, The Truth of the Mokine Gully Ghost, 2019, ink on cotton paper, 76 × 56cm
Maitland Hill, Songline series 1–4, 2019, pyrography on plywood, 190 × 60cm each
June Djiagween, When the Marjar came – (the story of blackbirding), 2019, acrylic on canvas, 100 × 150cm (left)
June Djiagween, Pearling Slavery, 2019, acrylic on canvas, 100 × 120cm (right)
June Djiagween, Pearling Slavery, 2019, acrylic on canvas, 100 × 120cm (right)
Gary Smith, Blackbirding, 2019, carved pearl shell, 50 × 50cm. Courtesy of the Blackbird Project and the private collection of Ben and Jody Loaring.
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Ellen Norrish, The Tin Heads, 2019, oil on ply, a selection from a series of 50 works, size variable, ranging from 7 × 11cm, 17.5 × 11.5cm, with one work 37 × 25.5cm. Courtesy of the artist and the private collections of the following: Jess Boyce; Kate Frichot, Gabrielle Hanna; Thomas Kinder; Angela Norrish; Andrew Reid; Rachael Reid; Sandra Speers; Sarah Toohey, and Richard Verney.
Casey Thornton, Recollections, 2019, 3D printed PLA lithophanes, sizes variable
Alana Grant, Belonging Through Play, 2019, organic solvent transfer and charcoal, sizes variable from 23 × 30cm, 30 × 30cm, 30 × 40cm
Deidre Robb, I opshop therefore I am, 2019, textiles, threads, buttons, sequins, beads, 16 components, 25 × 34cm each
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Annette Davis, “Have a Nice Day”, 2019, adhesive labels, receipts, docket paper, thread, 55.5 × 50 × 10cm (left)
Serena McLauchlan, Fines, 2019, City of Albany crushed glass, ash from original box, sand, dimensions variable (right)
Serena McLauchlan, Fines, 2019, City of Albany crushed glass, ash from original box, sand, dimensions variable (right)
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Lizzie Troup, Many Leaves, Many Stories, 2019, silk, eco dyed with blossom and leaves from Corymbia Calophylla, 77 × 35.5cm (left)
Catherine Kgukgi Noble Howard, Collecting Bush Tucker, 2003, natural ochres, ground earth, rock and charcoal on canvas, 51 × 41cm (left)
Courtesy of Bush Blossom Gallery
Catherine Kgukgi Noble Howard, Collecting Bush Tucker, 2003, natural ochres, ground earth, rock and charcoal on canvas, 51 × 41cm (left)
Courtesy of Bush Blossom Gallery
Debbie Carmody, Power and Passion, 2016, photograph, 30 × 57cm
Craig Allsop, Mingenew Reserve series, 2019, silver gelatin photographic prints, 4 portraits 15.24 × 15.24cm each, 4 landscapes 20.32 × 25.4cm each
Reg Brockman
Kathy Jacobs
Alfred ‘Patch’ Farrell
Michael ‘Buddy’ Edwards
Found Objects on the Mingenew Reserve #2
Looking northwards across the Reserve
Southern side of the Reserve, near the original ‘Littlewell’
Found objects on the Mingenew Reserve #1
Reg Brockman
Kathy Jacobs
Alfred ‘Patch’ Farrell
Michael ‘Buddy’ Edwards
Found Objects on the Mingenew Reserve #2
Looking northwards across the Reserve
Southern side of the Reserve, near the original ‘Littlewell’
Found objects on the Mingenew Reserve #1
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Monique Tippett, Inner Secrets, 2019, jarrah, ink, gold leaf, copper and brass, 255cm × 72cm
Brenda Mingen Ningamara, Woorre-woorrem, 2019, natural pigment on canvas, 76 × 76cm (left)
Brenda Mingen Ningamara, Woorre-woorrem Wet Season, 2019, natural pigment on canvas, 76 × 76cm (right)
Courtesy of Waringarri Aboriginal Arts
Brenda Mingen Ningamara, Woorre-woorrem Wet Season, 2019, natural pigment on canvas, 76 × 76cm (right)
Courtesy of Waringarri Aboriginal Arts
Mary-Lou Orliyarli Divilli (left to right)
Roadtrain, 2019, photographic print, 76 × 108cm
Yab-yabbe-geni-nim, 2019, photographic print, 76 × 108cm
Jalin, 2019, photographic print, 76 × 108cm
Milkwater, 2019, photographic print, 76 × 108cm
Bilbijy, 2019, photographic print, 76 × 108cm
Courtesy of Waringarri Aboriginal Arts
Roadtrain, 2019, photographic print, 76 × 108cm
Yab-yabbe-geni-nim, 2019, photographic print, 76 × 108cm
Jalin, 2019, photographic print, 76 × 108cm
Milkwater, 2019, photographic print, 76 × 108cm
Bilbijy, 2019, photographic print, 76 × 108cm
Courtesy of Waringarri Aboriginal Arts
Gabrielle Butler, Rejuvenate, 2019, oil on acrylic on canvas, 152.4 × 406.4cm
Agnes Yamboong Armstrong, Jalinem, 2019, natural pigment on canvas, 80 × 100 cm. Courtesy of Waringarri Aborginal Arts
Peggy Madij Griffiths, Larrgen, 2019, natural pigment on canvas, 125 × 130cm. Courtesy of Waringarri Aboriginal Arts
Jan Goongaja Griffiths:
Waterlily Lamboong with water serpent, 2019, porcelain, sgraffito, underglaze decoration, glaze, 23.5 × 19 × 5cm
Woorilbem Lamboong, 2019, white raku, underglaze decoration, glaze, 53 × 26 × 8cm
Woorilbem at Night, 2019, white raku, sgraffito, underglaze decoration, glaze, 36 × 39 × 4cm
Waterlily platter, 2019, porcelain, underglaze decoration, glaze, 25 × 25 × 0.5cm
Woorilbem platter, 2019, porcelain, underglaze decoration, glaze, 34.5 × 28 × 3cm
The above works are courtesy of Waringarri Aboriginal Arts
Waterlily Pads, 2019, porcelain, underglaze decoration, glaze, dimensions variable. Courtesy of Kerry Stokes Collection
Waterlily Lamboong with water serpent, 2019, porcelain, sgraffito, underglaze decoration, glaze, 23.5 × 19 × 5cm
Woorilbem Lamboong, 2019, white raku, underglaze decoration, glaze, 53 × 26 × 8cm
Woorilbem at Night, 2019, white raku, sgraffito, underglaze decoration, glaze, 36 × 39 × 4cm
Waterlily platter, 2019, porcelain, underglaze decoration, glaze, 25 × 25 × 0.5cm
Woorilbem platter, 2019, porcelain, underglaze decoration, glaze, 34.5 × 28 × 3cm
The above works are courtesy of Waringarri Aboriginal Arts
Waterlily Pads, 2019, porcelain, underglaze decoration, glaze, dimensions variable. Courtesy of Kerry Stokes Collection
Photography: Sue-Lyn Aldrian-Moyle & Brad Coleman. Images courtesy the artists.