Past Exhibitions at Kluge-Ruhe

Ngau Gidthal (My Stories)

David Bosun, Baidamaw Titui Buna Urdhay Id, 2012.
September 6 – December 29, 2013

In 2000, David Bosun was chosen by elders as one of four artists to begin recording the Islands’ creation stories in the form of printmaking. This marked the first time that traditional stories took visual form since the loss of their material culture to missionaries and collectors a century earlier. Known for its strong figurative imagery and intricate design, or minaral, Bosun’s work reflects Melanesian influences inspired through longstanding trade between Torres Strait Islanders and coastal Papua New Guineans. The linoleum and woodblock prints in the exhibition Ngau Gidthal (My Stories), illustrate the ancestral traditions of the Mualgal people, from seasonal indicators used in ancient hunting practices to the significance of the constellations within the celestial sphere. This exhibition of woodblock and linoleum printswas presented in partnership with Ngalmun Lagau Minaral Art Centre and The Australian Art Print Network. Bosun’s residency was supported by the McIntire Department of Art, the McIntire Department of Music, and the Department of Drama. To learn more about David’s residency, please visit our special projects page.

Sponsored by

Australia Council for the Arts

having-been-there by Nici Cumpston

Nici Cumpston, Leopard Tree II, 2011.
January 17 – May 18, 2014

In the spring of 2014 the Kluge-Ruhe Aboriginal Art Collection of U.Va. is exhibiting the work of Indigenous Australian Nici Cumpston, an artist and curator from Adelaide, of Barkindji, Afghan, Irish and English heritage.

having-been-there is a series of images created by Cumpston to document the evidence of Aboriginal occupation in Australia before European settlement. Tree engravings, ring trees, and remnants of stone tools abound in Barkindji land. These act as subtle signifiers of the ancestors that once lived in and created the country, and of food and water sources that ensured survival. They also serve as undeniable proof of Aboriginal people “having been there,” before and amidst the colonial assertion of terra nullius, the idea that Australia was a “land without people.” Additionally they are records of the Murray-Darling Basin river system’s natural beauty, as well as its gradual destruction from pollution, salination, and re-routing.

Sponsored by

Australia Council for the Arts

Black Prints from Cicada Press

Black Prints from Cicada Press in USA
Black Prints from Cicada Press provides glimpses into the art practices of a variety of artists from across Australia. Some of the artworks are narrative-based, some are stories of memory, identity and tradition. Others should be considered conceptual art, albeit with a particular Australian Aboriginal twist.

The title is a word play on the Australian childhood summer obsession of collecting cicada carcasses. ‘Greengrocers’ are the most common and many of their carcasses can be traded for just one carcass of the rare and highly prized ‘Black Prince.’

Cicada Press is an educationally focused printmaking workshop at the College of Fine Arts, University of New South Wales (COFA UNSW) in Sydney that places emphasis on open dialogue and the importance of lived experience in learning. Since 2006 Michael Kempson, director of Cicada Press, and Tess Allas, curator of Black Prints, have invited emerging and established Aboriginal artists to explore printmaking as an artistic practice in the form of workshops and residencies. Some of the artists were experienced printmakers, while others explored the medium for the first time. The result is an eclectic but meaningful exhibition addressing the contemporary Aboriginal experience in Australia today, by artists such as Gordon Hookey, Vernon Ah Kee, Reko Rennie and Laurel Nannup.

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