Publications

Bianca Beetson: Being Human

Click here for the brochure that accompanied Bianca Beetson’s exhibition Being Human, featuring an essay written by Pat Hoffie.

Djambawa Marawili: Where the water moves, Where it rests

Click here for the brochure that accompanied Djambawa Marawili’s exhibition Where the water moves, Where it rests, featuring an essay written by Kimberley Moulton.

Tony Albert: Brothers

Click here for the brochure that accompanied Tony Albert’s exhibition Brothers, featuring an essay written by Franklin Sirmans.

New Narratives: Papunya Tjupi Prints with Cicada Press

Click here for the brochure that accompanied an exhibition that featured works by Michael Jagamarra Nelson AO, Mary Roberts Nakamarra, Maylene Marshall Napanangka, Isobel Major Nampitjinpa, Beyula Puntungka Napanangka, Valerie Lynch Napaltjarri and Tilau Nangala. The artist biographies were written by Vivien Johnson.

Ricardo Idagi: Gurari – Saltwater Drinker

Click here for the brochure that accompanied Ricardo Idagi’s exhibition Gurari – Saltwater Drinker, featuring an essay written by Kira Randolph.

We Are Tiwi: Art from Jilamara and Munupi Artists

Click here for the brochure that accompanied an exhibition that featured works from Jilamara and Munupi artists, featuring an essay written by Julie Harvey.

Nici Cumpston: Having-Been-There

Click here for the brochure that accompanied Nici Cumpston’s exhibition Having-Been-There, featuring an essay written by Una Rey.

Black Prints from Cicada Press

Click here for the brochure that accompanied an exhibition that featured work from Reko Rennie, Laurel Nannup, Gordon Hookey, Roy Kennedy, Tess Allas, Graham “Nudge” Blacklock, David Nolan, Frances Belle Parker, Jason Wing, Vernon Ah Kee and Brett Nannup.

Yhonnie Scarce: What They Wanted

Click here for the brochure that accompanied Yhonnie Scarce’s exhibition What They Wanted, featuring an essay written by Tess Allas.

Jason Wing: People of Substance

Click here for the brochure that accompanied Jason Wings’ exhibition People of Substance, featuring an essay written by Liz Nowell.

experimental beds 1

Judy Watson, 2012, 3-plate etching with chine collé

From the series titled experimental beds, these works are the result of Judy Watson’s artist residency at the Kluge-Ruhe Collection in October 2012. The series incorporates Thomas Jefferson’s drawings of the University of Virginia and explores the shared experiences of African-American and Aboriginal people.

The left profile is that of Aboriginal artist and activist, Richard Bell, with whom Watson shared a studio in Brisbane. The right profile is that of Lindsey T. Jackson, an African American woman, who Watson knows from Brisbane but who has family in Virginia. Vegetables including squash are from Monticello’s “experimental beds”. Archaeological finds incorporated in the etching include a cowrie shell, a ring and a coin with an unknown figurehead on obverse. Hair-like threads appear as connecting lines here. Hair carries DNA and is often seen as a trace of somebody’s presence or absence. The architectural drawing is of The Rotunda, First Floor Plan.

Co-published with grahame galleries + editions

Click here for the brochure that accompanied Judy Watson’s exhibition experimental beds, featuring an essay written by Noreen Grahame.

experimental beds 2

Judy Watson, 2012, 3-plate etching

From the experimental beds series. The architectural drawing used here is Pavilion No. III W. Corinthian Palladio. Images of nails dominate. Also included are drawings of the type of charcoal kilns from this era.

Co-published with grahame galleries + editions

experimental beds 3

Judy Watson, 2012, 3-plate etching

From the experimental beds series. The drawing, which forms the centerpiece, is of elk antlers collected by Lewis and Clark during their expedition. They now hang in Monticello’s Entrance Hall. Artifacts referencing slave presence include nails from the nailery, a bucket handle, shards of pottery and hooks and fasteners from slave women’s dresses. Hooks and fasteners allude to the sexual exploitation of enslaved women by white men on plantations. These images are overlaid with the drawing of Pavilion VII W. Doric Palladio.

Co-published with grahame galleries + editions

experimental beds 4

Judy Watson, 2012, 2-plate etching

From the experimental beds series. The centerpiece is Thomas Jefferson’s drawing of the Library, Elevation of the Rotunda.

Co-published with grahame galleries + editions

experimental beds 5

Judy Watson, 2012, 4-plate etching

From the experimental beds series. At Watson’s solo exhibition, waterline (2011), held at the Embassy of Australia in Washington, DC, she met Eve Ferguson, an African American woman. The shape at the top center was inspired by the back of Ferguson’s hair. The left profile is that of Aboriginal artist and activist, Richard Bell, with whom Watson shared a studio in Brisbane. The right profile is that of Lindsey T. Jackson, an African American woman, who Watson knows from Brisbane but who has family in Virginia. Vegetables including squash are from Monticello’s “experimental beds”. Artifacts referencing slave presence include nails from the nailery, a bucket handle, shards of pottery and hooks and fasteners from slave women’s dresses. The architectural drawing used here is Pavilion No. III W. Corinthian Palladio.

Co-published with grahame galleries + editions

experimental beds 6

Judy Watson, 2012, 2-plate etching with chine collé

From the experimental beds series. The architectural drawing is of The Rotunda, First Floor Plan.

Co-published with grahame galleries + editions

Art From the Land

Dialogues with the Kluge-Ruhe Collection of Australian Aboriginal Art
eds. Howard Morphy and Margo Smith Boles
This text provides a point of entry to the history of Aboriginal art while demonstrating the research potential of the Kluge-Ruhe Collection and its value as an educational resource. It includes contributions by the following scholars: Luke Taylor, Howard Morphy, Djon Mundine, Wally Caruana, Christine Watson, Francoise Dussart, and Fred Myers. 266 pages, published by The University of Virginia, 1999.

Kunwinjku Art

from Injalak 1991-1992
The John W. Kluge Commission
ed. Christine Adrian Dyer.
This book is a descriptive catalog of the works resulting from John Kluge’s Commission of Aboriginal art at Injalak Arts and Crafts Centre in Gunbalaynya from 1991 – 1992. It includes contributions by Christine Adrian Dyer, David Cossey, Dorothy Bennett, and Peter J. Carroll. 149 pages, published by Museum Art International Pty, Ltd, 1995.

Guide to the Edward L. Ruhe Archival Collection

Compiled by Elizabeth Vann and Julia May
This text is an inventory of the Edward L. Ruhe Archival Collection, with a brief introduction and a chronology of the Life of Dr. Edward L. Ruhe. 238 pages, published by the University of Virginia, 1999, revised 2003.

  • Not Currently Available for Purchase

Bush Banana Dreaming by Eunice Napangardi

Limited edition print
This limited edition print is a high quality reproduction of a painting in the Kluge-Ruhe Collection, Bush Banana Dreaming by Eunice Napangardi. 100 editions total, sells unframed.