Eugene von Guerard 'Lake Wakatipu with Mount Earnslaw, Middle Island, New Zealand 1877–79 (detail) oil on canvas Auckland Art Gallery Toi o Tāmaki, New Zealand Mackelvie Trust Collection, Auckland Art Gallery Toi o Tāmaki, purchased 1971
Issue 159 | June 2012
unDisclosed | Toulouse-Lautrec | Members news | Events | Recipe | Competition
01 unDisclosed
2nd National Indigenous Art Triennial

A large crowd attended the opening weekend celebrations for unDisclosed. Visitors took the opportunity to hear curator Carly Lane and sixteen artists speak about their work in the exhibition. A performance by artist Gunybi Ganambarr in front of his work was a highlight, as was the joint presentation to curator Carly Lane by all the artists at the end of the day’s events on Saturday.

On Sunday workshops were led by artists Lena Yarinkura, who taught weaving techniques using pandanus, and Bob Burruwal from Maningrida, Arnhem Land, who demonstrated sculptural techniques used to create his Wurum spirit figures.

Click the image above to see a Flickr gallery of images from the opening.

Artist Danie Mellor assisted visitors to draw using similar materials and techniques as his own. In addition Gallery educators led workshops in response to works of art in the exhibition with a focus on the sculptures of Alick Tipoti and Lorraine Connelly-Northey and the paintings of Naata Nungurrayi.

Events accompanying unDisclosed continue in June and July, for a full listing visit our online calendar. Highlights include the following NAIDOC week celebrations:

Sunday 1 July 2.00 pm Performance: Alick Tipoti and dancers from the Torres Strait Islands

Sunday 8 July 2.00 pm
Screening: The Tall Man

(main image) Danie Mellor 'Welcome to the Lucky Country' 2009 (detail) pastel, pencil and wash with glitter and Swarovski crystal on Saunders Waterford paper, on loan from artist and Dr Clinton Ng.

(left) Alick Tipoti in front of his works at the opening weekend of 'unDisclosed'.


Jirra Lulla Harvey, the 2010 Wesfarmers Arts Indigenous Fellow, introduces unDisclosed: 2nd National Indigenous Art Triennial | More NGA videos

02 Toulouse-
LautrecParis & the Moulin Rouge

On Friday 18 May the Gallery announced our exhibition for summer 2012-13, Toulouse-Lautrec: Paris & the Moulin Rouge. This major retrospective exhibition devoted to the art of French 19th century artist Henri de Toulouse-Lautrec in painting, drawing, posters and prints will run from 14 December 2012 to 2 April 2013 in Canberra only.

The exhibition will trace Toulouse-Lautrec’s career from his earliest works to his extraordinary depictions of the Paris social scene, the dance halls, the café-concerts, the brothels and theatres.

Works are drawn from 35 collections, both public and private, including major international institutions such as the Musée d'Orsay, Paris, the Metropolitan Museum of Art, New York, the Tate, London, the Courtauld, London, the El Museo de art Thyssen Bornemisza, Madrid and many others.

Works will also be drawn from the NGA’s own collection of Toulouse-Lautrec prints and posters; most of which have been acquired recently to be shown for the first time.

Tickets will go on sale through Ticketek in September.

(main image) Henri de Toulouse-Lautrec 'La Goulue at the Moulin Rouge' (La Goulue entrant au Moulin-Rouge) 1891-92 (detail) The Museum of Modern Art, New York Gift of Mrs David M. Levy

(left) Henri de Toulouse-Lautrec
'Moulin Rouge: La Goulue' 1891
National Gallery of Australia, Canberra Acquired through the National Gallery of Australia Foundation and the Poynton Bequest, 2010

03 Members news

Members recently enjoyed the opening of unDisclosed: 2nd National Indigenous Art Triennial. If you haven’t yet seen the exhibition we have two members events coming up in June.  On Thursday 21st June, Tina Baum, Curator, Aboriginal and Torres Strait Islander Art, will tour the exhibition followed by refreshments in the Members Lounge.  Then on Thursday 28th June, we have a special after hours viewing and talk by Danie Mellor – one of the artists represented in the show.  For more information or to book these events please click here.

On Saturday 19th May we welcomed the Austrian Ambassador, His Excellency Dr Hannes Porias, for a special high tea in conjunction with von Guerard: Nature revealed.  Members toured the exhibition with Roger Butler, Senior Curator, Australian prints and drawings followed by a high tea in Gandel Hall.

To find out about upcoming members events and book online visit the members page at

04 Event
highlights Go to calendar
for all events


05 NGA
collection onlineNew developments on our website allow you to browse our permanent collection
with greater ease

Recent improvements to the Collections area of our website allow you to browse our permanent collection with greater ease and more satisfying results. Users can view works currently on display as they are grouped in the gallery space by the curator, a level of information not previously available online.

Major collecting areas such as Asian Art, Indigenous Art or International Art are now broken down further into sub-categories. For example, within Australian Art you can now browse Colonial NSW & Tasmania or Australian Impressionism, among others, allowing you to follow the narrative of groupings and discover unfamiliar works within an area of interest.

This new search structure lends itself to people who want to leisurely browse the collection. For those who are after information on a specific work, our Collection Search remains the ideal tool.

Visit the Collections area of our website today and discover something new.

(image) A detail of Claude Monet's 'Waterlilies' c.1914-17 from the
NGA website.

06 Wesfarmers Arts Indigenous Fellowship and Leadership
Applications now open
until 2 July 2012

In 2009, the NGA and Wesfarmers Limited established the Wesfarmers Arts Indigenous Fellowship and Leadership programs to address the relatively small percentage of Indigenous professionals participating in the visual arts sector.

The Wesfarmers Arts Indigenous Leadership program provides the opportunity for up to 10 Indigenous Australians to travel to the NGA and learn about the visual arts and museum sector over 10 days. The 2012 program will take place from 12–21 September.

(main image) Installation photograph from 'unDisclosed' showing works of Lindsay Harris and Jonathan Jones.

The Wesfarmers Arts Indigenous Fellowship focuses on the professional development of Indigenous people in roles supporting the visual arts, such as curating, marketing, exhibition management, art handling, conservation, registration, publishing, photography and fundraising. The program fosters Indigenous leadership and professional development in the visual arts. Every two years, two Indigenous Australians are awarded a Wesfarmers Arts Indigenous Fellowship to complete a project of their choice.

For further details about both programs, including application forms, visit the NGA website. The closing date for applications is Monday 2 July 2012.

07 Supporting Aboriginal and Torres Strait Islander visual arts
Peter White, Manager of Wesfarmers Arts Indigenous Programs at the National Gallery of Australia

The National Gallery of Australia is renowned for its national leadership role in showcasing the very best of Aboriginal and Torres Strait Islander art. This was once again reflected by the recent opening of unDisclosed: 2nd National Indigenous Art Triennial.

This role has more recently been expanded to include supporting and building the Australian Aboriginal and Torres Strait Islander visual arts sector through unique and innovative programs such as the Wesfarmers Arts Indigenous Leadership and Fellowship programs.

With the opening week of unDisclosed, the Gallery once again reinforced its strong reputation as a leader in the sector by hosting not only the diverse range of artists featured in the exhibition, but over 20 Aboriginal art workers from across Australia.

Nine Aboriginal art workers and four support officers attended the Gallery as part of the Association of Northern, Kimberley and Arnhem Aboriginal Artists art worker extension program to undertake a variety of professional development opportunities.

These art workers were joined by six Aboriginal cultural development officers and two support staff from across the NSW regional arts network to attend the opening week program of unDisclosed.
In addition to these two groups, the steering group of the recently formed Aboriginal Art Centre Hub Western Australia also attended the opening week program of unDisclosed.

08 Masterpieces for the
Nation Fund 2012
'Kundaagi - Red Plains Kangaroo' 1962

This year's Masterpieces for the Nation Fund is dedicated to the acquisition of an impressive and important bark painting by prominent Kuninjku artist Yirawala. Kundaagi – red plains kangaroo was painted in 1962 and shows the critical moment when an evil mimih spirit captures Kundaagi the kangaroo, before ceremoniously killing and eating him. This powerful painting depicts the moment of an ancestral story related to traditional burial ceremonies of the Kininjku people of western Arnhem land.

The quality of this painting is exceptional and its acquisition presents the opportunity to reunite the work with its original family of Yirawala barks currently in the national art collection.
To help us in our efforts to acquire this painting, please follow this link or e-mail




Warm thanks are given to the many generous donors who have already contributed towards the Masterpieces for the Nation Fund 2012. All donations over $2 are tax-deductible and all donors to the Fund will be invited to view the work at a special thank you event hosted by the Director of the National Gallery of Australia, Ron Radford AM, in September this year.

09 Meet the Educator
John Carey, Gallery Educator, answers our questions about his role guiding school groups through the NGA collection

What has been your most satisfying moment as an educator?
There have been quite a few, but I'll mention an example from yesterday. After a discussion of Blue Poles a group of year 10 students looked unimpressed and told me they didn't 'get' this kind of painting and in fact weren't really into art at all. They wanted to look at 'something 3D and kind of interesting', which sounded like Robert Smithson's Rocks and mirror square II. They loved the piece and were impressed by the banality of the bathroom mirrors and rocks showing alternative and virtual landscapes. We then discussed Anselm Kiefer's Abendland [Twilight of the West] with a focus on its material meaning.  I think they left with a new understanding of art and reminded me that people don't always see the same things in a work as I do.

If you were a work of art in the collection what would you be?
Any of Sidney Nolan's Ned Kelly series: roughly strewn on a kitchen table and with a story to tell.

What is your favourite work currently on display?
Chuck Close's Bob. A brilliant confluence of process, discipline and material.

Are there any works in the national collection that pose a special challenge for educators?
Smithson's Rocks and mirror square II, mentioned previously, is (physically) challenging for both educators and viewers because it is best viewed on hands and knees. This is not a dignified posture and I like to think Robert would have enjoyed the thought of moving viewers around his 'landscape'. Sitting on stools around it changes it's meaning from a participative experience to an art object. I think young people enjoy and understand this piece almost universally due, in part, to its physicality and to it's origins as bathroom mirrors and rocks.

What is the strangest / funniest question you’ve had from a school student? 
A student asked me while touring the Renaissance exhibition ‘Do you believe in God? Surprised by the question, I stuttered ‘Well, no, maybe, well I used to, etc.’ after recovering my composure slightly, I asked him why he wanted to know. He thought someone who knew as much as he thought I did about religion would be a believer. I pointed out that my religious knowledge had more to do with the subject of the art and the environment in which the artists had lived and that I'd learnt it so I could tell him all about it. He seemed bemused that he'd surprised me.  It's nice to be jolted out of your own narrative occasionally by an unexpected question.

(image) A self portrait by John Carey

10 Around
the country
interstate events
and travelling

Roy Lichtenstein: Pop remix opens at QUT Art Museum in Brisbane on 29 June. We are giving you and a friend the chance to attend the opening of the exhibition, plus a copy of the Roy Lichtenstein: Pop remix exhibition catalogue. To enter email Winners will be notified by COB 22 June 2012.

Natori Shunsen
'Okochi Denjiro as Tange Sazen' 1931 from the series 'Supplement to collection of portraits by Shunsen'
National Gallery of Australia, Canberra, Pauline and John Gandel Fund, 2011

Stars of the Tokyo stage: Natori Shunsen's kabuki actor prints | RMIT Gallery, Melbourne Vic.,
29 June – 25 August 2012

Roy Lichtenstein: Pop remix | Mornington Peninsula Regional Gallery, Mornington, Vic.,
19 April – 11 June 2012

Fred Williams: Infinite Horizons | The Ian Potter Centre: NGV Australia, Melbourne Vic.,
7 April – 5 August 2012

Roy Lichtenstein: Pop remix | QUT Art Museum, Brisbane, QLD, 29 June – 26 August 2012

The Elaine and Jim Wolfensohn Gift: Blue Case: Technology |
Gympie Regional Gallery, Gympie QLD, 30 May – 10 July 2012

South Australia
The Elaine and Jim Wolfensohn Gift: 1888 Melbourne Cup | Port Pirie Regional Art Gallery Port Pirie SA, 19 April – 25 June  2012

New South Wales
The Elaine and Jim Wolfensohn Gift: Red and Yellow cases | Moree Plains Gallery, Moree, NSW, 22 May – 9 July 2012


11 Eat art
Stephanie Alexander's recipe for Braised Pears with Australian Lemon Myrtle Leaves inspired by George Baldessin's Pear - version number 2 1973

In 2004, the NGA published 'Eat Art', a cookbook featuring recipes by well-known chefs in response to works of art in our collection. In this issue of artonline we share with you Stephanie Alexander's recipe inspired by George Baldessin's Pear - version number 2 1973.

'The bronzed and glowing finish on the braised pears in this recipe echoes the marvellous lustre and sensual curves of the Baldessin sculpture. The Queen of Nuts cake is a perfect partner to the pears. Both recipes are originally from Italy, which is also appropriate, as this was Baldessin’s birthplace. In fact I learnt to prepare the pear dish in Venice in Marcella Hazan’s kitchen. Marcella used bay leaves. I have substituted the indigenous lemon myrtle. Cooking the pears in butter and sugar and then gradually adding the wine results in a caramelised finish that is much bolder in flavour then the more usual poached in red wine.'

View Stephanie Alexander's recipe for Braised Pears with Australian Lemon Myrtle Leaves and Queen of Nuts cake.

12 Win a
special 'unDisclosed'
Tickets to Danie Mellor's artist talk, 2 night's accommodation at Mantra on Northbourne and an exhibition catalogue

Win tickets to the artist talk by Danie Mellor followed by refreshments on Thursday 28 June 2012. Enjoy two night’s accommodation*, including breakfast, courtesy of unDisclosed: 2nd Indigenous Art Triennial Accommodation Partner Mantra on Northbourneand receive a copy of the exhibition catalogue! Total prize package valued at $550.

To enter respond by email to Winners will be notified by email by COB 14 June 2012.

*Twin share accommodation for Thursday 28 June 2012 and Friday 29 June only. All additional expenses including travel are at the expense of the winner and their guest.

Congratulations to Clare Hinchey, winner of the NewActon experience promoted in the last issue of artonline.

Danie Mellor in front of his work 'Paradise in the sun' 2010

Mantra on Northbourne