Previous exhibitions 2014
Sacred gods from Polynesia
23 May – 3 August 2014
The exhibition explores the relationship between atua and art, between spirits and sculpture, between gods and priests, between women and men. It looks at some of the most unique works of art in the Polynesian world and tries to make sense of an enduring mystery surrounding religious objects and their association with belief in gods.
Maori Frontal base-board [paepae] from the facade of a chief's storehouse 19th century (detail), National Gallery of Australia, Canberra, purchased 1981
Island of the gods
13 June – 3 August 2014
The exhibition showcases a wide range of works—sculpture, textiles, paintings, architectural elements and ritual objects that will excite and surprise visitors, even those who have journeyed to the exotic island.
Tenganan, Bali Sacred Textile (geringsing wayang kebo) late 19th century (detail), National Gallery of Australia, Canberra, purchased 1982
25 February – 20 July 2014 | Photospace gallery (Level 1)
This display in the photography gallery is a selection of work by artists from South and Southeast Asia: Indonesia, Malaysia, Thailand, Tibet and India. Ten years ago there were less than two hundred photographs in the collection from anywhere in Asia, with only about a dozen Asian-born photographers.
Pushpamala N. Sunhere Sapne [Golden Dreams]: A photoromance #2 1998, National Gallery of Australia, Canberra, purchased 2006 © Pushpamala N.
Australian contemporary video art
18 April - 20 July
This display highlights some of the newer additions to the national collection as well as the extensive video holdings collected over the past 40 years with monthly screenings of video art from the collection for the duration of the display.
Daniel Crooks Pan No. 9 (dopplegänger) (detail) 2012, National Gallery of Australia, Canberra, purchased 2012
photography in Indonesia 1850s–1940s
21 February – 22 June 2014 | Orde Poynton and Project Galleries
In 1852, at the age of eighteen, Walter B Woodbury left behind his engineering apprenticeship in Manchester to try his luck halfway around the world in Australia’s Victorian goldfields. On arrival, he realised the easy pickings were gone and he took a variety of jobs, soon changing from a rather sheltered British ‘new chum’ into a seasoned colonial.
Thilly WeissenbornBalineesch dansmeisj in rust (A dancing-girl of Bali, resting) c 1925 (detail) National Gallery of Australia, Canberra, purchased 2007