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13 April - 9 June CHAOS & ORDER EDUCATION 13 APRIL - 9 JUNE Juz Kitson, Founded on the belief that there is order (2017) Jingdezhen porcelain, Southern Ice porcelain, Physical vapour depo- sition, beetle wings, rabbit pelt, wild goat hide, resin, silicone, bone, treated pine and marine ply. 130.0 x 75.0 x 30.0 cm RMIT University Art Collection Image courtesy of the artist and Jan Murphy Gallery Contents Introduction 2 Introduction Chaos & Order celebrates over 80 Australian will assist students in formulating their skills and international artists in an ambitious sur- of critical inquiry and visual analysis. These 3 RMIT University Art Collection App vey of the RMIT Art Collection. A riot of paint- broad frameworks serve as a source of inspi- ing, sculpture, photography, sound and new ration for students to begin thinking about Exhibition Themes media, the exhibition embraces the contradic- their own artistic practice and creative ideas tions inherent in public art collections. while simultaneously highlighting the depth 4 Chaos & Order : of analysis and research required by students The paradox of collections Besides being a showcase for the work of studying VCE and tertiary subjects. alumni and staff, who rank among the most 5 Professional Roles at RMIT Gallery highly-regarded artists the country has pro- Discussion of the RMIT Art Collection and duced, the intended purpose of the RMIT art roles at RMIT Gallery in the education kit will collection is to tell the story of the university, broaden students’ understandings of contem- 6 Kawita Vatanajyankur, Squeezers its ideals and aspirations. porary art contexts and the inner workings of the art industry. 7 Robert Jacks, Grey Cut Paper 45°- Chaos & Order takes this broad remit, and 90° demonstrates the impossibility of a definitive Chaos & Order is a valuable exhibition for high narrative that accurately traces the evolution school, VCE and tertiary students. To make a of artistic style, thought and technique across booking please contact RMIT Gallery on (03) 8 Rupert Bunny, The Shelter [I] decades and generations. Instead, it encour- 9925 1717. ages comparison and suggests visual, poetic, 9 Michael Cook, Mother – Rocking thematic, and emotional relationships be- Chaos & Order runs at RMIT Gallery from 13 Horse tween works created over the past 100 years. April to 9 June 2018. 10 Penny Byrne, Silent Testimony The Chaos & Order education kit has been designed specifically for VCE Art and Studio (PTSD) Arts students completing units 1 – 4. It high- lights the relevance of the exhibition Chaos & 11 Chris Watson, Namib Order to key objectives and learning outcomes of the curriculum. Through providing an in depth analysis and context for six exhibition art works, this kit 2 RMIT University Exhibition Themes Art Collection App We are proud to announce the launch of a In Chaos & Order, the work of more than 100 Questions for student discussion: new app that helps visitors to RMIT Gallery artists is presented over two floors - a difficult learn more about the RMIT University Art Col- task for any curator! It is up to the curator to Do you notice any surprising relationships lection. decide what works to include in the exhibition between works as you walk through the exhibi- and how to display those works in a coherent tion? Using your device’s bluetooth and location and stimulating way for the viewer. data, this app presents a list of objects in the Choose an artwork. Does the placement of nearby vicinity within the exhibition. Click on Chaos & Order critiques the role of the gal- the work emphasise any themes or elements the artwork that interests you to learn about lery/museum as an arbitrator of history, of visual language? it’s structural and cultural frameworks. aesthetic value and interpretation. It exposes, and revels in, the chaos underlying the sys- If you were curating an exhibition at RMIT We recommend that VCE students download tems of order. Gallery how would you use the gallery spaces the app before visiting the gallery - that way to create a coherent exhibition? they can interact with the exhibition informa- Although the concept of chaos is an umbrella tion during their visit. theme for this exhibition - it is certainly not random. The exhibition has been developed Download the free app now from the App around motifs that have emerged as domi- Store, iTunes or Google Play. nant ideas within the collection. https://itunes.apple.com/au/app/rmit-univer- These themes are: sity-art-collection/id1364248124?mt=8 The Self (the body, identity, gender, and race) The Other (the unknown, the surreal, the un- https://play.google.com/store/apps/de- canny, death, the sublime) tails?id=com.axiell.OnyxRMITArtCollection Form (shape, space, gesture, and time) Protest (social realism, dissent, outrage) http://onelink.to/vgt4dc Place (landscape, urban versus natural envi- ronments, home, and belonging) Map of RMIT Gallery spaces 3 Chaos & Order The paradox of collections. It’s a question that seldom gets asked: what form, protest and place. stored. RMIT has two places for storing the are art collections for, and who gets to make collection – a small secure unit on site in the that decision? Even a cursory examination Although the RMIT Art Collection dates back to gallery and an off-site facility in Bundoora. of history leads to some unavoidable conclu- the university’s establishment in 1887, it was The main considerations for conserving the sions: that despite many instances of good not until the 1970s that the university started collection in storage are temperature, humid- intent, art collections are expressions of pow- actively building its collection. In this period, ity, light and pest control. Storing the collec- er, cultural dominance and identity – usually RMIT acquired works by significant Australian tion is a holistic endeavour, as art works can Western, wealthy and male. artists, such as John Brack, Roger Kemp and have a significant impact on each other. For Leonard French. The RMIT Art Collection grew example particle board, which was cheap and They are also a paradox. They define their in other ways – through joining with other popular in the 1970s, releases gas and differ- contents according to strict classifications institutions and amalgamating collections ent types of plastic can’t be stored in proxim- (chronology, style, or media, for example) but and receiving generous donations of art and ity to each other as doing so may accelerate may hold artworks that fall outside any but resources. the deterioration of the materials. the broadest interpretation of these catego- ries. They strive to be encyclopaedic, but are The past decade has seen a shift in the way Penny Byrne on why it is positive to be includ- frequently defined by what they have failed to RMIT University has collected art. The col- ed in public art collections: acquire. Just as often, curiosities that fall out- lection now functions as a public cultural side the stated ambit of a collection prove to resource representative of the RMIT motto “a “Because it means (the artwork is) going to be its great successes: serendipity uncovers skilled hand, a cultivated mind” and includes be looked after, and that’s a great thing. It’s many hidden treasures. Chaos underlies the work by important contemporary artists, safe and it’s accessible, and it means that myth of order. including many who have taught or studied at it can be curated into other shows relatively the university. easily, just by putting in a request. And there’s For art collections to be relevant and demo- the infrastructure to facilitate that, and that’s cratic, they need to embrace this dichotomy. The collection comprises more than 1500 really good. The flip side is when work ends Chaos & Order demonstrates the impossibility works that are exhibited in RMIT Gallery up in private collections. It can often just dis- of a single definitive narrative that accurately programs, displayed around the campus and appear.” traces the evolution of artistic thought and loaned to other Australian and international technique across decades, cultures and gen- institutions. With such a diverse collection, erations. Instead, it suggests poetic, thematic, the paradox of chaos and order is ubiquitous. and emotional relationships between works created over the past 120 years, placing them When works within the RMIT Art Collection within five broad themes: the self, the other, aren’t on display or on loan, they have to be 4 Professional Roles at RMIT Gallery Questions for student discussion: RMIT Gallery has a small team of permanent Communications and Outreach Advisor staff who work collaboratively to run the gal- Plans how the public and the university com- RMIT University has a public art collection lery, maintain the RMIT art collection and pro- munity can engage with the galley and the and gallery. What other institutions manage a vide students and the public with an engaging RMIT Art Collection. They coordinate the gal- public art collection? exhibition program. There are also casual lery’s publicity, managing public programming, staff, volunteers and interns that support the social media and education tours. Why is it important for a university to have a gallery staff in a variety of gallery operations. gallery and an art collection? Operations Coordinator Director and Chief Curator Deals with the day to day management of the If your art was in a public collection how would Provides leadership and guidance for gallery gallery and budget, supporting all staff to en- you like it to be accessed and presented? staff, guides gallery strategy and manages sure exhibitions run smoothly. Manages front What are the Australian public art collections the gallery budget (including sponsorship and of house operations and coordinates volun- you would like to be included in? fundraising).
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