{"id":5648,"date":"2016-03-08T15:55:13","date_gmt":"2016-03-08T04:55:13","guid":{"rendered":"http:\/\/www.idaia.com.au\/en\/?p=5648"},"modified":"2016-03-09T16:02:03","modified_gmt":"2016-03-09T05:02:03","slug":"catalogue-everywhen-the-eternal-present-in-indigenous-art-from-australia-2","status":"publish","type":"post","link":"https:\/\/www.idaia.com.au\/en\/catalogue-everywhen-the-eternal-present-in-indigenous-art-from-australia-2\/","title":{"rendered":"CATALOGUE – Everywhen: The Eternal Present in Indigenous Art from Australia"},"content":{"rendered":"
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View of exhibition catalogue Everywhen: The Eternal Present in Indigenous Art from Australia<\/em> – Photo courtesy Harvard Art Museums<\/p><\/div>\n

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Official catalogue accompanying major institutional exhibition\u00a0Everywhen: The Eternal Present in Indigenous Art from Australia<\/em> at Harvard Art Museums (Cambridge, USA) from February 5 to\u00a0September 18, 2016.<\/strong><\/p>\n

Published by\u00a0Harvard Art Museums (Cambridge, Mass.), 2016.
\nEdited by Stephen Gilchrist ; With essays by Stephen Gilchrist, Henry F. Skerritt, Hetti Perkins, Fred Myers, Shawn C. Rowlands, Narayan Khandekar, Georgina Rayner, and Daniel P. Kirby.<\/p>\n

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Edited by the exhibition’s curator Stephen Gilchrist and including 6 essays by distinguished scholars, the catalogue is an\u00a0inviting showcase of contemporary Indigenous Australian art, exploring the distinct cultural frameworks\u2014particularly the sense of time and place\u2014that inform the creation of the exhibited works.<\/p>\n

In his introductory essay, Gilchrist provides an in-depth discussion of the notion of the \u201ceverywhen\u201d\u2014an Indigenous conception of time in which the past and present are both part of a cyclical and circular order\u2014and explores the central themes of transformation, performance, seasonality, and remembrance. The book\u2019s design, created by our in-house design department in consultation with Gilchrist and other senior colleagues, subtly references these themes.<\/p>\n

Other essays include contributions from Fred Myers, professor of anthropology at New York University, who examines Papunya works; Hetti Perkins, one of Australia\u2019s most respected curators of Aboriginal art, who provides an overview of the artists whose works are presented in the exhibition; and Narayan Khandekar, Georgina Rayner, and Daniel P. Kirby, from the museums\u2019 own Straus Center for Conservation and Technical Studies, who describe their groundbreaking research into binders and pigments in traditional bark paintings.<\/p>\n

Vivid images of all the works in the show\u2014some of which have never been exhibited outside Australia\u2014are a highlight of the volume. Among the featured contemporary artists are Rover Thomas, Emily Kam Kngwarray, Judy Watson, Doreen Reid Nakamarra, Vernon Ah Kee, and Christian Thompson.<\/p>\n

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By presenting new critical perspectives on these and other artists\u2019 work, the\u00a0Everywhen\u00a0<\/em>catalogue offers an important avenue for understanding and appreciating Indigenous Australian art within the global narrative of contemporary art.<\/strong><\/p>\n

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Contents:<\/p>\n