NGV Magazine

Issue 31
Nov – Dec 2021

Celebrate the holidays with the final edition of NGV Magazine for 2021, which examines the artists, methods and inspiration behind exhibitions and works from the NGV Collection. Highlights include a look at constructs and concepts of nature in art, Javanese shadow puppets in focus and for our cover story, the fascinating history of a rare series of Sèvres porcelain figures crafted in Art Nouveau France. We also deep dive into some new exhibitions at the NGV including Found and Gathered: Rosalie Gascoigne | Lorraine Connelly Northey, Bark Ladies: Eleven Artists from Yirrkala, The Gecko and the Mermaid: Djerrkŋu Yunupiŋu and her Sister; and design exhibition History in the Making.

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Features in this issue

NEW TO THE COLLECTION Jeu de L'echarpe (The Scarf Dance)

‘While each individual has a distinctive character and pose, the whole ensemble possesses a rhythm and harmony that contributes to the unity of the whole. ’

By Amanda Dunsmore


‘Through the continuation of customary cultural practices, Yolŋu artists in Arnhem Land continue to assert their sovereignty over land and culture and create a tangible connection to their Ancestors.’

By Myles Russell-Cook

CURRENT ISSUES Reacting in the now

‘Rapid Response Collecting and similar strategies recognise that by looking to the work that artists and designers make in immediate and direct response to world events creates opportunities to connect with audiences on issues that are relevant to people today, often as events are unfolding’

By Amanda Luo, Jessica Cole, Katharina Prugger and Simone LeAmon


‘Everything Manyi has seen, from her childhood to now, comes out on the bark or panel when she paints. My dad tells me he doesn’t give her a topic to paint about, instead he gives her a blank canvas.’

By Siena Stubbs


‘Early British artists in Australia widely depicted natural environments through European eyes, imposing characteristics of northern hemispheric landscapes onto local environments. Notably, many of these landscapes were represented as empty too, suggesting
unresistant lands ready for the taking. These lands were not empty of course but were already inhabited.’

By Emily Potter


‘She uses the creative freedom of painting as an emotional outlet to explore all aspects of the landscape, from the smallest grains of sand found along a riverbed, to the tangled limbs of glossy ghost gums after rain.’

By Myles Russell-Cook