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Julie Gough
Julie Gough FAHA (born 1965) is an artist, writer and curator based in Tasmania, Australia.
Gough was born in 1965 in Melbourne. Her paternal heritage is Scottish and Irish, while her maternal Aboriginal heritage is of the Trawlwoolway people of Tebrikunna, and her lineage has been traced to her ancestor, great-great-great-grandmother Dolly Dalrymple. She has lived mostly in Hobart, Tasmania, since late 1993.
In 1986, Gough completed a Bachelor of Arts (pre-history and anthropology) at the University of Western Australia. In 1989 she earned a Diploma of art at St Brigid's and Northbridge TAFE Colleges in Perth, and from 1991 to 1993 studied for a Bachelor of Visual Arts, at Curtin University in Perth.
In 1994, she completed a Bachelor of Fine Arts at the School of Art at the University of Tasmania. After completing a Master's degree in Fine Arts at Goldsmiths College, University of London (on a Samstag scholarship from the University of South Australia ), in 1998, Gough moved on to her doctorate, which she earned in 2001 at the University of Tasmania. In her thesis, entitled Transforming histories: The visual disclosure of contentious pasts, she explored her family history and heritage. Her thesis focused on reinterpreting the past via the artistic display of disparate objects which reframe narratives.
Gough's sculptural works have included the use of kitsch bric-a-brac sourced from op shops, often featuring racist or dated motifs. Using these relics in her art is about challenging and subverting their historical meanings.
In 2001, her work, Driving Black Home (2000) contrasted with John Glover's colonial depiction of Tasmania, as part of the Australian Collection Focus series at the Art Gallery of New South Wales. The Gallery withheld Benjamin Law's busts of Woureddy and Trucaninny from the exhibition at Gough's request, noting their history as anthropological objects.
For the bicentenary of Federation, Gough was commissioned by the National Gallery of Victoria to create an artwork in response to Emanuel Phillips Fox's The Landing of Captain Cook. The resulting installation, Chase, a suspended ti-tree forest with symbolic red cloth, was reviewed by Gabriella Coslovich as sitting in an "...uneasy relationship..." in display alongside Fox's painting. Margaretta Pos reviewed the work as having stillness and menace, with a sense of "...redcoats in the shadows." One of the Gallery's deputy art directors, Frances Lindsay, described the work as extending the narrative from the painting, to the unseen context of displacement of Aboriginal people.
A survey exhibition of her work entitled Tense Past: Julie Gough opened at the Tasmanian Museum and Art Gallery in 2019.
Julie Gough
Julie Gough FAHA (born 1965) is an artist, writer and curator based in Tasmania, Australia.
Gough was born in 1965 in Melbourne. Her paternal heritage is Scottish and Irish, while her maternal Aboriginal heritage is of the Trawlwoolway people of Tebrikunna, and her lineage has been traced to her ancestor, great-great-great-grandmother Dolly Dalrymple. She has lived mostly in Hobart, Tasmania, since late 1993.
In 1986, Gough completed a Bachelor of Arts (pre-history and anthropology) at the University of Western Australia. In 1989 she earned a Diploma of art at St Brigid's and Northbridge TAFE Colleges in Perth, and from 1991 to 1993 studied for a Bachelor of Visual Arts, at Curtin University in Perth.
In 1994, she completed a Bachelor of Fine Arts at the School of Art at the University of Tasmania. After completing a Master's degree in Fine Arts at Goldsmiths College, University of London (on a Samstag scholarship from the University of South Australia ), in 1998, Gough moved on to her doctorate, which she earned in 2001 at the University of Tasmania. In her thesis, entitled Transforming histories: The visual disclosure of contentious pasts, she explored her family history and heritage. Her thesis focused on reinterpreting the past via the artistic display of disparate objects which reframe narratives.
Gough's sculptural works have included the use of kitsch bric-a-brac sourced from op shops, often featuring racist or dated motifs. Using these relics in her art is about challenging and subverting their historical meanings.
In 2001, her work, Driving Black Home (2000) contrasted with John Glover's colonial depiction of Tasmania, as part of the Australian Collection Focus series at the Art Gallery of New South Wales. The Gallery withheld Benjamin Law's busts of Woureddy and Trucaninny from the exhibition at Gough's request, noting their history as anthropological objects.
For the bicentenary of Federation, Gough was commissioned by the National Gallery of Victoria to create an artwork in response to Emanuel Phillips Fox's The Landing of Captain Cook. The resulting installation, Chase, a suspended ti-tree forest with symbolic red cloth, was reviewed by Gabriella Coslovich as sitting in an "...uneasy relationship..." in display alongside Fox's painting. Margaretta Pos reviewed the work as having stillness and menace, with a sense of "...redcoats in the shadows." One of the Gallery's deputy art directors, Frances Lindsay, described the work as extending the narrative from the painting, to the unseen context of displacement of Aboriginal people.
A survey exhibition of her work entitled Tense Past: Julie Gough opened at the Tasmanian Museum and Art Gallery in 2019.