Wednesday, 20 June, 2018 to Friday, 2 April, 2021

Space Pixels is an interactive light installation, made of mirrored stainless steel and intelligent pixels. The shapes and patterns are formed through reflections, changes in light, colour and intensity.

The installation, created by Nathan Street, explores methods for creating volumetric displays, using techniques found in kaleidoscopes. Multiple three-sided mirror kaleidoscopes allow the image to be viewed from multiple angles, creating the illusion of transparency and volume.

Microphones capture transient sound near the work that influence the patterns and intensity of the light. This allows the work to respond to the environment and be explored in playful ways.

Space Pixels is inspired by Atari 2600 computer games. Games like Space Invaders and Asteroids use simple animation techniques to create staggered movement as objects move around the screen, with coloured pixel explosions when asteroids are destroyed.

Curated by Freja Carmichael
Friday, 26 July, 2019 to Saturday, 14 December, 2019

Freja Carmichael and artworks.
Photo: Simon Woods.

Top left
Maria Ware
reclaimed fishing net (ghost net) 2012
image 46 x 33 x 33 cm
Collection of The University of Queensland, purchased with the assistance of Margaret Mittelheuser AM and Cathryn Mittelheuser AM, 2013.

Top right
Abe Muriata
Jawun 2016
twined lawyer vine (Calamus caryotoides)
overall 78 x 53 x 35 cm
Collection of The University of Queensland, purchased 2016.

Hersey Yungaporta
Basket 2005
cabbage palm fibre with natural dyes
overall 7.5 x 31 x 31 cm
Collection of The University of Queensland. Gift of an anonymous donor to commemorate the University's Centenary, 2010.

Lower right
Rita Wikmunea
Basket 2005
grasses with natural dyes
overall 5 x 25.5 x 25.5 cm
Collection of The University of Queensland, purchased 2006.

Guest curator Freja Carmichael presents Weaving the Way featuring works from the UQ Art Collection. This exhibition makes visible the layers of meaning and wisdom carried in contemporary fibre works by Aboriginal and Torres Strait Islander artists. Honouring visual languages of the past through form, material and technique, the artists included in this exhibition weave together the spiritual, cultural and historical.

Artist list to be announced.

Freja Carmichael is a Ngugi woman belonging to the Quandamooka People of Moreton Bay. A graduate of UQ’s Master of Museum Studies program (2014), Carmichael is a curator working across the Aboriginal and Torres Strait Islander visual arts and culture sector. Carmichael recently curated Around and within, Space Gallery, Sydney (2018), and was a co-curator of The Commute, Institute of Modern Art, Brisbane (2018). Carmichael is also a member of Brisbane-based Indigenous curatorial trio, Blaklash Collective. In 2014, Carmichael received an Australia Council for the Arts Emerging Curator’s Fellowship with Redland Art Gallery and was awarded the National Gallery of Australia International Indigenous Arts Fellowship at Aboriginal Art Museum Utrecht, The Netherlands (2016).






Friday, 26 July, 2019 to Saturday, 14 December, 2019

Jacobus Capone
Dark Learning 2015 (detail)
7-channel video, high definition, colour, audio duration 0:22:21 mins
Collection of The University of Queensland, purchased 2017.
Reproduced courtesy of the artist.

Jacobus Capone’s Dark Learning (2015) is an immersive seven-channel film installation that unfolds in performative gestures within extreme locales. Dark Learning tests the body and asks questions about our relationship to the natural world and how we come to learn about it. Capone is invested in the Chinese philosophical concept Xuanxue, which literally translates as the learning of the mysterious and profound. Xuanxue encourages a distancing of intellectualisation from actions, instead placing faith in sensation to embrace a deliberate unknowing.

Dark Learning was acquired by UQ Art Museum in late 2017.

Western Australian artist Jacobus Capone is known for his ambitious performances that are often undertaken in remote landscapes without an audience. Capone uses his body to endure extreme conditions as a way of connecting to the environment he is in. He received a Bachelor of Visual Arts, Edith Cowan University, WA in 2007. Recent solo exhibitions include: Double enigma, Michael Bugelli Gallery at ‘the tunnel’, Old Mercury Building, Hobart (2018); Passage, Turner Galleries, Perth (2018); and Forgiving night for day, Perth Institute of Contemporary Art as part of Perth International Arts Festival, Perth (2017). Recent group exhibitions include: Hadleys Art Prize (finalist), Hadley’s Orient Hotel, Hobart (2017); Primavera, MCA (2017); and Ramsay Art Prize, Art Gallery of South Australia (2017).

Friday, 26 July, 2019 to Saturday, 14 December, 2019

Unlearning brings together new and recent artworks, commissions, collection exhibitions, artists and creative thinkers. Running for an extended duration, Unlearning considers the ways in which artists gain, shed and unravel internalised learning about bodies, memory, culture, art, and social interaction, by embracing the idea of ‘not knowing’ through empathy and curiosity. Unlearning is not about forgetting. It is about being comfortable with doubt and strangeness.

To ‘unlearn’ takes many forms: the refutation of ‘old’ or unwanted ideas, the development of new knowledge, altered rituals, different ways of being together or new vantage points. The projects in Unlearning consider labour, repose, memory, history, improvisation, play, and making as potential ways to unlearn. 

Unlearning is the first in a series of extended research inquiries that will investigate and articulate the role of the Art Museum in its broader university context and artistic ecology. Collectively titled An Art Museum in Several Acts, we aim to invert the temporal role of art museums by engaging in long-term conversations with artists, students, and our communities. We will speculate on possible futures of art institutions, collections, and artistic practice with generosity, care, and transparency. 

Lara Merrett
High Stakes

Temporary studio: April 29 – May 10
Exhibition: July 26 – December 14

Weaving the Way
Curated by Freja Carmichael
Exhibition: July 26 – December 14

Elizabeth Willing
Through the Mother

Front Window Commission: June 4 – December 14
Exhibition: September 10 – December 14

John Baldessari
Wall Painting

In progress: July 26 – August 31

Jacobus Capone
Dark Learning

Exhibition: July 26 – December 14

Opening celebrations for Unlearning: Friday July 26

Friday, 26 July, 2019 to Saturday, 14 December, 2019

Lara Merrett
Reproduced courtesy of the artist, Jan Murphy Gallery, Brisbane and Tristian Koenig, Melbourne.
Photo: Hugh Stewart.

Sydney-based artist Lara Merrett presents High Stakes: a newly commissioned project in two parts. First, a temporary outdoor studio will inhabit the grounds in front of the UQ Art Museum. Over ten days the artist will host the UQ student community to make visible the practice of painting for the public. This will culminate in a large installation inside the Art Museum. Audiences can make physical contact with the paintings, altering assumptions about what painting can be, and how we can engage with it. 

Lara Merrett lives and works in Sydney. She studied painting at the Círculo de Bellas Artes in Madrid, Spain (1993) before completing a Bachelor of Fine Arts (1996) and a Master of Arts (Painting) (1997) at the College of Fine Arts, University of New South Wales. In February 2019, Merrett will curate and exhibit in Things we do together as part of ARTBAR, Museum of Contemporary Art Australia, Sydney. Recent solo exhibitions include: Lady luck, Tristian Koenig, Melbourne (2018); High-rise, COMA Gallery, Sydney (2018); and Paint me in, Bella Room, MCA, Sydney (2018). 

Temporary studio: April 29 – May 10, 2019

Friday, 30 August, 2019 to Sunday, 19 April, 2020

Custard (2011). Photograph by Stephen Booth.

 Adult $12 | Concession $9 | Family $30 

High Rotation dives into the songs, stories and images of the Brisbane music scene, exploring a world of musicians, managers, labels, producers and venues. Featuring highlights over the past 30 years, High Rotation will reveal a snapshot of how popular music in Brisbane exploded from the local scene onto national and international stages. 

From the people who made the local music industry what it is today, hear how Brisbane’s popular music has adapted and responded to dynamic influences ranging from the social and political to the technological. 

High Rotation will share the journey of international careers launched from a Brisbane beginning, to the thriving music identity of the artists who stayed local. Immerse yourself in the music, feel the energy and experience the diversity of what makes Brisbane’s popular music scene unique. 

Friday, 13 September, 2019 to Sunday, 15 March, 2020

Anne Wallace, Assignation 1997. Oil on linen. City of Brisbane Collection, Museum of Brisbane.

 Free entry 

New Woman reveals the art, personal stories and enduring legacies of Brisbane’s most significant and ground-breaking female artists over the past 100 years. 

Fiercely independent, adventurous and often overlooked, Brisbane’s female artists have employed passion and determination to ensure art in Brisbane finds its voice. Each generation has produced artwork in response to the rapidly changing social, cultural and economic circumstances of the city. New Woman traces vast changes in ideas of gender, artistic styles, subject matter and ways of seeing the world through sculpture, painting and photography. 

Works from leading 1920s artists and advocates Daphne Mayo and Vida Lahey set the scene for the vital role women played in gaining respect and investment for the city’s arts. With Brisbane’s decreasing isolation in the following decades, new ideas of modernism and abstraction found unique interpretations in the works of female artists. 

While Brisbane artists such as Judy Watson, Fiona Foley, Tracey Moffatt and Davida Allen are contemporary leaders on the world stage, New Woman explores the influence of generations of women before them. 

New Woman will include significant historical and contemporary works from the Museum of Brisbane and City of Brisbane Collections, as well as loans from various institutions and private lenders.

The 43rd Rio Tinto Martin Hanson Memorial Art Awards 2018, O'Connell Space, Gladstone Regional Art Gallery & Museum, 2018. Photograph: E. Korotkaia.

Since inauguration in 1976, the Martin Hanson Memorial Art Awards have become one of Queensland’s most prestigious regional art events. Eagerly anticipated each year, the Awards attract hundreds of entries from established, emerging and amateur artists across the country. Visitors to the exhibition are encouraged to take part in The QAL People’s Choice Awards by voting at the kiosks available within the Gallery & Museum until 28 November 2019.

Saturday, 26 October, 2019 to Sunday, 26 January, 2020

Reginald LINDSAY 1888-1916 / Untitled 1909 / pen and ink drawing /Toowoomba Regional Art Gallery –Toowoomba City Collection 2085/ Reproduced by kind permission

While the World struggled to recover from the aftermath of World War I, art and books made by the Lindsay siblings Lionel, Norman, Ruby and Daryl, and Ruby’s husband Will Dyson, show traces of the personal shock and bereavement they suffered from the war. This exhibition is a pendant to the Centenary of ANZAC project Poppies for Reg and Ruby: Remembering the Great War through the Lindsay Family (Large Lindsay 7 Mar-28 Jun 2015).

Saturday, 26 October, 2019 to Sunday, 26 January, 2020

A View of the Hawkesbury, and the Blue Mountains | New South Wales 1821 | W. Preston from an Original Drawing by Capt. J. Wallis. 46th | Lionel Lindsay Gallery and Library Collection | Reproduced by kind permission

This exhibition explores representations of race relations through key works and publications held in the Lionel Lindsay Gallery and Library Collection, complimented by works from Toowoomba Regional Art Gallery’s permanent holdings.

Saturday, 9 November, 2019 to Sunday, 23 February, 2020

Dale Marsh | "Warm sun, choppy sea, stiff breeze blowing" | 1986 | oil on canvas | Courtesy the artist.

"Bribie Island - cradle to my soul, inspiration of my life. I remember old Bribie, and even today the island refreshes and energises my spirit.” Dale Marsh, 2019


Featuring never before seen works by acclaimed artist Dale Marsh, Catching the light is a journey through an artist’s eyes. Combining works from Dale’s private collection with new works, as well as familiar works spanning several decades, this emotional exhibition reveals one man’s enduring connection to Bribie.


Exhibition developed by Moreton Bay Regional Council in collaboration with Dale Marsh. For more information visit the museum website.

Ute Braatz
Saturday, 16 November, 2019 to Sunday, 15 December, 2019

Ute BRAATZ | Pissing in a river–Berlin series2019 | work on paper | Reproduced by kind permission.

The Berlin Series reflects an imagination let loose on Berlin the city. Snapshots of experiences metaphorically transform the cultural nuances. Imagination uniquely interprets an experience, travelling with the ‘being’. While abroad, the environmental context may change culturally but the imagination is ever-present. The mind explores physically impossible imagery regardless of location and where, like the real world, it can either make sense or not. The cultural conflicts and challenges presented physically in the world add to the vibrant collective collision of city and imagination. Left on its own, imagination takes from its surrounds to create a new symbolic utopia. Meanwhile, Berlin creates its own serendipitous experiences on all beings.

Wednesday, 4 December, 2019 to Saturday, 15 February, 2020

John RIGBY | Western Suburbs, c1990 | oil on canvas board | photographed by Carl Warner.

One of Australia’s most acclaimed painters, John Rigby enjoyed a career that spanned over 70 years. For the first time, the life and art of John Rigby will be told through the stories and memories of his three children, Mark, Renee and Tony.


Over his career he has become known for his masterful handling of colour. John Rigby: Monumental Colour highlights Rigby’s progression as an artist, from his subdued earlier works through to his signature style of bright and bold canvases. Experience Rigby’s travels to exotic destinations, interactions with some of Australia’s most brilliant minds, and relationships with those whom he held dear.


Exhibition developed by Moreton Bay Regional Council.

Opening Celebrations for John Rigby: Monumental Colour 7 December 2019. For more information visit the gallery website.

Saturday, 7 December, 2019 to Sunday, 2 February, 2020

Safe Space contemporary sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It featuresa range of figurative elements and narrative themes with social, and sometimes political, resonances. Many of the works in this exhibition take as their point of departure: the human body, its dimensions, the spaces it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.

Great Barrier Reef Corals, 1893, chromolithograph by W Saville-Kent. Photograph supplied by Jan Ross-Manley.

A focus on the artist’s response to the biodiversity of the Great Barrier Reef and sharing different examples depicting this, including scientific prints, specimens and artefacts, dating from the late 1800s through to tourist views of the 1950-1960s to current. Supported by the Gladstone Regional Council Regional Arts Development Fund (RADF). RADF is a partnership between the Queensland Government and Gladstone Regional Council to support local arts and culture in regional Queensland.