Carroll, Khadija von Zinnenburg, Boyce, James, Ozolins, Brigita, Fugitive History: the Art of Julie Gough, Crawley, UWA Publishing, 2018→
Ryan, Judith, “Disquiet and Resistance in the Art of Julie Gough”, Artlink, vol. 33, no. 2, June 2013, p. 72-76→
Gough, Julie, “Messages received and lately understood”, Australian and New Zealand Journal of Art, vol.2, 2001, p. 155-162
Tense Past: Julie Gough, Tasmanian Museum and Art Gallery, Hobart, June 7–November 3, 2019→
The Lost World, Part 1 and Part 2. Part 1: Contemporary Art Studios Tasmania, Hobart, April 24–May 26, 2013 ; Part 2: Cambridge University Museum of Anthropology and Archaeology, Cambridge and Contemporary Art Tasmania, Hobart, October 23–November 30, 2013
Rivers Run, Cairns Regional Gallery, February 5 – March 14, 2010
Australian video, installation and site-responsive artist.
The Australia of Julie Gough’s art is haunted by the violence of colonisation. In her video, installation and site-specific practice, official historical material documenting brutality is juxtaposed with the banal and the everyday in poetic works that confront the ongoing impact of colonialism.
J. Gough has lived in Lutruwita (Tasmania) since 1993, and much of her work is centred around the specific history of this troubled part of Australia. Through her mother, J. Gough is a Trawlwoolway woman, and family forms a critical part of her interest in reshaping official narratives of Tasmanian colonisation, particularly the life of her ancestor Woretemoeteyenner (daughter of Aboriginal leader Mannalargenna). As part of her process, J. Gough has centred dispossessed Aboriginal peoples (such as Woretemoeteyenner) as a riposte to the erasure of First Nations lives from Tasmania’s history. Along with her family history, J. Gough’s art, writing and curatorship draw on academic research. J. Gough holds a PhD from the University of Tasmania and a master’s from Goldsmiths College in London, along with bachelor’s degrees in visual arts, prehistory and English literature.
J. Gough forces us to confront the past, bringing historical records such as diaries and massacre numbers into contemporary Australia. In Missing or Dead (2019), J. Gough nailed 185 posters detailing one “missing” or “dead” Aboriginal child to trees in Queens Domain, a public park in Hobart, with each documenting a case drawn from the colony’s archival records between 1800 and 1850. Some included gruesome and graphic details of violence, and as audiences walked between each poster in this ephemeral memorial the cumulative effect of the sheer number of children became part of the physical experience of the work and site.
In her gallery installations, objects stand in for bodies made absent from history. Gently curved tea-tree branches carved into spears are bundled into the frame of a chair, each branded with the name of a stolen child in Some Tasmanian Aboriginal Children Living with Non-Aboriginal People Before 1840 (2008). Aboriginal stereotypes from kitsch ephemera are reproduced in wax and hang like trophy heads in the form of the Union Jack in Imperial Leather (1994), parodying the British soap brand of the same name popular in Australia. There is an uncanniness to these works, imbuing inanimate objects with the lives of the past.
Although historical research underpins her practice, J. Gough’s work speaks to a contemporary world. In Observance (2012), hidden video surveys hikers traversing the bush around J. Gough’s ancestral country of Tebrikunna (now Cape Portland) in north-east Tasmania, their imposition on the landscape interspersed with key words such as “musket” and “gunpowder” in both English and Trawlwoolway. Viewers are forced to confront the ongoing appropriation of Aboriginal land for settler use, and the way that the domination of landscape and language perpetuates historical violence.
With over 20 solo exhibitions across her career, J. Gough’s significance to Australian contemporary art has been recognised with a major retrospective at the Tasmanian Museum and Art Gallery in 2019. Her works are in the collection of major institutions such as the National Gallery of Victoria and the National Gallery of Australia.
A notice produced as part of the TEAM international academic network: Teaching, E-learning, Agency and Mentoring
Julie Gough, She was sold for one guinea 2007, found beaded decoration, text on paper, on book on wooden shelf, 12 x 13.5 x 20 cm, National Gallery of Australia © Courtesy Julie Gough
Julie Gough, Imperial Leather, 1994, wax, cotton rope and drawing pins on tie-dyed cotton on composition board, 149.2 x 204.4 cm © Courtesy Julie Gough
Julie Gough, Killymoon, 2008, Fingal Valley (Tasmania) coal, drilled and strung on nylon rope on Tasmanian dropped antlers, Redlands School © Courtesy Julie Gough
Julie Gough, Missing or Dead 2019, 185 printed posters of known information about Tasmanian Aboriginal children who lived with colonists in the 1800s, installed on The Queen’s Domain, Hobart, June 2019, ink on rag, photographic paper, ties, each 34 x 21.2 cm, designed in collaboration with Margaret Woodward © Courtesy Julie Gough
Julie Gough, Missing or Dead, 2019 (detail), 185 printed posters of known information about Tasmanian Aboriginal children who lived with colonists in the 1800s, installed on The Queen’s Domain, Hobart, June 2019, ink on rag photographic paper, ties, each 34 x 21.2 cm, designed in collaboration with Margaret Woodward © Courtesy Julie Gough
Julie Gough, Murder of Crows, 2011, plywood and nails installation, 152 cm x 275 x 0.6 cm, collection of the artist © Courtesy Julie Gough
Julie Gough, Observance, 2012, video projection HDMI, H264, colour, sound, 17 min. 09 s., edited by Jemma Rea, film still © Courtesy Julie Gough
Julie Gough, p/re-occupied, 2022, mixed media, kayak, rocks video projection, sound, edited by Craige Langworthy, 7 min. 23 s. © Courtesy Julie Gough
Julie Gough, Some Tasmanian Aboriginal Children Living with Non-Aboriginal People Before 1840, 2008, found chair with burnt tea tree stick, Installed approx. 288 x 60 x 50 cm, National Gallery of Australia © Courtesy Julie Gough
Julie Gough, Some Tasmanian Aboriginal Children Living with Non-Aboriginal People Before 1840, 2008, found chair with burnt tea tree stick, detail, National Gallery of Australia © Courtesy Julie Gough
Julie Gough, Some Words for Change, 2008 (detail), site specific outdoor installation, tea tree, 32 book pages from Clive Turnbull’s Black War (1948) dipped in wax, ephemeral art exhibition, Friendly Beaches, Tasmania, photo: Simon Cuthbert © Courtesy Julie Gough
Julie Gough, Stolen, 2011, enamel on found pewter and steel, 23 cm x 16 x 12 cm, private collection © Courtesy Julie Gough
Julie Gough, The Gathering 2015 installation and projection stills, HDMI video, H264, 1080P, colour, sound, 18 min. 13 s., edited by Jemma Rea, table, enamel on Tasmanian oak, 28 found stones, variable dimensions, collection of the artist © Courtesy Julie Gough