The Potter Museum of Art opens

The Potter Museum of Art, the flagship art museum of the University of Melbourne, reopens to the public Friday 30 May, with the exhibition, 65,000 Years: A Short History of Australian Art, coinciding with Reconciliation Week.

65,000 Years: A Short History of Australian Art celebrates the significance and brilliance of Aboriginal and Torres Strait Islander art created from time immemorial and throughout Australia’s colonial history and beyond into the twenty-first century. The artistic and design traditions that began 65,000 years ago and thrived despite the disasters that befell the first peoples after 1788 remain the distinctive and unique creations of this country.

Curated by Associate Provost and Distinguished Professor Marcia Langton AO, Senior Curator Judith Ryan AM, and Associate Curator Shanysa McConville—in consultation with Aboriginal and Torres Strait Islander artists and custodians of art traditions—the exhibition explores the very belated recognition of Indigenous art and its rise to prominence globally. The enduring significance of Indigenous cultural and design traditions, knowledge and agency is revealed in the spectacular curation of works of art and cultural objects from across Australia.

Professor Marcia Langton said: “The ironic title of this exhibition refers to the belated and reluctant acceptance of Aboriginal and Torres Strait Islander art into the fine art canon by Australian curators, collectors, art critics and historians in the last quarter of the 20th century. 65,000 Years: A Short History of Australian Art celebrates Indigenous art as it is increasingly recognised in galleries and collections around the world – as the greatest single revolution in Australian art.”

65,000 Years: A Short History of Australian Art includes rarely seen works of art and cultural objects from the University of Melbourne’s collections alongside 194 important loans from 78 public and private lenders from across the cultural regions of Australia and decades of history since first contact. More than 400 works of art and 50 documents, photographas and other archival material are exhibited together to create a narrative of these Australian art movements. The exhibition features six new commissions by leading contemporary Indigenous artists including Sandra Aitken, Lorraine Connelly-Northey, Julie Gough, Brett Leavy, Betty Muffler and Maringka Burton and Vicki West, and work by groundbreaking artists such as William Barak, Lin Onus, Yvonne Koolmatrie, Albert Namatjira, Johnny Warangkula Tjupurrula, Emily Kam Kngwarray, Trevor Nickolls, Destiny Deacon, Yhonnie Scarce, Rover Thomas, Noŋgirrŋa Marawili, Woŋgu Munuŋgurr, Minimini Numalkiyiya Mamarika and Ricky Maynard.

For the opening weekend program across two inspiring days, Saturday 31 May and Sunday 1 June, audiences will have the opportunity to hear conversations between curators, artists, Indigenous custodians, art historians, and anthropologists as they delve into the stories, practices, and themes that shape this groundbreaking exhibition. These thought-provoking conversations are free, with bookings required.

Curator Judith Ryan said: “This exhibition bears testament to 65,000 years of cultural knowledge. It encompasses an extraordinary range of artists and works of art that together serve as a conceptual map, illustrating our contested shared history and introducing us to some of the Indigenous architects of change.”

Curator Shanysa McConville said:“65,000 Years reveals key moments and turning points in the history of Indigenous art in Australia, it explores diverse art traditions across language groups and regions and art forms that emerged post-invasion, replete with resistance and innovation.”

Director of the Potter Museum of Art Charlotte Day said: “The Potter is uniquely positioned to realise such an exhibition at an important time in Australia’s history.Since 1853, the University has collected works of art, cultural objects and records that form a profoundly important archive, and for the first time these Indigenous collections will be exhibited together and in dialogue with works from other public and private collections, interpreted by authoritative Indigenous scholars and other leading experts.”

The Museum has undergone extensive redevelopment by Wood Marsh Architects and features an impressive new entrance on the University’s campus, along with new and improved spaces for the Museum’s leading collection-based learning programs made possible by the generous support of The Ian Potter Foundation and Lady Primrose Potter AC.

Chairman of the Potter Museum of Art Mr Peter Jopling AM KC said: “The Potter Museum of Art was established in 1972 at the University of Melbourne, and for over 50 years it has played a significant role in the cultural life of Melbourne, exhibiting contemporary art alongside the University’s collections. We are delighted to welcome visitors back into our revitalised museum and to chart a new, bold, and thought-provoking environment for visitors to interact with and enjoy and explore art.”

The exhibition is made possible by the generosity of Principal Supporters Peter McMullin AM and Ruth McMullin, Lead Supporters Peter Jopling AM KC, the Erica Foundation, Creative Australia and Creative Victoria, Foundation Supporters Andy and Rainie Zhang and the Naomi Milgrom Foundation, Supporters Judith and Leon Gorr, Rebecca Hossack, John and Susan Wardle, Her Honour Irene Lawson and Brendan Kissane KC and Publication Partner the Gordon Darling Foundation.

FURTHER INFORMATION

Running alongside the exhibition is a significant new educational initiative that creates resources for both school and tertiary students and teachers to build a deeper understanding of Indigenous art, history and culture. These curriculum-focused resources will continue to be available beyond the life of the exhibition. The initiative is developed in partnership with the University of Melbourne’s signature Ngarrngga Project which builds innovative curriculum resources in collaboration with Indigenous Knowledge Experts. Ngarrngga is led by Professor Melitta Hogarth, Director and Associate Dean (Indigenous) in the Faculty of Education, in conjunction with Distinguished Professor Marcia Langton AO, Professor Aaron Corn, Director of the Indigenous Knowledge Institute, and, Professor Marek Tesar, Dean of the Faculty of Education.

The University of Melbourne with Thames & Hudson has released a comprehensive publication also titled 65,000 Years: A Short History of Australian Art. Featuring new writing by 25 leading thinkers across generations and disciplines, this publication further examines the history of Indigenous art across time and space. It is edited by Distinguished Professor Marcia Langton and Senior Curator Judith Ryan.

Located at the Potter, an all-new custom destination restaurant, Residence, will open on Friday 6 June 2025. Co-founded by leaders in hospitality Nathen Doyle (Sunhands, Heartattack and Vine, Wide Open Road) and Cameron Earl (Carlton Wine Room, Embla, ST. Ali), Residence will serve as a daytime to evening restaurant, and centres upon an annual ‘Chef in Residence’ format that uniquely offers chefs the opportunity to realise their restaurant ambitions from conception to reality. The inaugural head chef is Robbie Noble, with his debut concept Cherrywood, that will bring a refined and expressive approach to seasonal dining at the Potter.

Potter Museum of Art board member, Michaela Webb is also creative director of leading strategic design studio, Round. As a board member, Michaela has helped to guide the strategic vision for the University of Melbourne’s cultural precinct over the past ten years that’s seen six offerings – including the Potter Museum of Art – unite under one department banner. In turn, Round has been instrumental in this reimagining, overseeing the creation of a new brand identity, a signage and wayfinding system, and marketing communications for inaugural exhibition, 65,000 Years: A short history of Australian Art.

Potter Museum of Art Board Member and creative director of Round, Michaela Webb said: "This marks a significant step forward for the Potter Museum of Art, shaping a wholistic destination – encompassing art, culture, education and hospitality – that considers the diverse needs of many audiences – from students to faculty to the general public. Our strategy for the precinct has leveraged on Round's experience in placemaking and storytelling not to just draw from the cultural zeitgeist but actively contribute to it. With human experience at the heart of our approach, we're very excited for what's to come."