The list of artworks is included in the exhibition catalogue, available online and as a downloadable file in PDF or RTF format.  A PDF software such as Adobe Reader (available as a free download) is required to open PDF files.

ORIENTing: Ian Fairweather in Western Australian Collections

 Curated by Ted Snell and Sally Quin

25 works

• Ian Fairweather, Mother and Child, 1935, oil and pencil on paper on hardboard, 62.5 x 50 cm
The University of Western Australia Art Collection, Joe and Rose Skinner Bequest
• Ian Fairweather, Houseyard, Peking, 1935, oil and pencil on paper on hardboard, 55.5 x 56 cm
The University of Western Australia Art Collection, Joe and Rose Skinner Bequest
  
• Ian Fairweather, Tethered Horses outside Gate, Peking, 1936, oil on paper on cardboard, 76.5 x 77.5 cm
The University of Western Australia Art Collection, Joe and Rose Skinner Bequest
  
• Ian Fairweather, Landscape with Mountains, 1936, oil and pencil on paper on cardboard, 49 x 55.5 cm
The University of Western Australia Art Collection, Joe and Rose Skinner Bequest
  
• Ian Fairweather, Market, Foochow, 1945-1947, gouache, 38.1 x 43.2 cm
 State Art Collection, Art Gallery of Western Australia Purchased 1955
  
• Ian Fairweather, Head, 1946 (cast 1986), bronze, 40 x 17 x 12.8 cm
 State Art Collection, Art Gallery of Western Australia Gift of Mrs Lina Bryans, 1992
  
• Ian Fairweather, Mother and Child, 1933, oil and charcoal on paper laid down on cardboard, 38.8 x 37.2 cm
 Kerry Stokes Collection, Perth
  
• Ian Fairweather, (Bathers), 1933, oil and gouache on paper, 35.5 x 43 cm
 Kerry Stokes Collection, Perth
  
• Ian Fairweather, Smiling Girl, 1926, oil on canvas, 37 x 32 cm Janet Holmes à Court Collection
  
• Ian Fairweather, Landscape, China, 1933, oil on cardboard, 38 x 49 cm
 Janet Holmes à Court Collection
  
• Ian Fairweather, Foochow Canal, 1945-1949, gouache on paper on plywood, 38 x 42 cm
 Janet Holmes à Court Collection
  
• Ian Fairweather, Drawing, c. 1963, synthetic polymer paint on cardboard, 104 x 132 cm 
Janet Holmes à Court Collection
• Ian Fairweather, Figure Group in the Rain, c. 1961, oil on board, 106 x 76 cm
 Janet Holmes à Court Collection
• Ian Fairweather, The Water Buffalo, c. 1960, mixed media on board, 38 x 55.5 cm
 Janet Holmes à Court Collection
• Ian Fairweather, Head, c. 1934, oil and pencil on cardboard, 43.8 x 37.4 cm
 Collection of Joy Halleen, Perth
• Ian Fairweather, Cornsifting, Soochow, 1945-47, gouache and pencil on paper, 35.2 x 29.5 cm 
Collection of Joy Halleen, Perth
• Ian Fairweather, (Landscape, Soochow), 1945-47, gouache on paper, 21 x 19.5 cm 
Collection of Joy Halleen, Perth
• Ian Fairweather, (Canal, Foochow), 1945-47, gouache on paper, 36.4 x 38 cm
 Collection of Joy Halleen, Perth
• Ian Fairweather, Walls of Foochow, 1945-47, gouache, 34.6 x 43 cm
 Collection of Joy Halleen, Perth
• Ian Fairweather, (Street in Soochow), 1948, gouache, 19 x 19.5 cm
 Collection of Joy Halleen, Perth
• Ian Fairweather, (Tombs at Peking), c. 1936, gouache, 38 x 36.5 cm
 Collection of Joy Halleen, Perth
• Ian Fairweather, Outside the Walls of Peking, 1935, oil and pencil on cardboard, 49.5 x 58 cm 
Private Collection, Perth
• Ian Fairweather, Boys Playing, 1955, gouache on cardboard, 36.8 x 49.5 cm
 Private Collection, Perth
• Ian Fairweather, Painting I, 1960, synthetic polymer paint and gouache on cardboard, 68.9 x 86.3 cm 
Private Collection, Perth
• Ian Fairweather, Painting VIII, 1960, synthetic polymer paint and gouache on cardboard, 72.4 x 94 cm 
Private Collection, Perth 

ORIENTing: With or Without You

Curated by Aaron Seeto and Toby Chapman

18 works

• John Young, Drawing in Ten Parts #7, 1981, pencil on paper, 140.7 x 240.7 cm Courtesy the artist
• John Young, Drawing in Ten Parts #9, 1981, pencil on paper, 140.7 x 240.7 cm Courtesy the artist
• John Young, Through the Eyes of the Wolf: Ancient Waters, 2012, digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each) Courtesy the artist and Philip Bacon Galleries, Brisbane
• John Young, Through the Eyes of the Wolf: Awakening, 2012 digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each)
 Courtesy the artist and Philip Bacon Galleries, Brisbane
• John Young, Through the Eyes of the Wolf: Deep Solitude, 2012, digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each) Courtesy the artist and Philip Bacon Galleries, Brisbane
• John Young, Through the Eyes of the Wolf: A Traveler’s Mind Rinsed, 2012, digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each) Courtesy the artist and Philip Bacon Galleries, Brisbane
• John Young, Through the Eyes of the Wolf: Dark Waters II, 2013, digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each) Courtesy the artist and Philip Bacon Galleries, Brisbane
• John Young, Through the Eyes of the Wolf: Drunken Buddha, 2013, digital print on photographic paper and chalk on blackboard paint on paper, 72.6 x 102.4 cm (each)
Courtesy the artist and Philip Bacon Galleries, Brisbane
• Newell Harry, Untitled (More Mumbo Jumbo: Crackpots ‘n’ Poems for Ishmael Reed), 2010-2012, eight screen prints on hand-beaten Tongan Ngatu (bark cloth), ink.
265 x 100 cm (each) Collection of Amanda Love
• Newell Harry, Untitled (Words and Pictures), 2012, dual- screen presentation of text and images with sound Courtesy the artist and Roslyn Oxley9 Gallery, Sydney
• Newell Harry, Reverse Missionary (Geist), 1996-2009, Quarter cast Green River Valley House-shield (maker unknown, Western Sepik region, Papua New Guinea) 150 x 75 x 5 cm Courtesy the artist and Roslyn Oxley9 Gallery, Sydney
• Tom Nicholson, Drawings and correspondence 4, 2011, Willow charcoal, compressed charcoal and white pastel on paper, 118 x 100 cm each (2 pieces) 
Courtesy the artist and Milani Gallery, Brisbane
• Phaptawan Suwannakudt, Not for Sure #1, 2012, drafting paper, paper with vegetal fibres, ink, bitumen, gold leaf, dye and pigment, 40 x 60 x 25 cm
 Courtesy the artist
• Phaptawan Suwannakudt, Not for Sure #2, 2012, drafting paper, paper with vegetal fibres, ink, bitumen, gold leaf, dye and pigment, 60 x 120 x 20 cm
 Courtesy the artist
• Phaptawan Suwannakudt, Not for Sure #3, 2012, drafting paper, paper with vegetal fibres, ink, bitumen, gold leaf, dye and pigment, 80 x 120 x 35 cm
 Courtesy the artist
• Phaptawan Suwannakudt, Not for Sure #4, 2012, drafting paper, paper with vegetal fibres, ink, bitumen, gold leaf, dye and pigment, 40 x 60 x 25 cm
 Courtesy the artist
• Roy Wiggan, Sandbar & Hairbelt, 2003, acrylic on plywood, cotton wool. Courtesy of the artist and Short Street Gallery, Broome.
• Tintin Wulia, Nouse ne notons pas les fleurs, Jakarta, 2010, video octaptych (eight-channel video unsynchronised) of game-performances and installation with video, colour, stereo, various durations, loop. Courtesy of the artist, Potato Head and Osage Gallery.