A silver gelatin dry plate glass negative in landscape format.

Country Always

Caring for Country

A Corner of the Empire

The Garden Palace

Sepia photograph of the Technological Museum and a cow in the foreground

The Holding Pen

The Agricultural Hall

Sepia photograph of the Technological College and Museum in Broken Hill

Regional Networks

Across New South Wales

A Museum of Doing

Technological Museum

Colour photograph of red corrugated iron building from a high vantage point

Transforming the Tramsheds

Powerhouse Stage 1 and the Harwood Building

A Symbol in Time

Sydney Observatory

Powerhouse Museum, Stage 2 exterior from high angle, city skyline in background

Ongoing Transformations

Powerhouse Ultimo

Blurred image from film with museum object number

Applied Arts and Sciences

Defining the terms in the 21st century

Statue of figure without feed or head sits with extended legs, glazed stoneware

Powerhouse Renewal

Artist Xin Liu floating with arm outstretched against a black background. She wears a full-length grey body suit with long sleeves with bare feet and hands.

Sydney Science Festival

Across Sydney10—17 Aug
Shadows cast by the Powerhouse Parramatta exoskeleton on concrete

Exoskeleton

Powerhouse Parramatta

A woman stands on stage in front of a large audience. She has her left hand raised in the air and a microphone in her right hand. The audience are holding their phones up recording the woman.

Blak Powerhouse

Powerhouse x We Are Warriors

Slider thumb2023
Statue of figure without feed or head sits with extended legs, glazed stoneware

Renee So: Provenance

Tag iconExhibition
when
Ended 19 Nov 2023
where
UNSW Galleries

Provenance is Renee So’s first major exhibition in Australia, bringing together more than a decade of the London-based artist’s creative output with a series of newly commissioned works. Her ceramics and textiles practice is inspired by art history, museum collections and popular forms of gendered symbolism. It is distinguished by its embrace of traditional crafts, cross-cultural thinking, an underlying sense of the comedic and a persistent feminist worldview.

While So’s early work used motifs of bearded men, full bellies and boots to explore popular archetypes and representations of (mostly) male authority, she has increasingly looked to representations of feminine forms across history. She references 16th and 17th century German Bellarmine jugs in her ‘knitted paintings’ and ceramic objects, exemplifying her approach to museum objects as sources of inspiration.

I hope that in the year 2122 the art/craft divide no longer exists, and that we live in a peaceful, tolerant, egalitarian society with climate change no longer a threat to our survival. I’d like the visitor to be surprised that my work is 100 years old, either because they thought it was much older or more recent.
Renee So

Exhibitor

Renee So is a multimedia artist who playfully observes objects and the stories they accrue over time. She was born in Hong Kong, grew up in Melbourne and now lives in London. Her art practice has evolved to engage conceptually and materially with traditional and ancient craft forms that more often sit outside the short, official histories of modern and contemporary art.

Details

Venue

On Bidjigal and Gadigal land

UNSW Galleries
Corner of Oxford St and Greens Rd
Paddington NSW 2021

Entry

18 August – 19 November 2023
Wednesday – Friday 10am–5pm
Weekends 12–5pm

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