Cultural Precinct

Exhibitions at The University of Western Australia

Further Information

  • Artist talks and events
  • Cultural Precinct Arts and Culture on campus

Exhibitions are held at the Lawrence Wilson Art Gallery, Berndt Museum, Cullity Gallery, and SymbioticA.

Around Campus

Drawing of Winthrop Hall and a duck, with the words Winthrop Hall Perth Australia April 2019

Clive Collender's Campus

July -  December 2019

Presented at the University Club of Western Australia

Clive Collender's Campus features a series of new drawings that bring to life the UWA campus. Presented in partnership with DADAA (Disability in the Arts Disadvantage in the Arts), Clive Collender's drawings were commissioned for the 2019 WINTERarts program.

Based in Perth, Collender has been drawing for over 50 years. His works have been in exhibited at LWAG (HERE&NOW13), Melbourne’s Alcaston Gallery (From The Outside, 2014) and Goldfields Arts Centre (Beyond The Western Edge, 2014). He has exhibited over 80 works at the Kunsthal Rotterdam with the Museum of Everything (2016) and one work in the Museum of Everything’s exhibition at the Museum of Old and New Art in Hobart (2017-18). He currently works in DADAA’s Paper Project studio for eight hours a week.

On view in the southern colonnade, ground floor, University Club of Western Australia. For visitor information, see the University Club of Western Australia website.  

Image: Clive Collender, Winthrop Hall (detail), 2019, pencil on paper, 15 x 21 cm, Courtesy of the artist

Lawrence Wilson Art Gallery

screen-print on linen, canvas and lame, digital printed fabrics and various found fabrics, PVC, poly-fil, glass, ceramic and plastic beads, thread, artists' gloves.

The Long Kiss Goodbye

8 February - 9 May 2020

For The Long Kiss Goodbye a group of artists transforms familiar materials and symbols into complex meditations on attraction, repulsion, loss and hope. Studio scraps become an epic patchwork of memories, elegant painted forms disguise weighty histories and simple actions become poignant rituals.

Presented in association with Perth Festival.

Image: Sarah Contos, Sarah Contos Presents: The Long Kiss Goodbye (detail), 2016, screen-print on linen, canvas and lamé, digital printed fabrics and various found fabrics, PVC, poly-fil, glass, ceramic and plastic beads, thread, artists' gloves, 330 x 610 x 25 cm, Art Gallery of South Australia, Gift of the James & Diana Ramsay Foundation for the Ramsay Art Prize 2017. Photograph courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Visit The Long Kiss Goodbye exhibition website

Two boomerangs made from wood with natural pigments, displayed to mirror each other in length

Boomerang – A National Symbol

8 February - 27 June 2020

Australia as a nation is recognised around the world by symbols of Aboriginal culture.

In this exhibition, the Berndt Museum explores the idea of the boomerang - beyond a symbol of 'Australia' - to highlight its many uses and meanings. This exhibition asks audiences: 'How much do you know about boomerangs?'

Image: (top) Watty, Mowanjum, Western Australia. Wood with natural pigments, 61.8 x 16.1 x 1.2 cm. Gifted by P Lucich, Berndt Museum of Anthropology Collection [1976/0517]; (bottom) Ancestor from Western Australia. Incised wood with natural pigments, 57.4 x 15.5 x 1.9 cm. Gifted by O Mirmikidis, Berndt Museum of Anthropology Collection [2005/0010].

Visit the Boomerang – A National Symbol exhibition website

Photograph of the ocean with an island off in the distance

Drew Pettifer
A Sorrowful Act: The Wreck of the Zeewijk

23 May - 15 August 2020

A Sorrowful Act: The Wreck of the Zeewijk derives from a broader investigation within Drew Pettifer's work to unearth hidden queer histories through archival art practices.

This exhibition focuses on the first recorded moment in (European) queer history in Australia: a sodomy trial following the wreck of the Dutch ship the Zeewijk in 1727 where two young men were sentenced to death by marooning. Through photographs, video, audio and installation, this exhibition recontextualises social histories to help us rethink our present.

This project has been supported by the Australia Council for the Arts and Perth Institute of Contemporary Arts.

Image: Drew Pettifer, Maroon island study, 2019, courtesy of the artist.

Highly detailed drawing of male human figures with various animal parts


23 May - 15 August 2020

HERE&NOW20 focuses on the practice of queer artists in Western Australia. The annual HERE&NOW exhibition showcases some of the most exciting and innovative work in WA, curated each year by an emerging curator appointed to offer fresh perspective and insight on contemporary art practice.

This year Brent Harrison examines how artists draw on histories and their own lived experiences to create artworks that reflect on what it means to be queer. The artists in HERE&NOW20 use their work as a means to problematise binaries, to explore sites of desire and to provide safe spaces for communities. The exhibition aims to dismantle dominant heteronormative narratives by encouraging intergenerational dialogues that highlight the continued resistance of queer culture.

Image: Andrew Nicholls, The Last Judgement (detail), 2016-2018, archival ink pen on watercolour paper, 12 panels, each 76 x 57 cm. Artbank collection, commissioned 2016.

Painting of an artist's studio depicting 4 figures, each different solid colour.

Unladylike Acts: Recent Acquisitions from the Cruthers Collection of Women's Art

23 May - 15 August 2020

Taking its title from Madison Bycroft's 2013 video work, (Un)ladylike acts for every lady lacking (Gift of the King), this exhibition features a suite of recent donations and acquisitions from the Cruthers Collection of Women's Art.

'Women artists' frequently wrestle with the conundrum of being defined as such, as patriarchal expectations associated with that position can be reinforced by attempts at both celebration and critique. This selection of artworks – including works by Bycroft, Rhonda Dick, Tania Ferrier, Kate Just, Brigid Noone and Jenny Watson – variously reject, embrace and wield gendered perspectives, offering a provocative survey of attitudes toward art practice and its politics.

Curatorial concept developed by Gemma Weston; curated by Lee Kinsella.

Image: Brigid Noone, Lucky Bitches (detail), 2017, oil on canvas, 75 x 100 cm, Cruthers Collection of Women's Art, the University of Western Australia, CCWA 1016. (c) Courtesy of the artist. Photograph by Grant Hancock.

A detailed landscape painting, with a red border, indicating various human, animal and other-worldly figures fighting.

Expressions of India: From the Ronald M. and Catherine H. Berndt Collection

11 July - 5 December 2020

This exhibition explores a selection of paintings from the Berndt Museum of Anthropology's Ronald M. and Catherine H. Berndt Collection.

The artworks featured cut across religion, royalty and everyday life in India from various contexts and social perspectives. By sharing these works with the public, we hope to celebrate our connections to the Indo-Pacific region.

Image: Rama & Lakshamana, in the fight against Ravana, just outside Lanka, Indian 16th - 18th century. Opaque watercolour on paper, 28.4 x 20.2 cm. Gifted by RM & CH Berndt, Berndt Museum of Anthropology Collection [1994/0868].


Black and White acrylic on plastic.

Ross Seaton - Master of Nedlands

29 August - 5 December 2020

Ross Seaton has been making extraordinary paintings and drawings in his front garden in Nedlands for the past 30 years.  A well-known figure in the area, renowned for his long walks along Stirling Highway to the ocean, Seaton has documented his complex and interdisciplinary view of the world in paintings and drawings. The first large-scale exhibition devoted to his work, The Master of Nedlands brings together a selection of Seaton's compelling works to document the artist's unique vision.

Image: Ross Seaton, Untitled, 2017-2018, acrylic on plastic, 400 x 1000 cm, courtesy the artist.

figure holding a doll.

Papercut: Works on paper from the Cruthers Collection of Women's Art

29 August - 5 December 2020

Nearly half of the Cruthers Collection of Women's Art consists of works on paper, including a substantial holding of editioned prints and screenprinted political posters. Works on paper have traditionally been considered secondary to media such as sculpture or painting, thought of as visual research, preliminary material or in the case of printmaking, a more affordable entry point to the art market. 

Papercut challenges two 'canons', offering an alternative view on art history via a dynamic and eclectic survey of paper-based practice by Australian women artists, including Mary MacQueen, Barbara Brash, Lesbia Thorpe, Joy Hester, Rosella Namok, Arelene Textaqueen, Joan Stokes, Julia Church and many more. 

Image: Joy Hester, Untitled [Figure with doll], c. 1948, watercolour, 48 x 38.5 cm, Cruthers Collection of Women’s Art, the University of Western Australia, CCWA 406, © Joy Hester/Copyright Agency, 2019.