While you may have once been forgiven for thinking art and sport were unlikely bedfellows, the Basil Sellers Art Prize – the distinctively Australian biennial exhibition that explores the significance of sport and sporting culture – has done much to shift this perception.

In recognition of her leadership and contributions to education in the field of registration and collection management, Kath Kerswell has been presented an ARC Achievement Award at the 2018 Australasian Registrars Committee conference.

This installation eloquently represents the spinifex landscape that is so important to Shirley Macnamara. ‘Mugama’ means ‘make’, the title translated by the artist as ‘Making for Country’.

This is the first film created by Reko Rennie and connects the artist with his Grandmother’s story as a member of the Stolen Generation.

Judy Watson is a prolific and acclaimed Brisbane-based artist, who belongs to the Waanyi people of northwestern Queensland. Her work has often reflected on the histories of Aboriginal people that lie submerged in the landscape.

UQ student Amelia Brown is currently undertaking an Arts and Science Degree with majors in Art History, Ancient History and Archaeological Science. Just prior to beginning her final year of study, Amelia undertook a 2017/18 Summer Research Scholarship, generously supported by Drs Edward (Ted) and Christine Dauber.

Hilary Thurlow is undertaking her Honours in Art History at UQ and has been a UQ Art Museum digital communication intern. Over the recent winter break she was selected from a highly competitive field to spend two weeks in Rome at the Goldsmiths ‘Curating the Contemporary’ Summer School.

UQ Art Museum’s Isabella Baker and Emma McLean have curated a beautiful exhibition of selected etchings and paintings by prolific Brisbane artist, Judy Watson, who belongs to the Waanyi people of northwest Queensland. UQ Honours student and Art Museum Digital Media assistant Hilary Thurlow caught up with Isabella and Emma to find more about their creative curatorial approach to producing Judy Watson: concealed histories.

We asked Peta about some of the important skills she brings to the job at UQ that curatorial students should seek out along the way.

Nici Cumpston belongs to the Barkindji people of the Darling River in northwestern New South Wales. Cumpston’s Listening to the River 2005/2016 is part of her ‘Attesting’ series, which responds to the changing environment of the Murray-Darling Basin due to human intervention.

We asked Sheryn some of our burning questions about her previous experiences in registration, the role she now holds as Senior Registrar, and her advice for students looking to break into the field.

Film curator and scholar Dr John Edmond has been the curator behind a number of UQ Art Museum film programs in recent years. Among all of that, John has not only curated a three-part film program responding to ‘Robert Smithson: Time Crystals’ for UQ Art Museum, but he’s also generously given us an insight into how he approached the task.

Robert Smithson’s earthwork Spiral Jetty (1970) is located at Rozel Point peninsula on the north-eastern side of Great Salt Lake, Utah, around 2.5 hours drive from Salt Lake City. Constructed from over six thousand tons of black basalt rocks and earth from the site, the coil of the Jetty is 1,500 feet long and 15 feet wide, winding counter clockwise out from the shore.

In this article, UQ Art Museum Director Dr Campbell Gray reflects on his time with Robert Smithson’s 1,500-foot long Spiral Jetty (1970) in the Great Salt Lake, Utah.

Plans for a new $31 million gallery precinct in the Rockhampton City centre are keeping the days full and interesting for Rockhampton Art Gallery Director and UQ graduate Bianca Acimovic. We asked Bianca about her pathway to this position, her thoughts on regional opportunities and her advice for anyone starting out in their arts career.

Julie Fragar’s The Single Bed 2017 has been awarded the People’s Choice award for the National Self-Portrait Prize 2017.

Feminist curator and a theorist and historian of art and performance, Professor Amelia Jones from the Roski School of Art and Design at University of Southern California, is the 2018 Mayne Centre Lecturer. Ahead of the 14 March Mayne Centre Lecture, we caught up with Amelia to find out a bit more about her topic, ‘In Between Subjects: A Critical Genealogy of Queer Performance’.

Responding thematically to Robert Smithson: Time Crystals, in site juxtaposes Australian experimental art practice from the 1960s and 1970s with more recent artworks that explore related ideas. Performative, site-specific or conceptually based, many of the works engage with the landscape through documented interventions that connect to environmental, political, or artistic concerns. Ahead of the opening this week, we delved deeper into some of the exhibition themes with curator Michele Helmrich.

Taking as its point of departure Christo and Jeanne-Claude’s Wrapped Coast 1968–1969, in site: process, performance, documentation juxtaposes Australian experimental art practice from the 1960s and 1970s with more recent artworks that explore related ideas.