Mr Stephen Gilchrist

BA (UWA), MA (NYU)
Associate Lecturer, Art History

A26 - R.C. Mills Building
The University of Sydney

Telephone + 61 2 9351 2204
Fax + 61 2 9351 4212

Biographical details

Belonging to the Yamatji people of the Inggarda language group of northwest Western Australia, Stephen Gilchrist is Associate Lecturer of Indigenous Art at the University of Sydney. He is a writer and curator who has who has worked with the Indigenous Australian collections of the National Gallery of Australia, Canberra (2003-2005), the British Museum, London (2008), the National Gallery of Victoria, Melbourne (2005-2010) and the Hood Museum of Art, Dartmouth College (2011-2013). Stephen has curated numerous exhibitions in Australia and the United States and has written extensively on Indigenous Art from Australia. He has taught Indigenous Art in Australia and in the United States and is currently completing his PhD at the University of Sydney. From 2012-2016 he was the Australian Studies Visiting Curator at the Harvard Art Museums, Harvard University.

Research interests

  • Indigenous Art
  • Contemporary art
  • Political ecology, environmentalism
  • Indigenous museology, Theory and practice of
  • National identities and formations of alternative citizenship

Teaching and supervision

Teaching:

  • ARHT2636: Contemporary Aboriginal Art
  • ARHT3636: Issues in Indigenous Art
  • ARHT6956: Indigenising Museums: Theory and Practice

Supervision:

Stephen Gilchrist supervises Honours or Masters students in the field of Indigenous art and material culture and the politics of curation.

Associations

  • College Art Association Member, 2013
  • Art Association of Australia and New Zealand, 2013
  • Art Association of Australia and New Zealand, Committee Member

Awards and honours

  • 2017, Everywhen was selected as Best in Show in Exhibition Catalogues, and First Prize in Exhibition Catalogue (New England Museum Association)
  • 2016, Everywhen was selected by Art Asia Pacific magazine as one of the 10 Best Art Books of 2016
  • 2014, Best essay/catalogue/book by an Indigenous, Māori or Pacific Islander for “Indigenising Curatorial Practice” in The World is Not a Foreign Land (Ian Potter Museum of Art)

Selected publications & creative works

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Book Chapters

  • Gilchrist, S. (2018). Reservoirs of Spiritual Power: The Presence and Promise of the Ancestors. In Leesa K Fanning (Eds.), Encountering the Spiritual in Contemporary Art. New Haven, CT: Yale University Press.

Journals

  • Gilchrist, S. (2018). Surfacing Histories: Memorials and Public art in Perth. Artlink, 38(2), 30-35. [More Information]
  • Gilchrist, S. (2010). From Tiwi with Love: Bindi Cole. Artlink, 30(1), 76-78.
  • Gilchrist, S., Holland, A. (2009). Shared Sky. Imprint, 44(2), 16-17.
  • Gilchrist, S. (2009). Shifting Identities. Art and Australia, 46(4), 616-625.
  • Clegg, H., Gilchrist, S. (2008). Depictions of Aboriginal people in Colonial Australian Art: Settler and Unsettling Narratives in the Works of Robert Dowling. Art Bulletin of Victoria, 48, 34-45.
  • Gilchrist, S. (2006). Gertrude Forum: The only thing you taught me was the only thing you know. Eyeline, 61, 21.
  • Gilchrist, S. (2005). Politics, Territories, Control. Photofile, 76, 32-37.

Textual Creative Works

  • Gilchrist, S. (2018). Helen Johnson. Warm Ties, London, United Kingdom: Institute of Contemporary Arts, London.
  • Gilchrist, S. (2017). Archie Moore. Defying empire: 3rd National Indigenous Art Triennial, (pp. 94 - 95). Canberra, Australia: National Gallery of Australia.
  • Gilchrist, S. (2016). 'Tony Albert' and 'Yirawala'. MCA Collection Handbook, Sydney, Australia: Museum of Contemporary Art.
  • Gilchrist, S. (2015). Revealed: Emerging Aboriginal Artists from Western Australia, (pp. 8 - 9). Perth, WA, Australia: Central Institute of Technology.
  • Gilchrist, S. (2015). Steaphan Paton. Primavera 2015 - Young Australian Artists, (pp. 88 - 89). The Rocks, Sydney, Australia: Museum of Contemporary Art.
  • Gilchrist, S. (2014). Indigenising Curatorial Practice. The World is not a Foreign Land, (pp. 55 - 59). Melbourne, Australia: Ian Potter Museum of Art, University of Melbourne.
  • Gilchrist, S. (2014). Jananggoo Butcher Cherel "Am I a Good Painter or Not?". No Boundaries: Aboriginal Australian Contemporary Abstract Painting, (pp. 44 - 59). New York, United States of America: Prestel Publishing.
  • Gilchrist, S. (2012). Daguerreotypes, Stereotypes, Prototypes: Reframing Indigeneity. Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, (pp. 56 - 63). Hanover, United States of America: Hood Museum of Art.
  • Gilchrist, S. (2012). Maamungun: Compatriots. New Delhi, India: Lalit Kala Akademi.
  • Gilchrist, S. (2011). Reko Rennie: Patternation. United States of America: Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.
  • Gilchrist, S. (2011). Waterline. Judy Watson: Waterline, (pp. 4 - 7). Brisbane, Australia: Queensland Indigenous Arts Marketing Export Agency (QIAMEA), Arts Queensland.
  • Gilchrist, S. (2006). Voices in Land: Art of the Kimberley. Land Marks, (pp. 119 - 123). Melbourne, Australia: National Gallery of Victoria.

Exhibitions / Events

  • Gilchrist, S. (2016). Everywhen: The Eternal Present in Indigenous Art from Australia. Special Exhibitions Gallery, Harvard Art Museums, Cambridge, MA, United States of America: Harvard Art Museums. [More Information]
  • Gilchrist, S. (2011). Reko Rennie: Patternation. Charlottesville, United States of America: Kluge-Ruhe Aboriginal Art collection, University of Virginia. [More Information]
  • Gilchrist, S. (2009). Octopus 9: I Forget to Forget. Gertrude Contemporary Art Spaces, Fitzroy, Australia. [More Information]
  • Gilchrist, S., Holland, A. (2009). Shared Sky. Ian Potter Centre, National Gallery of Victoria, Melbourne, Australia: National Gallery of Victoria. [More Information]

Magazine / Newspaper Articles

  • Finch, M., Gilchrist, S., Holland, A. (2009). Portrayals of our Universe. Australian Sky & Telescope.

2018

  • Gilchrist, S. (2018). Helen Johnson. Warm Ties, London, United Kingdom: Institute of Contemporary Arts, London.
  • Gilchrist, S. (2018). Reservoirs of Spiritual Power: The Presence and Promise of the Ancestors. In Leesa K Fanning (Eds.), Encountering the Spiritual in Contemporary Art. New Haven, CT: Yale University Press.
  • Gilchrist, S. (2018). Surfacing Histories: Memorials and Public art in Perth. Artlink, 38(2), 30-35. [More Information]

2017

  • Gilchrist, S. (2017). Archie Moore. Defying empire: 3rd National Indigenous Art Triennial, (pp. 94 - 95). Canberra, Australia: National Gallery of Australia.

2016

  • Gilchrist, S. (2016). 'Tony Albert' and 'Yirawala'. MCA Collection Handbook, Sydney, Australia: Museum of Contemporary Art.
  • Gilchrist, S. (2016). Everywhen: The Eternal Present in Indigenous Art from Australia. Special Exhibitions Gallery, Harvard Art Museums, Cambridge, MA, United States of America: Harvard Art Museums. [More Information]

2015

  • Gilchrist, S. (2015). Revealed: Emerging Aboriginal Artists from Western Australia, (pp. 8 - 9). Perth, WA, Australia: Central Institute of Technology.
  • Gilchrist, S. (2015). Steaphan Paton. Primavera 2015 - Young Australian Artists, (pp. 88 - 89). The Rocks, Sydney, Australia: Museum of Contemporary Art.

2014

  • Gilchrist, S. (2014). Indigenising Curatorial Practice. The World is not a Foreign Land, (pp. 55 - 59). Melbourne, Australia: Ian Potter Museum of Art, University of Melbourne.
  • Gilchrist, S. (2014). Jananggoo Butcher Cherel "Am I a Good Painter or Not?". No Boundaries: Aboriginal Australian Contemporary Abstract Painting, (pp. 44 - 59). New York, United States of America: Prestel Publishing.

2012

  • Gilchrist, S. (2012). Daguerreotypes, Stereotypes, Prototypes: Reframing Indigeneity. Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, (pp. 56 - 63). Hanover, United States of America: Hood Museum of Art.
  • Gilchrist, S. (2012). Maamungun: Compatriots. New Delhi, India: Lalit Kala Akademi.

2011

  • Gilchrist, S. (2011). Reko Rennie: Patternation. United States of America: Kluge-Ruhe Aboriginal Art Collection of the University of Virginia.
  • Gilchrist, S. (2011). Reko Rennie: Patternation. Charlottesville, United States of America: Kluge-Ruhe Aboriginal Art collection, University of Virginia. [More Information]
  • Gilchrist, S. (2011). Waterline. Judy Watson: Waterline, (pp. 4 - 7). Brisbane, Australia: Queensland Indigenous Arts Marketing Export Agency (QIAMEA), Arts Queensland.

2010

  • Gilchrist, S. (2010). From Tiwi with Love: Bindi Cole. Artlink, 30(1), 76-78.

2009

  • Gilchrist, S. (2009). Octopus 9: I Forget to Forget. Gertrude Contemporary Art Spaces, Fitzroy, Australia. [More Information]
  • Finch, M., Gilchrist, S., Holland, A. (2009). Portrayals of our Universe. Australian Sky & Telescope.
  • Gilchrist, S., Holland, A. (2009). Shared Sky. Imprint, 44(2), 16-17.
  • Gilchrist, S., Holland, A. (2009). Shared Sky. Ian Potter Centre, National Gallery of Victoria, Melbourne, Australia: National Gallery of Victoria. [More Information]
  • Gilchrist, S. (2009). Shifting Identities. Art and Australia, 46(4), 616-625.

2008

  • Clegg, H., Gilchrist, S. (2008). Depictions of Aboriginal people in Colonial Australian Art: Settler and Unsettling Narratives in the Works of Robert Dowling. Art Bulletin of Victoria, 48, 34-45.

2006

  • Gilchrist, S. (2006). Gertrude Forum: The only thing you taught me was the only thing you know. Eyeline, 61, 21.
  • Gilchrist, S. (2006). Voices in Land: Art of the Kimberley. Land Marks, (pp. 119 - 123). Melbourne, Australia: National Gallery of Victoria.

2005

  • Gilchrist, S. (2005). Politics, Territories, Control. Photofile, 76, 32-37.

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