JulieGoughRifleandBoomerang,1993Oiloncanvas,textonacrylic,9Aust.;mbers1240x945x90mmAcquiredPowerhouseMuseum,Sydney

Julie Gough Imperial Leather, 1994 Cotton, wax, masonite 149 x 204 x 15 cm Collection of the National Gallery of Victoria

JulieGoughPhysiologicalAdapta7ontoCold,1994 MedicalSeries,1994(detail);n,polystyrene,plas;c,stainlesssteel,mercury,acrylic27.0x19.0x15.0cm

JulieGoughHairDifferen7a7on,1994Medicalseries,1994(detail);n,synthe;candhumanhair,wax,stainlesssteel,chrome,acrylic103.0x49.5x35.5cm

JulieGoughToothAvulsion,1994Medicalseries,1994(detail);n,synthe;candplasterteeth,mixedmedia,chrome,acrylic103.0x49.5x28.0cm

JulieGoughMedicalseries(detail),1994Fingerprintpa@erning

JulieGoughEyeballWeight,1994Medicalseries,1994(detail);n,plas;c,foundobjects,acrylic30.0x26.0x22.0cm

JulieGoughPhysicalcharacteris7cs‐BodyOdour,1994Medicalseries,1994(detail);n,oil,soap,wax,towelling,acrylic40.0x30.0x8.0cm

JulieGoughEarwaxConsistency,1994Medicalseries,1994(detail)Tin,wax,plas;c,acrylic,mixedmedia5.5x29.5x40.0cmCabinet:89.0x51.0x40.0cm

Julie Gough Brain capacity Medical series, 1994 (detail) Mixed media, variable dimensions

Julie Gough Intelligence Testing - The Porteus Maze Test, 1994 Medical series, 1994 (detail) tin, plastic, sawdust, paint, sawdust, chrome, acrylic 170.0 x 39.5 x 29.5 cm

JulieGoughMedicalseries,1994Tencase‐studiesofmedicalandanthropologicalmeasurementsforindica;ngracialdifferenceMixedmedia,variabledimensionsExhibitedPerspecta1994ArtGalleryofNewSouthWales.AcquiredTasmanianMuseumandArtGallery1995

JulieGoughPsycho1960,Julie1965,Luna1970,1995mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughJulie1965,1995suitcase,balsawood,motor,tapedeck,acryliconply,moss,plas;c,wood,rack,stoolCollec;onthear;st

JulieGoughPsycho1960,1995wood,suitcase,chair,motor,moss,acrylicpaintandgraphite.Collec;onthear;st

JulieGoughLuna1970,1995wood,suitcase,pingpongballs,bag,chair,matchs;cks,latexrubber,acrylicpaintCollec;onthear;st

JulieGoughBoxingBoys,1995Foundimages,frames,puppets,inkprintofnamesoncoZonVariabledimensionsCollec;onthear;st

JulieGoughHumannatureandMaterialculture,1995carpet,bathroomscales,oilon;nVariabledimensionsAcquiredNa;onalGalleryofAustralia

Unknown,1830GovernorArthur’sProclama;ontotheAboriginesVanDiemen’sLand(Imagereproducedinoilpainton;ndiscwithinbathroomscalesinHumannatureandMaterialculture.)

JulieGoughLyingwiththeland,2,1996photographs,wood,;n,jars,tea,sugar,tobacco,flour,saltVariabledimensionsCollec;onthear;st

JulieGoughLyingwiththeland,1,1996photographs,wood,;n,buZons,inkprintoncoZon,plaster,lightbulbsVariabledimensionsCollec;onthear;st

JulieGoughMoree‐Gene7cpool,1996Mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsoafsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,199640pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughBadLanguage,1996Paperbackbooks,wood,plas;ccoatedwire80x170x6cmCollec;onoftheArtGalleryofWestAustralia

Julie Gough Brown Sugar, 1995/6 mixed media 180 x 300 x 15 cm Exhibited Tasmanian Museum and Art Gallery, Hobart and 24 Hr Art, Darwin. Collection the artist

JulieGoughTheTroublewithRolf,1996Wood,plaster,wire,acrylicmedium,vinyl≈240x400cmCollec;onthear;st

JulieGoughPogography2000‐TheSub‐dividingGames(Toolsforlanddegrada7onvstoolsforlandreclama7on),1997gardentools,pogos;ck,flag,pillows,acrylicpaintsvariabledimensionsCollec;onthear;st

JulieGoughMagnumasCookintheTime/Spacecon7nuum,1997(detail)mixedmedia,variabledimensionscollec;onthear;st

JulieGoughMagnumasCookintheTime/Spacecon7nuum,1997(detail)mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughMagnumasCookintheTime/Spacecon7nuum,1997mixedmedia,variabledimensionsCollec;onthear;stExhibitedBoomalliAboriginalAr;stsCo‐opera;ve,Sydney,1997

JulieGoughMytoolstoday,1997147kitchentoolsonnailsthrougheyeletsoninkjetprintonfabricofTasmanianMuseumandArtGalleryc.1974220x360x12cmExhibitedAdelaideBiennale1998Collec;onthear;st

JulieGoughMytoolstoday,1997(detail)147kitchentoolsonnailsthrougheyeletsoninkjetprintonfabricofTasmanianMuseumandArtGalleryc.1974220x360x12cmExhibitedAdelaideBiennale1998Collec;onthear;st

Julie Gough Folklore, 1997 Vintage curtains, Tasmanian oak light box showing image of diorama in Tasmanian Museum and Art Gallery, Hobart 190 x 300 x 15 cm Collection the artist

JulieGoughShadowofthespear,1997Ti‐tree,slipcastceramicswaneggs,pyrographicallyinscribedTasmanianoakstripsvariabledimensionsAcquiredArtGalleryofWesternAustralia

JulieGoughShadowofthespear,1997(details)Ti‐tree,slipcastceramicswaneggs,pyrographicallyinscribedTasmanianoakstripsvariabledimensionsAcquiredArtGalleryofWesternAustralia

JulieGoughEbbTide(Thewhisperingsands)1998(detail)16pyrographicallyinscribedlifesizeplyfiguresofBri;shpeoplewhocollectedTasmanianAboriginalpeopleandculturalmaterialplacedin;dalflatatEaglehawkNeck,SouthernTasmaniavariabledimensionscollec;onthear;st

JulieGoughEbbTide(Thewhisperingsands)1998(detail)16pyrographicallyinscribedlifesizeplyfiguresofBri;shpeoplewhocollectedTasmanianAboriginalpeopleandculturalmaterialplacedin;dalflatatEaglehawkNeck,SouthernTasmaniavariabledimensionscollec;onthear;st

JulieGoughHOMEsweetHOME,1999(Commissionedinstalla;on,LiverpoolBiennial“TRACE”UK)(detail)graphiterubbingoncoZon,pins,;mbervariabledimensions

JulieGoughHOMEsweetHOME,1999(Commissionedinstalla;on,LiverpoolBiennial“TRACE”UK)graphiterubbingoncoZon,pins,;mbervariabledimensionsa

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,200114postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

Julie Gough Stand, 2001 (detail) Ti-tree, gas lamp 8 x 8 x 7 ft Installation for ten days and ten nights on a hill on Midlands Highway, Lovely Banks, Tasmania containing ever lit lamp.

JulieGoughLeeawuleena,2001LakedrijwoodandeucalyptbranchVariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

Julie Gough Time capsules (bitter pills), 2001 carved cuttlefish, stones, 15 x 8 x 7 cm Private collection

JulieGoughNightskyjoumey,2001(detail)knappedrocks,kelpclimbingshoesvariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

JulieGoughNightskyjoumey,2001knappedrocks,kelpclimbingshoesvariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

Julie Gough Chase, 2001 Ti-tree sticks, jute, cotton, steel Approx. 300 x 240 x 300 cm Site specific installation commissioned for nineteenth century gallery in National Gallery of Victoria. Installed October 2002 - July 2004 Collection of the National Gallery of Victoria

JulieGoughTransmuta7on,2003(BYUUtahUSAsitespecificinstalla;on)Pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,coZonVariabledimensions

JulieGoughTransmuta7on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,coZonvariabledimensions

JulieGoughTransmuta7on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,coZonvariabledimensions

JulieGoughTransmuta7on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,coZonvariabledimensions

JulieGoughTransmuta8on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,coZonvariabledimensions

Julie Gough Promissory Note ~ Opposite Swan Island, 2005 Tea-tree, timber, string, fur 229 h x 240 w x 130 d cm Flinders University Collection, Adelaide

Regeneration, 2005 Local alluvial quartz Approx. 25 x 1.5 metres

Exhibited at: Ware and Tear Andrea and Peter Hylands, Henry St, Chewton Alluvial Goldfields Victoria http://www.andreahylands.com 2 April - 5 May 2005 and ongoing

Julie Gough Transmitting Device, 2005 Lomandra longifolia, limpets 40 x 25 x 25 cm Private collection

Julie Gough Lifebearer, 2005 Beach found pumice, brass wire, driftwood 100 x 60 x 34 cm Collection of National Gallery of Victoria

Exhibited in: Cross Currents Linden - St Kilda Centre for Contemporary Art Lola Greeno, Julie Gough, Denise Robinson, Treahna Hamm, Lorraine Northey-Connelly Saturday 2 July - Sunday 7 August 2005

Julie Gough Craft for Floating Home, 2005 Digital photograph on paper 80 x 100 cm

Julie Gough Craft for floating home (driftwood, pumice), 2005 Pumice, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Julie Gough Craft for floating home (coconuts), 2005 Coconuts, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Julie Gough Craft for floating home (pumice, driftwood, cuttlefish, coconuts), 2005 Coconuts, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

JulieGoughReturn,2006Installa;onatFriendlyBeaches,FreycinetPeninsula,EphemeralArtattheFriendlyLodgeexhibi;on,February2006

JulieGoughNavigator,2006ImageofworkinprogressTamworthTex?leBiennale2006‐touring2007mixedmedia:blankets,shells,lomandra,teatree90x240x60cmCollec?onTamworthRegionalGallery

JulieGoughLocus,2006Tasmanianteatree,cuJlefishbone,paper4x5x5mBiennaleofSydney2006Collec?onthear?st

JulieGough‘Someofourwomenkidnappedbysealers’,2007 inkjetprint,edi;onof10,framedinTasmanianoak83x118cm.1/10Collec;onoftheQueenVictoriaMuseumandArtGallery,Launceston,Tasmania

JulieGough,Weran/Iam.JournalofGeorgeAugustusRobinson3November1830,SwanIsland,NorthEastTasmania‐“Iissuedslopstoallthefreshna7ves,gavethembaublesandplayedtheflute,andrenderedthemassa7sfiedasIcould.Thepeopleallseemedsa7sfiedattheirclothes.Trousersisexcellentthingsandconfinestheirlegssotheycannotrun”2007,calico,14photographsonpaper,earthpigments,c.2.0x7.5x0.05m.PhotographybyCraigOpie;MapoftheBlackLine:“MilitaryOpera;onsagainsttheAboriginalInhabitantsofVanDiemen’sLand:No.9FIELDPLANofMOVEMENTSOFTHEMILITARY”courtesyoftheTasmanianaLibrary,StateLibraryofTasmania;Trousersby#49CWAHobart

JulieGoughForcefield,2007deadappletree,bricks,copyof1825magistrate’sreport,;mber,pagesfrom“TheFabrica;onofAboriginalhistory”ANUSchoolofArtGallery:“ThresholdsofTolerance”exhibi;on

JulieGoughSomeofourwomenkidnappedbysealers,2007 book,paper,beads,fabric,acryliconcanvas,wood,cord,gunshot,leather,ink,variabledimensions.Collec;onthear;st a.Shewassoldforoneguinea

b.Shard(KingIsland2006) c.Paddle/spear d.hide e.KangarooIslandsealingcamps f.Someofourwomenkidnappedbysealers g.KingIslandsealingcamps

Julie Gough She was sold for one guinea, 2007 Found beaded decoration and book on wooden shelf 12 x 13.5 x 20 cm collection of NGA

This work is literally a closed book. The book is fixed shut by the words on paper tape: SHE WAS SOLD FOR ONE GUINEA. This brief sentence refers to an event in the life of one of my ancestors. Woretemoeteyenner, daughter of Mannalagenna a significant leader of the Oyster Bay people, was born around 1795 and died 1847 near Latrobe in Tasmania. A Trawlwoolway woman from Cape Portland, north east Tasmania, Woretemoeteyenner spent the last 6 years of her life with her daughter, Dalrymple Briggs and family after Dalrymple successfully petitioned the governor for her mother’s release from Wybalenna, Flinders Island. Understanding Woretemoeteyenner’s life is, for me, a gradual unfolding of clues about what happened to her and all my family, especially during the first 50 years of the 1800s, when life on and around the island now called Tasmania was a series of changes, interruptions, violence and misdemeanours. It is difficult to comprehend and interpret those frontier times when information today is so brief and cryptic. Sometime in the late 1820s, perhaps 1827 after Woretemoeteyenner returned from 2 years of sea travel across to Mauritius with 4 other Aboriginal women and sealers. It appears that at this time her partner of perhaps 17 years, George Briggs, sealer from Dunstable Bedfordshire, sold her for a guinea to fellow sealer John Thomas. There is historic silence for Woretemoeteyenner’s life until 19 Dec 1830 when James Parish ‘brought in” to Swan Island five Aboriginal women he had found on Penguin Island, including this ancestor to George Augustus Robinson, lay preacher and Govt appointed “Conciliator of the Aborigines.” These women were: PILLEVER/TRUCKLOWRUNNER/NOLLAWOLLAKER and TARERENORERER/WALYER and WORETERMOTETEYER and PLOWNNEME/PANGEM and NICKERUMPOWWERRERTER. These five women had been held captive catching seals for John Thomas, John Brown, Thomas Fisher, Thomas Turnbull and had got 120 skins in the previous 7 weeks. Briggs is not listed at this date as sealing in the Furneaux Islands of Bass Strait. Woretemoeteyenner soon after is living, again captive, but this time by Government order, at Wybalenna on Flinders Island, where she will spend almost a decade apart from her three daughters and son. This small artwork is about the frustration, anxiety and anger that I carry about those times. I am like this closed book, this story is in me, but it is hard to fathom. Apparently until about the 1830s in England wives could be sold at market, especially if both the wife and husband wanted this. This practice was frowned upon in England from the late 1700s, but sealer’s lives were separate in time and space than the place they had left behind. The sealers continued and modified their own cultural practices to suit their ruthless lives. The guinea had been replaced from the major unit of currency in 1816 in the “Great Recoinage” by the pound and with a coin called a sovereign. But in Bass Strait the Guinea was still tendered, probably to the end of the 1820s or even later. The guinea was equivalent to 21 shillings (£1.05 in decimalised currency). The guinea most likely to have been used to buy Woretemoeteyenner, if this account is true, would be the George the Third spade guinea of c.1795, minted on about the year of her birth.

JulieGoughWitness,2007chair,;mber,paper,goathide,inkvariabledimensions

JulieGoughSentence(Ancestor),2007wood,pyrography,soap,varieddimensions,13piecesCollec;onofArtbank

JulieGoughTheRanger,2007

Invita;oninstalla;on.SouthAustralianSchoolofArtGallery,UNISA.ImagesfollowingbyeitherMichelleRodgers,MichelKluvanek,NiciCumpston

somewordsforchange,February2008teatree,bookpagesfromCliveTurnbull’sbook;BlackWardippedinwaxephemeralartexhibi;on,FriendlyBeaches,TasmaniaphotographsbySimonCuthbert

JulieGoughartworks2008‐2009

Julie Gough

Artworks 2008 - 2009

Julie Gough Black-line properties I 2008 Tea tree spears with paint on timber 94 x 196 x 7 cm collection of Janet Holmes a Court

Julie Gough The chase 2008

Found leatherette chaise lounge, steel pins, burnt tea tree 97 x 182 x 52 cm collection of NGA

Julie Gough Head count 2008 Found chair with brass rods & black crow shells 85.5 x 43 x 43 cm collection of the artist

Julie Gough Incident reports 2008 Commissioned Tasmanian oak bookshelf, tea tree stocks, burnt Tasmanian oak 240 x 90 x 19 cm private collection

Julie Gough Malahide 2008 Fingal Valley coal necklace on dropped Northern Midlands antlers 200 x 133 x 35 cm Collection of Art Gallery of SA

My making of strung coal necklaces refers in part to the Tasmanian shell necklace tradition, my own gap in missing the inheritance of that tradition in my immediate family, and how the processes of dispossession of Country: colonisation: farming, hunting, mining are in part responsible for this gap. However, probably ironically, my maternal Tasmanian Aboriginal family and my paternal Scottish family have both worked in, and in Tasmania owned, coal mines. Dalrymple Briggs and her husband Thomas Johnson opened in 1855 their 'Alfred Colliery' -.6 km east of Tarleton, Tasmania. Today abandoned, the seam was about 600 mm thick. The family of my Scottish Grandmother, Ann Gough (neé Laird) and Laird, Dobbie, Rennie relatives worked extensively in coal mines in Lanarkshire near Glasgow up to the early 1900s. The feel of coal in my hands is compelling. Somehow familiar, I feel the pull to collect, sort, drill and thread these giant necklaces. The blackness of the coal dust is somehow disconcerting given it is not the warm charcoal of a fireplace but the darkest coldest blackness of our ancient island’s core. The weight of a coal necklace becomes more than the personal, it seems to be the shared load of our history, I walk with each one around my shoulders once it is made, before it is consigned to a crate. Dark Valley, Van Diemen’s Land is then a mute memorial, a remembrance of the grim times and an invocation to keep making one’s way forward to comprehend what happened in VDL and where we are today in Tasmania. The antlers represent the avoidance and anxiety evident across Tasmania today in terms of the mainstream unwillingness/inability? to present colonial history as also Tasmanian Aboriginal history. Post 1800 Aboriginal Tasmanian history is afforded space in Bass Strait but is yet to be presented as concurrent and engaged with anglo heritage convict/colonial histories promoted in tourist Tasmania. The stories of the hunt for Aboriginal people are too close to home, too clearly connected with major landholding families to this day to be easily acknowledged outside of art.

Julie Gough Some Tasmanian Aboriginal children living with non-Aboriginal people before 1840 2008 Found chair with burnt tea tree sticks Installed approx: 288 x 60 x 50 cm collection of NGA

JulieGoughDrivingBlackHome...2,2009(s;ll)dvdloop:dura;on3hr43min55secs

LandGrantsgivenoutbetween1804‐1832inVDL:3125Acres:1million842thousandand234acresOnaverageonegrantgivenevery3.25daysfor28yearsTasmanianAboriginalpeoplein1804:Approx.5000TasmanianAboriginalpeoplein1832:Approx.250

Thanksto:Koenraad:roadtrip,NancyMauro‐Flude:edi;ng

Thisworkistheresultoftranscribingthegrantee,quan;tyofacreageinCountyloca;onofall3125landgrantsdistributedbetween1804‐1832inVDL.Ithenfilmedwhiledrivingthroughthevariouscoun;esinwhichthesegrantsarelocated.The;methesegrantstaketoscrollacrossthefootagedeterminedthelengthofthefilm,hence12hoursoffootagewaseditedtomatchthenumberofgrantsthatmoveacrossthescreenatc.5seconds:3hr43min55secsintotal.

JulieGoughriversrun,2009dvdsilentfilm40:55mins

JulieGoughForce'ield2,2009Appletree,brick6ireplace,depositionfromms3251NLA,Tasmanianoak,’TheFabricationofAboriginalHistory”.TheClemengerAward‐NationalGalleryofVictoria

JulieGoughManifesta7on(night),2010

(workinprogress)BrunyIsland

JulieGoughManifesta7on(dusk),2010

(workinprogress)BrunyIsland