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https://www.youtube.com/watch?v=EyAxZHwQqT0

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Virtual Tours

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AND NOW features works from the second decade of Judith Neilson's White Rabbit Collection. Here, nothing is as it seems. A lone figure washes the body of a dead whale, atoning for destruction wrought by man; rolls of flesh become an omen of relentless progress; diaphanous flags offer the invitation of passage only to deny it moments later; despair is written in salt; glass masquerades as stone; and, with a touch of futility, silkworms enshroud ancient wood as though to stay the hand of ecological collapse.

Explore this extraordinary interactive tour of the AND NOW Exhibition.

AND NOW is drawn completely from Judith Neilson's renowned White Rabbit Collection.
CURATOR: David Williams

Exhibition period: 11 March - 2 August 2020.

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AND NOW features works from the second decade of Judith Neilson's White Rabbit Collection. Here, nothing is as it seems. A lone figure washes the body of a dead whale, atoning for destruction wrought by man; rolls of flesh become an omen of relentless progress; diaphanous flags offer the invitation of passage only to deny it moments later; despair is written in salt; glass masquerades as stone; and, with a touch of futility, silkworms enshroud ancient wood as though to stay the hand of ecological collapse.

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How did an 18-metre-long Buddha get from China to Melbourne?

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How did an 18-metre-long Buddha get from China to Melbourne?

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Eternity – Buddha in Nirvana has been designed by Xu Zhen
https://www.sbs.com.au/news/how-did-an-18-metre-long-buddha-get-from-china-to-melbourne

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Asian Art: Contemporary China, National Gallery of Australia, November 2016-February 2017, “Play 201301”, by controversial Chinese artist Xu Zhen. 

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Asian Art: Contemporary China, National Gallery of Australia, November 2016-February 2017, “Play 201301”, by controversial Chinese artist Xu Zhen. 

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From White Rabbit Gallery

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Asian Art: Contemporary China, National Gallery of Australia, November 2016-February 2017

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Asian Art: Contemporary China, National Gallery of Australia, November 2016-February 2017

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Works from White Rabbit Gallery and Sherman Foundation

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How do the the case studies differ among themselves in terms of the different ways that they frame their collections and in terms of their presentation of themselves as an institution - in particular, consider the issue of how the image of the presiding spirit of the collector/s is presented in each of the case studies - what do these differences have to tell us about the different orientations / aspirations of these museums?

Compare the following examples:
Isabella Stewart Gardner Museum https://www.gardnermuseum.org
The Frick Collection
https://www.frick.org
White Rabbit Gallery https://www.jnprojects.net/white-rabbit-gallery/
MONA https://mona.net.au

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What motivates their development as far as the collector is concerned? And what motivates their success (or failure) as far as the public viewing these spaces is concerned?

Compare Australian examples with international case studies

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What are the key characteristics of a private museum?
How does this kind of museum differ from larger, more institutionalised examples, such as state and national museums of art?

Use White Rabbit Gallery as a case study example and compare it with an international one