There are many people and organisations to thank for their part in bringing Colour on the Concrete to life, not the least being the University of Technology Sydney, for its ongoing commitment to the care and development of its cultural collections.
Much of the research for this exhibition would not have been possible without the added support of a Postgraduate Research project through the UTS Faculty of Arts and Social Sciences. I owe special thanks to Robert Crawford and Paul Ashton for their support and advice throughout this aspect of the exhibition. I am also deeply grateful to UTS Librarian Mal Booth and Library Curator Aanya Roennfeldt for allowing me ‘playtime’ with the Library’s Special Collections, and for providing the venue for a display concurrent with the UTS ART Gallery and Collection programs.
In 2014, a Significance Assessment of the entire UTS Art Collection was undertaken with funding from the Australian Government’s Community Heritage Grants program. The insights of Curator Tania Creighton and former Curators Tony Geddes and Felicity Sheehan have been invaluable in putting together a history of the Art Collection at UTS. Feedback from the UTS community, artists and associates of the Art Collection has also provided vital information about its origins, use, and ‘life story’.
Equally the generous artists, donors, and collectors that add to the Collection and the dedicated staff who help care for and interpret it cannot go unappreciated. The UTS ART team , including our wonderful art handlers, have all gone the extra mile to realise this exhibition.
In addition to works from the UTS Art Collection, Colour on the Concrete features loans from artists Cherine Fahd, Kate Mackay, and Liz Shreeve, and from the Corrigan Collection. Recent donations to the UTS Art Collection featured in this exhibition were generously gifted by Patrick Corrigan, Frank Watters, and Craig Edwards with the support of the Australian Government’s Cultural Gifts Program.
A digitally remastered version of Michael Nicholson’s video works from the 1970s is courtesy of the artist and Nga Taonga Sound & Vision, the New Zealand national Archive of Film, Television and Sound.
The digital version of Interaction of Colour for iPad featured in both the Gallery and Library displays is courtesy of its publisher, Yale University Press. This extraordinary edition of Albers’ master work on colour is available through the Apple Store. Copies of the 2013 anniversary print edition are available through the Co-op Bookshop on campus.
Finally, I would also like to give a shout-out to Tim Sherratt and fellow THATcampers working in the digital humanities for sharing their awesome skills and inspiration, and especially Paul Hagon for helping me take my first steps in online mapping.