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Paul D. Carter, Vogel Literary Award Recipient, with University High School and University of Melbourne Students in a creative writing workshop, September 2012
THANK YOU TO EVERYONE WHO SUPPORTED OUR ANNUAL APPEAL.
The Ian Potter Museum of Art is committed to presenting innovative, scholarly and engaging exhibitions; developing the University’s extraordinary collection, and growing our landmark Academic Programs. Your support will help us to both achieve and excel in each of these goals and make certain that every student on campus has the opportunity to experience exhibitions, collection displays and programs that range from the wonders of ancient archaeology to cutting-edge contemporary art. Your involvement will ensure our continued work with some of Australia’s most talented living artists and enable us to provide our audiences with access to the work of key international practitioners.
By supporting our annual appeal we can build on the Potter’s innovative curriculum programs; a significant example being our visual arts-based research and teaching program. This new initiative focuses on promoting empathy in Special Needs Dentistry (SND) dental students in the University’s Doctor of Clinical Dentistry and Doctor of Dental Surgery courses. The Melbourne Dental School SND Visual Art program, taught at the Potter, is the first teaching program to utilise and measure the effectiveness of visual arts-based training focussed on empathy development in dental training. Through the creation of programs like this one, students from all faculties have the opportunity to benefit from the Museum. When you give to the Potter you are giving to all students at the University of Melbourne, no matter what their studies.
Now open, The world is not a foreign land brings together work by Timothy Cook, Djambawa Marawili, Ngarra, Rusty Peters, Freda Warlapinni and Nyapanyapa Yunupingu. Crossing three geographically and culturally distinct regions—the Tiwi Islands, the Kimberley, and North-eastern Arnhem Land—each artist presents sometimes strikingly different perspectives on what constitutes Indigenous contemporary art.