
Dr Una Rey
Lecturer
School of Creative Industries
- Email:una.rey@newcastle.edu.au
- Phone:(02) 4921 6238
Career Summary
Biography
Dr. Una Rey completed undergraduate studies in Fine Art at Charles Darwin University (formerly NTU) in 1995 and worked in the Aboriginal art sector for over a decade, including five years managing Indigenous community art centres in Central Australia and on the Tiwi Islands. In 2006 she moved to Newcastle where she completed her PhD in 2009 on cross-cultural painting practices. Rey is currently convenor of the B.Creative Industries Degree and has been teaching art history at UON since 2008. She also works as an independent arts writer, curator and painter.
Research Expertise
Key research interests include Australian art history and contemporary art practice with an emphasis on painting, cross-cultural engagements, curatorial and museum studies, art criticism and feminism. In 2017 she was awarded the Australian and New Zealand Art History Association award for the best peer-reviewed essay, Women's Business: Cross-cultural collaborations in remote Indigenous art centres.
Teaching Expertise
Rey is involved in the development and delivery of interdisciplinary courses in the B. Creative Industries Degree and has taught into art history and studio subjects in the B.Fine Arts Degree including Critical Studies, Museology, Professional Practice, Australian Art, Contemporary Art Issues, Aesthetics, Analysis of the Visual Image, Writing & Art Theory & Drawing. Her supervision areas include Australian art (Aboriginal and non-Indigenous ), cross-cultural engagements, landscape memoir, narrative, abstraction and women's art histories. In 2011 Rey wrote a series of lectures for Adelaide University and the Art Gallery of South Australia for the online Indigenous Art graduate diploma.
Administrative Expertise
Arts administration and academic management; curatorial and project management skills; Office, Excel, SAM database, Mac & PC.
Curatorial Experience
Una Rey curated the exhibition Black White & Restive: cross-cultural initiatives in Australian contemporary art at Newcastle Art Gallery (26 May - 7 August 2016). Her work was supported with an Independent Curator's Grant of $12,020 from Museums & Galleries NSW and the exhibition catalogue won its category in the Australian and New Zealand Art History Association's annual prize. Black White & Restive was built on collaborative research with the University of Wollongong addressing Indigenous and non-Indigenous artist's engagements with Aboriginal art-forms since the mid-20th century. Rey coordinated the opening day symposium of guest speakers exploring the challenges of cross-cultural collaboration, appropriation, ethics and influence in Australian contemporary cultural practices.
In 2011 Rey curated Speaking in Colour at Newcastle Art Gallery drawing exclusively on the Gallery's collection to highlight the innovative and distinct conceptions of colour in diverse Aboriginal communities. The Ntaria Suite of 27 Hermannsburg watercolours purchased by the Gallery from the collection of T.G.H Strehlow were a feature of the exhibition, which was attended by Lenie Namatjira and Ivy Pareroultja, artists and descendants of the original Hermannsburg painters.
Qualifications
- Doctor of Philosophy, University of Newcastle
- Bachelor of Fine Arts, Northern Territory University
Keywords
- Aboriginal Art
- Aesthetics
- Art Criticism
- Art History
- Australian Art
- Australian Painting
- Curatorial Studies
- Drawing
- Feminism
- Intercultural Art Practices
- Modernism
- Museum Studies
- Painting
Professional Experience
UON Appointment
Title | Organisation / Department |
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Lecturer | University of Newcastle School of Creative Industries Australia |
Lecturer | University of Newcastle School of Creative Industries Australia |
Awards
Prize
Year | Award |
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2017 |
Best Art Writing Peer Reviewed Essay The Art Association of Australia and New Zealand |
Publications
For publications that are currently unpublished or in-press, details are shown in italics.
Chapter (7 outputs)
Year | Citation | Altmetrics | Link |
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2019 | Rey U, 'Bardon s legacy: paintings, stories and Indigenous Australian art', Mediating Modernism: Indigenous Artists, Modernist Mediators, Global Networks, Duke University Press, Durham in-publication (2019) | ||
2018 | Rey U, 'Women in the Cross-cultural Studio: Invisible Tracks in the Indigenous Artist s Archive', Feminist Perspectives on Art: Contemporary Outtakes, Routledge, London and New York 39-56 (2018) | ||
2016 | Rey U, 'Black White & Restive', Black White & Restive, Newcastle Art Gallery, Newcastle 6-49 (2016) | ||
2015 | Cumpston N, Rey U, 'Spectacular Marks: TARNANTHI at the Art Gallery of South Australia', Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia, Adelaide 29-37 (2015) [O1] | ||
Show 4 more chapters |
Journal article (11 outputs)
Year | Citation | Altmetrics | Link | ||
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2019 |
WILLIS MD, 'Choose Your Own Adventure: Examining the Fictional Content of Video Games as Interactive Fictions', The Journal of Aesthetics and Art Criticism, 77 43-53 (2019)
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2019 | Rey U, 'Choose your own immersion: Art schools as a site of creative becoming', Artlink: Australian contemporary art quarterly, 34-41 (2019) | ||||
2018 | Rey U, 'David Brooks and Darren Jorgenson, The Wanarn Painters of Place and Time: Old Age Travels in the Tjukurrpa', EMAJ : Electronic Melbourne Art Journal, 1-6 (2018) | ||||
2016 | Rey U, 'Women s business: cross-cultural collaborations in remote Indigenous art centres.', Australian and New Zealand Journal of Art, (2016) | ||||
2012 |
Rey U, Neilson FL, 'Crafting pathos with Dani Marti', Art Monthly Australia, 255 5-7 (2012) [C3]
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Show 8 more journal articles |
Review (2 outputs)
Year | Citation | Altmetrics | Link |
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2019 | Rey U, 'Australian art exhibitions:opening our eyes (2019) | ||
2019 | Rey U, 'Virginia Cuppaidge: the nature of abstraction (2019) |
Conference (10 outputs)
Year | Citation | Altmetrics | Link | |||||
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2019 |
See ZS, Rey U, Neilson F, Cuneo M, Barnes-Keoghan A, O'Donnell L, et al., 'Sodeisha Sculptural Ceramics: Digitalization and VR Interaction', The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry on - VRCAI '19, Australia (2019) [E1]
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2019 | Rey U, 'The invisible gatekeepers: the white mediator in remote community art centres', The invisible gatekeepers: the white mediator in remote community art centres, National Gallery of Victoria and Victoria College of the Arts (2019) | |||||||
2019 | Rey U, 'Women s cross-cultural engagements in remote Australia', Women s cross-cultural engagements in remote Australia, New York (2019) | |||||||
2016 | Rey U, 'Black White & Restive at the margins', AAANZ 2016: The Work of Art: Conference Abstracts & Biographies, Australian National University, Canberra ACT (2016) | |||||||
2015 | Rey U, 'The Brindle Baby: intercultural collaboration and influence in visual arts practice.', Australian National University (2015) [O1] | |||||||
2012 | McLean I, Rey U, 'Between Michael Nelson Jagamara and Imants Tillers', together apart. Art Association of Australia and New Zealand Conference 2012, Sydney, NSW (2012) [E3] | |||||||
Show 7 more conferences |
Creative Work (10 outputs)
Year | Citation | Altmetrics | Link | ||
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2019 |
Rey U, See ZS, Neilson F, Cuneo M, Barnes-Keoghan A, O'Donnell L, et al., Please Touch: a virtual engagement with Sodeisha sculptural ceramics, Newcastle Art Gallery, Australia (2019)
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2016 | Rey U, McLean I, Neale M, Black White & Restive: cross-cultural initiatives in Australian contemporary art, Newcastle (2016) | ||||
2016 | Rey U, The Dreaming Room, Maitland Regional Art Gallery (2016) | ||||
2014 | Rey U, Men's painting at Balgo: Pushing the Tjukurrpa, Melbourne, Vic (2014) [J3] | ||||
2013 |
Brooker CJ, Shaw G, Tilley P, Murland A, Rey U, Chaffey N, et al., Popped, The Lock-Up, Newcastle, NSW, Australia (2013) [J2]
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2007 | Rey U, Portraits of Trees, Watt Space Gallery, Newcastle (2007) [J1] | ||||
Show 7 more creative works |
Research Supervision
Number of supervisions
Current Supervision
Commenced | Level of Study | Research Title | Program | Supervisor Type |
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2020 | PhD | Bringing our Collective Histories to Life: How Can New Media Revitalise the Public Monument in the Context of Cultural Diversity and the Digital Divide? | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2020 | PhD | Buried in the Future: What will future-seekers make of archaeological manifestations in contemporary artwork, specifically in those that fuse the aesthetics of low-tech construction with high-tech relics? And how is this viewed through the scrutiny of Marxist critical theory to forge an art practice that finds new ways | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
2016 | Masters | Mind Wondering and/or Wandering: late style and invention in a ceramic practice | M Philosophy (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
2016 | PhD | Theatre, Autopathography and the Medicalised Self: Imaging Health from the Shadows of Illness | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
2016 | PhD | Muted Power: Drawing on Traditions of Archaic Painted Forms to Explore Contemporary Group Knowledge, Desire and Experience | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2015 | PhD | Brushed with Eggs: A Practice Led Investigation into the Methods, Materials and Motivations of Australian Artists working with Tempera in the Twentieth Century. | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
Past Supervision
Year | Level of Study | Research Title | Program | Supervisor Type |
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2011 | PhD | Reconnection: An Exploration of Australian Landscape Beyond History and Myth | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |