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It factually examines Australia’s frontier wars and the massacre of Indigenous peoples while tracing the nation’s history of coal extraction and infrastructure development driven by European settlers, mining companies, and successive governments. 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is the core focus of the YOU ARE HERE exhibition?","Question",{"text":112,"@type":113},"The exhibition centers on truth-telling, examining Australia’s frontier wars and the massacre of Indigenous peoples alongside the history of coal extraction and infrastructure development.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does Therese Ritchie build the artworks used in the exhibition?",{"text":117,"@type":113},"She layers digital imagery with text and timelines, often drawing from familiar historical paintings, then collaging and digitally “over-painting” elements to collapse time and reshape the colonial narrative.",{"name":119,"@type":110,"acceptedAnswer":120},"What kinds of conversations does YOU ARE HERE aim to prompt?",{"text":121,"@type":113},"The exhibition encourages wider dialogue about truth-telling, care for country, the implications of mining, and recognition related to Indigenous 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3404Presented by Charles Darwin University Art GalleryAn exhibition by  \nTherese RitchieYOU  \nAREHERE  \n10 June-28 August2021  \nYOU ARE HERE is an exhibition with truth-telling at its core.Artivist,Therese Ritchie factuallyexamines Australia's frontier wars and the massacre of Indigenous peoples alongside thenation's history of coal extraction and infrastructure development implemented by Europeansettlers,mining companies and successive Australian governments.YOU ARE HERE is anunflinching examination of how we got to where we are now.  \nCreated in 2020-21,YOU ARE HERE makes apparent Ritchie's intense discomfort with theprocesses of land appropriation that resulted in the formation of the Australian nation.Thisbody of work is Ritchie's interpretation of Australia's national history since 1770.Her evocativeuse of visual digital imagery-much of which is sourced from familiar historical paintings ofAustralian landscapes and events documenting Europeans in Australia-is overlaid with textand timelines that account for a litany of events,misdemeanours,atrocities,discoveries,manoeuvres and ploys that lead us to this culminating moment in Australia's history.YOUARE HERE prompts wider conversations about truth-telling,care for country,the implicationsof mining and,issues of recognition about Indigenous sovereignty.  \nArt and activism exist in equal proportionsin the artistic art practice of Therese Ritchie.As an artivist,art is the tool of Ritchie's socialaction.Her art prods,impedes,directs andintervenes in the social,environmental andpolitical structures that surround her.Sinceearly exhibitions such as You are not fromhere are you?(2000),Ritchie has produceda prolific and,at times,confronting bodyof work.²Her ability to provoke reactions,thought and discussion through herpowerful imagery -sublime and disturbingin equal proportions -has reached itsapogee in YOU ARE HERE.  \nTherese Ritchie(b.1961)It's a gas!2021Digital inkjet print on paper  \n50h×80w cm [image];64h×91.6w cm [paper]Charles Darwin University Art Collection;CDU 3420  \nBorn in Newcastle in 1961,Ritchie arrived in Darwin in 1980 and commenced her studies ofphotography at the Northern Territory University(1981-84;now Charles Darwin University)under the tutelage of Martin Munz.In 1989,she taught photography to Indigenousstudents in Borroloola and began to appreciate the different ways her students viewed andphotographically recorded their Country.In time,Ritchie's photography found its efficacy ingraphic arts,including political posters.Her creative collaborations with Chips Mackinoltyand Peter Cook led to the trio forming Green Ant Research Arts and Publishing in 1990.Adecade later,Ritchie spread her wings and studied animation at Victorian College of the Arts,Melbourne(1999).After returning to Darwin she undertook a Master by Research in VisualArts at CDU (2003-04).Her research culminated in her first solo exhibition of digital ‘fine art'prints,Ship of fools which Ritchie described as her attempt to convey her experience of livingin a 'crash site'.³Most aspects of life in Northern Territory can be likened to war zones thatare the outcome of the cultural collision between colonised and coloniser.4 In Ship of foolsRitchie's technique of appropriating colonial historical images was first used and she hascontinued to explore this method.  \nAlthough photography,especially portraiture,remains avital part of Ritchie's creative repertoireshe has increasingly delved into the digital realm.Ritchie's creative process relies on an AppleMacintosh computer and digital design software(Illustrator,Indesign,Photoshop,Painter,Clip Studio)in place of a 'palette and paint'.Her creative process involves collecting images,colours,shapes or elements that she manipulates into a pastiche,before she digitally ‘over-paints'them.It may take seve","cbCaicgL3gR0OWeV","https://ap.wps.com/l/cbCaicgL3gR0OWeV","pdf",1117267,"English","# Exhibition Overview\n## Truth-telling Through Artivism\n## National History Since 1770","[{\"question\":\"What is the core focus of the YOU ARE HERE exhibition?\",\"answer\":\"The exhibition centers on truth-telling, examining Australia’s frontier wars and the massacre of Indigenous peoples alongside the history of coal extraction and infrastructure development.\"},{\"question\":\"How does Therese Ritchie build the artworks used in the exhibition?\",\"answer\":\"She layers digital imagery with text and timelines, often drawing from familiar historical paintings, then collaging and digitally “over-painting” elements to collapse time and reshape the colonial narrative.\"},{\"question\":\"What kinds of conversations does YOU ARE HERE aim to prompt?\",\"answer\":\"The exhibition encourages wider dialogue about truth-telling, care for country, the implications of mining, and recognition related to Indigenous sovereignty.\"}]","YOU ARE HERE - Exhibition by Therese Ritchie | PDF",1789454150]