University of Melbourne

Parkville campus

Sculpture on campus presents a selection of outdoor, publiclyaccessible artworks acquired by theuniversity through commission,gift and purchase. These diverseworks, created by some of Australia’sfinest artists, provide an overview of sculptural production in Australiafrom the 1880s to the present day.

This booklet is designed as aninformative guide to the numeroussculptural works that enhance thenatural and built environment of theParkville campus and which enrich the daily experiences of students,staff, and visitors to, the University of Melbourne.

SculptureSculptureon campus

on campus

The sculptures in the grounds of the Parkville campus of the University of Melbourneform an important componentof the university’s rich and culturally significantart collection

Bruce Armstrong page 3

Tom Bass page 4

James Gilbert page 6

Inge King page 7

Akio Makigawa page 8

Andor Meszaros page 9

Michael Meszaros page 10

Clive Murray-White page 11

Christine O’Loughlin page 12

Reg Parker page 14

Lenton Parr page 15

Norma Redpath page 16

Victor Tilgner & Edward W Raht page 17

Unknown (Greece) page 18

David Wilson page 19

Teisutis Zikaras page 20

*with the exception of no. 9

All works are from the University of Melbourne Art Collection*

Bruce Armstrongborn Australia 1957

Melbourne sculptor Bruce Armstrongcompleted his training at the RoyalMelbourne Institute of Technology in1981 and began his sculptural careerusing tree branches and lengths oftimber, before moving to large blocks of unprocessed wood as his principalmedium. His best-known carvings, the massive redgum Untitled(Guardians),1987, stood watch at themain St Kilda Road entrance to theNational Gallery of Victoria until itstemporary closure in 1999. In 2002Armstrong installed Bunjil, the 25-metreeagle-hawk that towers over theMelbourne Docklands.

So it’s come to this and She would liketo be left with it were installed in theircurrent location in Deakin Court in 1986and marked the entrance of the thenUniversity of Melbourne Museum of Art,the precursor to the Ian Potter Museumof Art. These sculptures arerepresentative of Armstrong’s work at the time; combining primitive half-formed beasts with a raw finish tocreate commanding guardian creatures.

So it’s come to this 1986redgumOn loan from the artist 19861986.0283

She would like to be left with it 1986redgumPurchased 19861986.0182

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A R M ST R O N G

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Tom Bassborn Australia 1916

Tom Bass’ sculptures were popular witharchitects and commissioning bodiesfor public buildings during the 1950sand 1960s. Bass carried out numerouscommissions for public and universitybuildings in these decades, with manyfocusing on religious imagery.

In the early -1950s, Bass wascommissioned by Bates, Smart & McCutcheon Pty Ltd, the architects of the new Wilson Hall, to produceornamentation for the north and westfacades. Above the hall’s mainentrance, Bass chose to depict the trialof Socrates, as recorded in Plato’sApology. Until his trial and execution in399BC, the Greek scholar Socrates wasa popular figure in Athens, discussinghis philosophies on life—particularly the belief that every man is responsiblefor his own moral attitudes—with hisfellow citizens.

Trial of Socrates 1956copperCommissioned c. 19530000.0086

BA S S

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(West wall reliefs): (i) Observation; (ii) Contemplation; (iii) Teaching and learning; (iv) The talents of knowledge c. 1957pressed cementCommissioned c. 19530000.0087

In Bass’ sculpture Socrates holds a mirror to reflect truth onto nakedHumanity. With his other hand, heaccepts a cup of deadly hemlock, theself-administered poison that was apopular mode of execution at the time.One of his followers tries to stopSocrates from taking the poison; theother is prepared to continue Socrates’work. On the far left, Plato reflects thesame light of truth with his writing tablet.

According to Bass, the series of fourpressed cement sculptures on the westfacade ‘offered a wonderful opportunityto give the University a permanentreminder of its meaning and purpose’.1

The four panels—Observation,Contemplation, Teaching and learningand The talents of knowledge—dealsymbolically with the guiding principlesof a university.

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James Gilbertborn Ireland early-19th century,died Australia 1885

James Gilbert was born in Dublin andimmigrated to Victoria in 1854. Gilbert is perhaps best known in Melbourne forhis final sculpture, the subject of whichwas Sir Redmond Barry—a judge whowas instrumental in the foundation of the State Library of Victoria and theUniversity of Melbourne. At the time of his death in 1885, Gilbert hadfinalised only the modelling phase ofthis work. The sculpture was completedby Percival Ball and installed outside the entrance to the State Library ofVictoria in 1887.

Another fine example of Gilbert’s work, Atlantes was originally sited in Melbourne’s central business districtand is now located on the universitycampus. In Greek mythology, the giantAtlas supported the sky. Architecturally,Atlantes are male figures or half-figuresused in place of columns to support a porch-like structure and are frequentlyportrayed straining under an enormous weight.

This pair originally formed part of theornate arched entrance to the ColonialBank of Australasia on the corner ofElizabeth and Little Collins Streets in the 1880s, and remained there until the building’s demolition in 1932.Atlantes was salvaged and presented to the university where it was re-erectedto form the porch of the Old Physiologybuilding, which in 1970 was alsodemolished. Atlantes has been in itscurrent location since 1972 and isclassified by the National Trust ofAustralia (Victoria).

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G I L B E RT

Atlantes c. 1880bluestone and stoneGift of the Colonial Bank of Australasia 19321932.0001

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Inge Kingborn Germany 1918

Inge King arrived in Australia fromEurope in 1951, armed with knowledge of the latest international developmentsin modern art and with training in thetraditional techniques of wood andstone carving from schools in Berlin andGlasgow. Recognising the indifferenceto modern sculpture in Australia, Kingand fellow Victorian sculptors formedthe progressive ‘Group of Four’ in 1953and seven years later the group ‘CentreFive’. Both groups aimed to activelypromote modern sculpture.

King’s work underwent rapid changeduring her early years in Australia and in 1964 she exhibited her firstmonumental pieces worked frommassive steel sheets: a new techniqueused only by the most avant-gardesculptors in the country at that time.Welding allowed King to produce bold,strong, large-scale works that were not dwarfed by the vast landscape or lost in the harsh sunlight, and many of which invited human interaction.

Upward surge was commissioned forthe Institute of Early ChildhoodDevelopment, Kew, at a time whengreat developments in the teaching ofchildren were being made. ‘Thesculpture of flight with wings soaringupwards expresses these aspirations’,said King.2 Upward surge was installedin its current location in 2001.

Sun ribbon, with it massive unfurlingbands, is the focal point of one of theuniversity’s busiest thoroughfares andprovides students with a unique restingplace. A maquette (preliminary model)for Sun ribbon is displayed in the foyerof the Conference Centre in the OldPhysics building.

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K I N G

Upward surge 1974–75steelCommissioned 19740000.0223

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Sun ribbon 1980–82black painted steelGift of Mrs Eileen Kaye Fox in memory of her parents Ernest and Fannie Kaye 19821982.0023

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Akio Makigawaborn Japan 1948, died Australia 1999

Japanese-born Akio Makigawa arrivedin Australia at the age of 26. In Perth headded to his Bachelor of Arts fromNihon University, Tokyo, by completinga Bachelor of Arts/Fine Art at CurtinUniversity. After moving to Melbourne in 1981, Makigawa gained a GraduateDiploma in sculpture from the VictorianCollege of the Arts, the institution wherehe later spent four years as a lecturer.

In Melbourne, Makigawa’s careerflourished and in particular hismonumental sculptures—executed in arange of media from marble and graniteto stainless steel—were well received.Large-scale commissions by Makigawanow appear in the internationaldeparture lounge at Melbourne Airportand the Melbourne Town Hall Plaza. In addition, his work is represented incollections in various Australian statecapital cities and internationally.

Spirit wall has been defined as the sumof Makigawa’s sculptural career anddraws together symbols often used bythe artist. In this, his final work(Makigawa passed away in 1999 andthe completion of the piece wasoverseen by his wife, Carlier Makigawa)as in previous pieces, seed pods andbuds represent birth and growth, andwater symbolises life. The five simplifiedhouses refer to five continents of theworld, while the annulus (ring) is theEastern symbol of heaven. Wrappingaround the Swanston Street andMonash Road facades of the SidneyMyer Asia Centre, the monumental Spirit wall is a commanding marker tothis entrance to the Parkville campus.

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Spirit wall 1999–2001rusted corten steelCommissioned by theUniversity of Melbourne for the Sidney Myer Asia Centre2001.0026Photographed by Tony MillerCourtesy of Asialink, Sidney Myer Asia Centre

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M A K I G AWA

Andor Meszarosborn Hungary 1900, died Australia 1972

When Andor Meszaros fled Hungary at the onset of World War II, he was an accomplished architect and sculptor.Meszaros intended to work solely as a sculptor upon his arrival in Australia, but found that he was offered few commissions in this field. He began to produce portrait medallions of notable academic and publicfigures—work that he had occasionallyundertaken in Hungary—and gained the reputation of Australia’s finestmedallion sculptor. Meszaros wascommissioned to produce the 1956 Melbourne Olympic Gamescommemorative medal.

The subjects of Meszaros’ portraitmedallions often played an influentialrole in his obtaining commissions forlarge-scale works. An example of this is Zoology relief which depicts a nervecell surrounded by a sequence ofanimals: insect, reptile and mammal. It is located on the facade of theZoology building, the department of one of his most supportive patrons,Professor Wilfred Eade Agar.

Eagle was originally commissioned as the emblem for the Eagle StarInsurance Company Limited, however,when the company was taken over by Victoria Insurance Company Limited,the sculpture was deemed no longerappropriate. Eagle was presented to the university in 1971 by the companyand was installed on the facade of theArchitecture building on the advice of Meszaros.

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Zoology relief 1962copperCommissioned 19621962.0001

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Eagle 1968 bronzeGift of the Victoria InsuranceCompany Limited 19711971.0011

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M E SZ A R O S

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Michael Meszarosborn Australia 1945

Melbourne-born Michael Meszarostrained as an architect at the Universityof Melbourne before turning to full-timemedallion and sculpture production.Meszaros had begun producingmedallions in his father’s studio from an early age and participated in jointexhibitions for which he receivedfavourable comparison to his father.Meszaros later moved to sculpture as his favoured medium.

Tension and compression waspresented to the Civil EngineeringFaculty by Hardcastle and Richards PtyLtd to mark the twenty-fifth anniversaryof the founding of their practice. Thefirm had a strong association with theuniversity: many of its staff hadgraduated from the faculty and thedirectors of the company lectured finalyear students. The relief expresses thetwo fundamental elements in civilengineering—the complementary andopposing forces of tension andcompression, a balance on which every structure depends.

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Tension and compression 1979 bronze Gift of Hardcastle and Richards Pty Ltd tocommemorate twenty-five years in practice 19791979.0089

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M E SZ A R O S

Clive Murray-Whiteborn England 1946

Clive Murray-White experimented withdiverse media early in his career. Hisfirst solo exhibition comprised colouredpolythene balls; his second showed a series of three shallow discs; and in 1970 and 1971 he received much attention for his smokesculptures. But it was with his weldedmetal sculptures that critics declared he had moved ‘to the front rank of the younger Australian sculptors’.3

Murray-White was one of a group of Australian sculptors of the 1970s to produce work derived from the styleof Anthony Caro. Caro was profoundlyinfluential in introducing a new form of sculpture into St Martin’s School ofArt, London, during the early-1960s.This approach to sculpture made use ofindustrially produced materials—largelysteel beams—which were cut to sizebut otherwise unchanged. This methodof production used the industrialtechnique of welding, with the workbeing arranged on an open andhorizontal plane without the use of a pedestal.

Murray-White’s Holocaust is typical of this new Australian sculpture of the1970s, constructed from industriallyproduced steel sections which takeadvantage of available shapes and the robust strength of the material.

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Holocaust 1974welded mild steelPurchased 19761976.0104

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M U R R AY- W H I T E

Christine O'Loughlinborn Australia 1948

In May 1987 Melbourne-born artistChristine O’Loughlin returned toAustralia from Paris to complete atwelve-month artist-in-residenceprogram at the University of Melbourne.O’Loughlin had lived in Paris since 1979 when she began a residency at the Power Studio, Cité Internationaledes Arts. Her early artistic career inMelbourne saw her working with clay as a sculptural medium and in 1974 she travelled to Japan to studyceramics at the Kyoto School of FineArts. In France, O’Loughlin took herpractice in a new direction, completinglarge-scale site-specific installations.

During the course of O’Loughlin’sAustralian residency, plans weredeveloped for the expansion of theUniversity of Melbourne Museum of Art to incorporate a second galleryspace and conservation facility in the re-furbished Physics Annexe on Swanston Street. The architecturalconversion of the red-brick buildingincluded the closure of four windows for which O’Loughlin wascommissioned to create a site-specific work.

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Cultural rubble. (a) Perfectarchitectural support; (b) Perfect woman; (c) Perfectman; (d) Perfect pots 1993reinforced polyester resinCommissioned by theUniversity of Melbourne withfunds provided by the Ian Potter Foundation 19931993.0019.A-DPhotographed by Andrew Curtis

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O ’ LO U G H L I N

Cultural rubble was installed in 1993 and consists of four panels whichreference works from the collection ofsculptural casts at the Louvre Museum,Paris. O’Loughlin made copies ofclassical architectural and sculpturalforms including Corinthian columns, the Venus de Milo, Winged Victory of Samothrace, the Discus thrower andGreek pots, which were then brokenand reassembled to form the fourthematic panels. Re-instated on thefacade of the Ian Potter Museum of Artin 1998, the fragments of classicalperfection that spill out onto SwanstonStreet provide a striking landmark,inviting us to discard the Europeantraditions upon which much of ourcultural history is based to make way for distinctly Australian art.

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Reg Parkerborn Australia 1925

Reg Parker worked as an art teacher in Victorian schools before beginninghis study of sculpture in 1958 at theRoyal Melbourne Institute of Technology.In 1961 he commenced lecturing insculpture and design at BurwoodTeachers’ College, and then in 1969 at Melbourne State College.

Parker’s sculptures are simple abstractforms that encourage physicalinteraction. The steel elements of hissculptures are intended to balanceeach other and to work to hold thepieces together. ‘I like to make eachelement physically necessary to thesculpture … take one element awayand the total thing ceases to exist’, said Parker of his work.4 This approach is evident in Untitled 7/73.

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Untitled 7/73 1973welded mild steelPurchased 19741974.0032

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PA R K E R

Lenton Parrborn Australia 1924, died Australia 2003

Lenton Parr, one of the leadingcontributors to modern Australiansculpture, worked as an assistant toEnglish sculptor Henry Moore from1955–57. It was directly after this periodin England, and upon his return toMelbourne, that Parr began to work withwelded steel. Parr explained: ‘I had tofind something different [to Moore],something that would be new andalmost untried and my past experience[Parr worked as a fitter and turner in histeens] led me to steel. Moore wouldn’ttouch it’.5

From the late-1950s to 1965, Parr wasactively involved in Melbourne’s culturalactivities: as president of the VictorianSculptors’ Society, head of the sculpturedepartment at the Royal MelbourneInstitute of Technology and a member of the group ‘Centre Five’. Theplacement of The four humours onUnion House in 1958, predated the aims of ‘Centre Five’, who formed two years later and encouragedthe incorporation of sculpture intomodern architecture.

In the early-to-mid-1960s Parr workedon a series of welded steel sculpturesthat were to establish his reputation as one of Australia’s most progressivesculptors. Named after stars andconstellations, Sirius forms a part of thisseries of menacing insectoid creatures,with spidery legs and armoured bodies.

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The four humours c. 1958welded steelCommissioned 19581958.0007.001–004

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Sirius 1962–63welded steel Purchased 19801980.0194

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PA R R

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Norma Redpathborn Australia 1928

Norma Redpath studied painting at Swinburne Technical College andsculpture at the Royal MelbourneInstitute of Technology during the 1940s. On the completion of her studies she spent two years in Italy, and upon returning to Australia in 1958, was invited to submit a design to theUniversity of Melbourne’s BaillieuLibrary mural competition. Redpath’scarved relief design, Areopagitica, was chosen for the foyer of the newlibrary and was to be her first major commission.

In 1961 Redpath won the Mildura Prizecompetition for monumental sculptureand an Italian Government scholarshipfor study in a specialist field. Onceagain in Italy, she gained experience infoundries working with lost-wax castingand skilled craftsmen to producebronze sculptures. This period was toprovide her with the technical means to produce her designs, including thememorial sculpture to Sydney DattiloRubbo, professor of Microbiology at the university from 1945 to 1969.Placed in close proximity to theMicrobiology and Immunology building,with a steel column over six metres high and a capital weighing two tonnes, the work was cast in Milan underRedpath’s supervision.

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Flying capital, SydneyDattilo Rubbo memorialc. 1970–74bronze mounted on steel columnGift of the colleagues,students and friends ofProfessor Sydney DattiloRubbo 19741970.0248

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R E D PAT H

Victor Tilgner (designer)born Austria 1844, died Austria 1896

Edward W Raht (sculptor)active Austria late-19th century

Designed by Austrian artist VictorTilgner and cast at the Imperial ArtFoundry of Vienna, (Charity being kindto the poor) originally adorned one ofMelbourne’s landmark buildings—themassive seven-storey Equitable LifeAssurance Society Limitedheadquarters on the corner of Collinsand Elizabeth Streets. Mounted on thered granite portico, the bronze statuewas considered ‘the crowning piece’ of the ornate structure.6 It symbolisedthe themes of protection and shelter,typical of sculpture commissioned by insurance companies to adorn theircorporate buildings at the time.

Although structurally sound, by the late-1950s the building was considereduneconomical and was demolished.(Charity being kind to the poor)was presented to the University of Melbourne in 1959 by the ColonialMutual Life Assurance Society Limitedwho had purchased the building in 1923. It was initially situated at the university’s School of Architectureproperty at Mount Martha and has been in its present location since 1981.

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Untitled (Charity being kind to the poor) c. 1893cast bronzeGift of the Colonial Mutual Life Assurance Society Limited 19591959.0070

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T I LG N E R & R A H T

Unknown (Greece)(Copy after original attributed to Onatas of Aegina)

Poseidon, located in the courtyard of the Elisabeth Murdoch building, is a reproduction of a Greek statue. The original, Zeus of Artemision, dating to around 460BC, is housed in theNational Archaeological Museum of Athens. Considered one of the finestexamples of early classical sculpture,the original bronze statue wasrecovered in 1928 in the sea off CapeArtemision after fishermen found its arm in their nets.

It is thought that the statue was beingshipped to a private collection in Italyaround 100BC—a time when wealthyRomans were known to have collectedGreek statues—when it was lost atsea.7 It depicts Poseidon, the god ofthe sea—not Zeus as some maintain—about to hurl a thunderbolt (which isnow missing from the original statueand therefore also from this cast).

The original sculpture has beenattributed to Onatas of Aegina. Onataswas a Greek sculptor at the time of the Persian wars. Pausanias, thesecond century AD writer and travellerto Greece, mentioned some of Onatas’works in his writings, describing them as manly, athletic and revealing an intimate understanding of the human form.

The statue is one of only two castingsapproved by the Greek Government–theother is in the United Nations building in New York—and was a gift from the Greek Orthodox community incommemoration of the 1956 MelbourneOlympic Games. It was initially locatedin the Beaurepaire Centre, part of the university’s sporting complex on the Parkville campus, and wasrelocated to its current position in 1994.

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Poseidon cast c. 1950cast bronze Gift of the Greek Orthodoxcommunity of Melbourne in commemoration of theXVI Olympiad 19561956.0016

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U N K N OW N

David Wilsonborn England 1947

David Wilson was born in London and arrived in Australia in 1965. He began working in plastics andvarious mixed media before turning to welded steel, and graduated in 1970 from the National Gallery ArtSchool in Melbourne.

Wilson’s sculptures of the early-1970swere formal and precise weldedassemblages. Steel sheets and beamswere cut to length and welded intopurely aesthetic constructions thatlacked any evidence of the artist’s rolein their creation. His sculptures soonmoved away from this style and took on a denser and more informal quality,appearing as rubbish heaps of metaloff-cuts and pieces of plastic. In 1975he was defined as ‘the most successfulAustralian steel-scrap-sculptor’.8 By theend of the decade though, his sculpturehad again transformed itself. It becamecurved and crumpled with Wilsoncarving, forging, grinding and building up surface areas. His works of the 1980s emphasised the pliable nature of steel rather than its rigidity.

Wilson’s three sculptures in theuniversity grounds are indicative of hisdense and clustered phase of the mid-1970s and are formed from piecesof industrial steel sheets and beams.

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Untitled 1973oiled steel and perspexPurchased with funds from the Visual Arts Board, Australia Council 19751975.0046

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Sleeper 1974oiled steel and perspexPurchased with funds from the Visual Arts Board, Australia Council 19751975.0047

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Untitled 1974welded steelPurchased 19741974.0037

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W I LS O N

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Teisutis Zikarasborn Lithuania 1922, died Australia 1991

Teisutis Zikaras settled in Melbourneafter emigrating from Lithuania in 1949under the Government’s post-World War II immigration policy. Before arriving in the country, Zikaras had receivedstrong academic training in the studioof his father, Jontas Zikaras, dean of sculpture at the School of Fine & Applied Arts in Lithuania. Zikarasgraduated from this school, beforebecoming an instructor in Germany.

After his arrival in Australia, he lecturedin sculpture at the Royal MelbourneInstitute of Technology. His workcombined modernism and elements of Lithuanian folk art, influenced bytraditional woodcarving andcharacterised by a flattening andsimplification of forms.

He was a founding member of ‘CentreFive’, the group who promoted modernsculpture in Australia and encouragedthe link between architecture andsculpture from the early-1960s. Prior to his involvement with ‘Centre Five’,Zikaras was already aware of thepossibilities for collaboration betweenarchitects and sculptors, having beencommissioned to produce a set of relief panels for Union House in 1958.Ornamental balustrade, consisting of eight identical pre-cast decorativepanels composed of interwoven forms,was initially installed on the northbalcony of Union House. The panelswere removed in 1997 when alterationswere undertaken to the building andwere relocated to their current positionat the west end of Union House thefollowing year.

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Ornamental balustrade c. 1958precast concreteCommissioned 19581958.0006.001–008

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Z I K A R A S

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1 Bass, Tom, ‘Wilson Hall sculptures’, 10 April 1959, copy in possession ofthe Ian Potter Museum of Art, theUniversity of Melbourne.

2 ‘New home for Upward surge’, Uni News, Summer internet edition, 15 January 2001, p. 2.

3 McCaughey, Patrick, ‘Sculptor movesinto front ranks’, The Age, 26September 1973, p. 2, cited in Scarlett,Ken, Australian Sculptors, Nelson, West Melbourne, 1980, p. 465.

4 Parker, Reg, ‘Artist’s statement’, RecentWorks: Reg Parker and Rex Keogh,exhibition catalogue, 1979, n.p.

5 ‘Portrait of an artist as a welder ofsteel’, Australian Financial Review, 8 June 1970, cited in Edwards,Geoffrey, Lenton Parr: Vital Presences,Beagle Press, Sydney, 1999, p. 11.

6 The Illustrated Australian News, 1 February 1894, p. 22.

7 1000 Years of the Olympic Games.Treasures of Ancient Greece,Powerhouse Museum, Sydney, 2000,see <www.phm.gov.au/ancient_greek_olympics/>

8 Makin, Jeffrey, ‘Impact of 7 storeybuilding’, The Sun, 9 April 1975, p. 31, cited in Scarlett, Ken, AustralianSculptors, Nelson, West Melbourne,1980, p. 703.

Christine O’Loughlin(born 1948)Cultural rubble 1993Located – The Ian PotterMuseum of Art, east facadeMap reference N3

Unknown (Greece)(Copy after original attributed to Onatas of Aegina)Poseidon cast c. 1950Located – Elisabeth Murdochbuilding, courtyardPlease note: access throughElisabeth Murdoch buildingduring university business hoursMap reference M2

David Wilson (born 1947)Sleeper 1974Located – Redmond Barrybuilding, courtyard Please note: access throughRedmond Barry building duringuniversity business hoursMap reference L1

David Wilson(born 1947)Untitled 1973Located – Redmond Barrybuilding, courtyardPlease note: access throughRedmond Barry building duringuniversity business hoursMap reference K1

Andor Meszaros(born 1900, died 1972)Eagle 1968 Located – Architecture building,south facade, near entranceMap reference L3

Inge King(born 1918)Sun ribbon 1980–82Located – Union LawnMap reference J2

Lenton Parr(born 1924, died 2003)The four humours c. 1958Located – Union House, northfacade, elevated positionMap reference H1

Teisutis Zikaras(born 1922, died 1991)Ornamental balustrade c. 1958Located – Union House, west facade and gardensMap reference F2

Bruce Armstrong(born 1957)So it’s come to this 1986Located – Deakin CourtMap reference G2

Bruce Armstrong(born 1957)She would like to be left with it 1986Located – Deakin CourtMap reference G2

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SculptureSculptureon campus

on campus

Andor Meszaros(born 1900, died 1972)Zoology relief 1962Located – Zoology building,south facade, elevated positionMap reference D4

Norma Redpath(born 1928)Flying capital, Sydney DattiloRubbo memorial c. 1970–74Located – Medical RoadMap reference E6

Victor Tilgner (designer)(born 1844, died 1896)Edward W Raht (sculptor)(active late-19th century)Untitled (Charity being kind to the poor) c. 1893Located – South Lawn, north-west cornerMap reference F5

James Gilbert(born early-19th century, died 1885)Atlantes c. 1880Located – South Lawn Car Park,south-west pedestrian entryMap reference F6

Michael Meszaros(born 1945)Tension and compression 1979Located – Geomatics, Civil and Environmental Engineeringbuilding, west facadeMap reference H8

Inge King(born 1918)Upward surge 1974–75Located – Wilson Avenue, east of John Medley buildingMap reference H7

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Tom Bass(born 1916)Trial of Socrates 1956Located – Wilson Hall, north facadeMap reference H4

Tom Bass(born 1916)(West wall reliefs):(i) Observation;(ii) Contemplation; (iii) Teachingand learning; (iv) The talents of knowledge c. 1957Located – Wilson Hall, west facadeMap reference H4

Lenton Parr(born 1924, died 2003)Sirius 1962–63Located – Alice Hoy building,south courtyardMap reference M5

Clive Murray-White(born 1946)Holocaust 1974Located – ERC PlazaMap reference M6

Reg Parker(born 1925)Untitled 7/73 1973Located – ERC PlazaMap reference M6

David Wilson(born 1947)Untitled 1974Located – ERC PlazaMap reference M6

Akio Makigawa(born 1948, died 1999)Spirit wall 1999–2001Located – Sidney Myer AsiaCentre, north and east facadesMap reference N5

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Acknowledgments

Researched and compiled byLorinda Cramer, Volunteer, and Lisa Sullivan, Collections Curator, the Ian Potter Museum of Art, theUniversity of Melbourne. (Sculptureon campus is an initiative of theUniversity of Melbourne’s CollectionsManagement Project, 2002).

©The Ian Potter Museum of Art, the University of Melbourne.

Photography by Robert Colvin with the exception of the following: no. 1 (cover image) photographedby Andrew Curtis; no. 23photographed by Tony Miller,Courtesy of Asialink, Sidney MyerAsia Centre, the University ofMelbourne.

Disability access advice provided by the Disability Liaison Unit, theUniversity of Melbourne.

Funded through the Cultural andCommunity Relations Committee,the University of Melbourne, 2003.

The sculptures in the grounds of the Parkville campus are managedby the Ian Potter Museum of Art in collaboration with the Property & Buildings Department.

The Ian Potter Museum of ArtThe University of Melbournewww.art-museum.unimelb.edu.auTelephone 03 8344 5148

Cultural and Community Relations CommitteeThe University of Melbourne

Christine O’Loughlin Cultural Rubble 1993The University of Melbourne Art CollectionPhotographed by Andrew Curtis