As the autumn leaves give way to the crisp, clear days of May, Melbourne will soon play host to a cultural renaissance with the highly anticipated reopening of the Potter Museum of Art at the University of Melbourne.
Set to coincide with Reconciliation Week on May 30, 2025, this revitalised flagship museum is ready to welcome visitors once again, unveiling a new era of artistic and cultural discourse.
Stepping back into the limelight, the Potter Museum emerges with a grand new entrance designed by the renowned Wood Marsh Architects, showcasing the transformative power of architecture in enhancing cultural experiences. This redevelopment, made possible through the generous support of The Ian Potter Foundation and Lady Primrose Potter AC, promises not just a facelift, but an expansion of space dedicated to the museum’s acclaimed collection-based learning programs.
At the heart of the reopening celebrations is the groundbreaking exhibition, “65,000 Years: A Short History of Australian Art,” a title that nods to the vast and rich tapestry of Indigenous art in Australia. This exhibition promises to be a vibrant celebration of Aboriginal and Torres Strait Islander art, featuring more than 400 artworks, including significant public and private loans as well as seven major new commissions by leading contemporary First Nations artists. Curated by the esteemed Professor Marcia Langton AO, alongside Ms Judith Ryan AM and Ms Shanysa McConville, this exhibition delves into the seismic shift in the recognition and appreciation of Indigenous art in the Australian and global art scenes.
Professor Marcia Langton articulates the exhibition’s provocative title and its importance: “The ironic title of this exhibition refers to the belated and reluctant acceptance of Aboriginal and Torres Strait Islander art into the fine art canon by Australian curators, collectors, art critics and historians in the last quarter of the 20th Century. 65,000 Years: A Short History of Australian Art celebrates Indigenous art as it is increasingly recognised in galleries and collections around the world – as the greatest single revolution in Australian art.”
Beyond the gallery walls, the University is committed to fostering a deeper understanding of Indigenous cultures through educational initiatives. This is reflected in the new resources developed in collaboration with the University’s signature Ngarrngga Project, led by Professor Melitta Hogarth alongside Indigenous Knowledge Experts. These resources aim to enrich the educational landscape for school and tertiary students, ensuring the legacy of the exhibition extends far beyond its closing date in November.
Professor Duncan Maskell, Vice-Chancellor at the University of Melbourne, underscores the exhibition’s significance: “Alongside the recently released Dhoombak Goobgoowana: A History of Indigenous Australia and the University of Melbourne, this program is an important exercise in truth-telling for the University, including histories of scientific racism, and the collecting of ancestral remains. It will provide a vital platform for Indigenous storytelling and encourage dialogue about the importance of Indigenous culture, history and art.”
Under the visionary direction of Ms Charlotte Day, the Potter Museum is poised to become a dynamic hub for exploring key cultural debates, drawing inspiration from the University’s extensive Art Collection. As the museum prepares to open its doors, it stands as a testament to the power of art in bridging cultural divides and fostering meaningful dialogue.
The reopening of the Potter Museum is not just an invitation to view art but a call to engage with the complex histories and vibrant cultures that have shaped Australia. It’s a celebration of art’s enduring ability to connect us, educate us, and inspire us to see the world through a different lens. As Melbourne inches closer to this cultural milestone, the excitement in the air is palpable, promising an experience that will resonate long after the exhibition closes.