Curator, Kluge-Ruhe Aboriginal Art CollectionEmail
Henry Skerritt is the curator of the Indigenous Arts of Australia at the Kluge-Ruhe Aboriginal Art Collection of the University of Virginia. He has curated numerous exhibitions including No Boundaries: Contemporary Aboriginal Australian Abstract Painting (2015); Marking the Infinite: Contemporary Women Artists from Aboriginal Australia (2016) and The Inside World: Contemporary Aboriginal Australian Memorial Poles (2019) and was editor of the accompanying catalogs all of which were published by DelMonico Books/Prestel. Skerritt holds a PhD in art history from the University of Pittsburgh and a Masters of Art Curatorship from the University of Melbourne. He is currently working on a major touring exhibition that surveys eight decades of bark painting from northern Australia curated collaboratively with the Yolngu community at Yirrkala.
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Beyond Dreamings: The Rise of Indigenous Australian Art in the United States. Charlottesville, VA.: Kluge-Ruhe Aboriginal Art Collection of the University of Virginia, 2019.
The Inside World: Contemporary Aboriginal Australian Memorial Poles. Reno and New York: Nevada Museum of Art and Prestel Publishing, 2019.
Marking the Infinite: Contemporary Women Artists from Aboriginal Australia. Reno and New York: Nevada Museum of Art and Prestel Publishing, 2016.
No Boundaries: Aboriginal Australian Contemporary Abstract Painting. Reno and New York: Nevada Museum of Art and Prestel Publishing, 2014.
“Seeing Through Spencer: Gabriel Maralngurra’s Paintings of Baldwin Spencer.” Pacific Arts: The Journal of the Pacific Arts Association, 14, no.1-2 (2015): 106-119.
Selected Book Chapters
“The Country Speaks Through Her.” In Noŋgirrnga Marawili: From my Heart and Mind, edited by Cara Pinchbeck, 34-45. Sydney: Art Gallery of New South Wales, 2018.
“To See a World: Picturing Nature through the Prism of Midawarr.” In Midawarr: Harvest, edited by John Wolseley and Will Stubbs. Canberra: National Museum of Australia, 2017.
“Just Weather: The Art and Philosophy of Shane Pickett.” In Meeyakba: Shane Pickett, edited by Nick Tapper with Diane Mossenson and Violet Pickett, 85-99. Perth: Mossenson Art Foundation, 2017.
“A Stitch in Time: How Aboriginal Australian Artists are Reweaving Our World.” In Everywhen: The Eternal Present in Indigenous Art from Australia, edited by Stephen Gilchrist, 16-27. Cambridge, Mass.: Harvard University Press, 2016.
“The Biggest Name in all the World: Locating Ngarra in the Global Contemporary.” In Ngarra: The Texta Drawings, edited by Nick Tapper, 21-29. Perth: Mossenson Art Foundation Press, 2015.
Nyilyari Tjapangati: Vivre le Rêve/Living the Dream. Bilingual catalogue publication in French and English. Paris: Arts d’Australie, 2015.
“Is Art History Any Use to Aboriginal Artists? Gabriel Maralngurra’s Contact Paintings.” Double Desire: Transculturation and Indigenous Contemporary Art, edited by Ian McLean, 223-241. Newcastle: Cambridge Scholars Publishing, 2014.
“Strange Relatives: Negotiating the Borderlines in East Kimberley Painting.” In Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art, edited by Stephen Gilchrist, 97-107. Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2012.