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Art Almanac

April 2018 $6

Julie Dowling Waqt al-tagheer: Time of change Steve Carr


Art Almanac April 2018

Subscribe Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. To subscribe go to artalmanac.com.au or mymagazines.com.au

Deadline for May 2018 issue: Tuesday 3 April, 2018.

We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Guringai people of the Eora Nation where Art Almanac has been produced.

This issue spotlights the individual encounters and communal experience that contribute to Australia’s cultural identity. Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art collective, eleven, filters the complexities of the Muslim Australian experience through diverse practices and perspectives. Links between suburbia and nationhood are presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence.

Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Assistant Editor – Elli Walsh ewalsh@art-almanac.com.au Deputy Editor – Kirsty Mulholland info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Editorial Intern – Marlena Batchelor Accounts – Penny McCulloch accounts@art-almanac.com.au

Cover Julie Dowling, Black Madonna: Omega, 2004, synthetic polymer paint, red ochre, glitter and metallic paint on canvas, 120 x 100cm State Art Collection, Art Gallery of Western Australia Gift of Brigitte Braun, 2017 © Julie Dowling/Copyright Agency, 2018 Courtesy the artist and Art Gallery of Western Australia, Perth

T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

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21st Biennale of Sydney The latest iteration of the Biennale of Sydney presents the work of 70 artists and artist collectives from Africa, Asia, Australia, North America, South America and Europe at seven venues across the city: the Art Gallery of NSW (AGNSW), Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia (MCA), Sydney Opera House and 4A Centre for Contemporary Asian Art until 11 June 2018. The works form personal responses to the curatorial theme ‘SUPERPOSITION: Equilibrium & Engagement’, which focuses on multi-layered perspectives of the world and its histories that simultaneously interact and create balance. Among the highlights are Ai Weiwei’s Crystal Ball (2017) at Artspace, examining the complex future of our world in the face of the current global humanitarian crisis; Marco Fusinato’s Constellations (2015/2018) at Carriageworks inviting visitors to hit a home run by striking a baseball bat against a white wall as microphones transmit 120db through the gallery space – intensifying the impact and emotion; Tom Nicholson’s addition to Untitled wall drawing (20092018) – a matrix of painstakingly handwritten words narrating a geopolitical history of the 20th century at the MCA; Oliver Beer’s ongoing ‘Resonance Project’ at Sydney Opera House exploring the complex relationship between sound and space; and Akira Takayama’s ‘Our Songs – Sydney Kabuki Project’ at 4A Centre for Contemporary Asian Art – a recording of volunteers aged 5-94 years who expressed their stories through song and prose in different languages. Public programs include daily guided-tours, artist and curator-led talks, lectures, workshops, performances, panels and screenings as well as after-hours events. Marco Fusinato, Constellations, 2015, installation view (2015), Institute of Contemporary Art, Singapore, baseball bat, chain, purpose-built wall with internal PA system at 120+ decibels, 300 x 4000 x 150cm Photograph: Olivia Kwok Courtesy the artist and Anna Schwartz Gallery, Melbourne

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Hilarie Mais

Museum of Contemporary Art Australia

‘It is about discovery: beginning with a set of proposed rules, the logical conclusions, generative responses and the unexpected outcomes.’ – Hilarie Mais This lavishly illustrated catalogue complements Hilarie Mais’ current touring exhibition, first held at Museum of Contemporary Art Australia in 2017. It traces the artist’s five-decade career and her continual reinvention of the grid, as geometric constructions and paintings merge the formal structure of this key abstract form with an interest in more organic elements found in nature. Essays by Victoria Lynn, Anthony Bond and co-curators Blair French and Manya Sellers discuss the conceptual framework of specific works, while an interview conducted by her partner, artist, curator and gallerist William Wright (1937–2014) provides further insight into Mais’ practice, thoughts and concerns.

Gareth Sansom: Transformer National Gallery of Victoria

Each of Gareth Sansom’s watercolours, collages and paintings are based on a personal iconography that includes imagery of a sexual, satirical and philosophical nature. Over 130 of these artworks, spanning the course of Sansom’s 60-year career, illustrate the pages of this catalogue; suites of works on paper and photography complement more than 50 paintings, many from the past 15 years, recently exhibited at the National Gallery of Victoria. Essays by Ashley Crawford, Sebastian Smee and Pip Wallis discuss the artist’s practice and individual works, as well as influences ranging from Picasso and Jean Dubuffet to Francis Bacon and British pop art. In a candid interview with curator Simon Maidment, Sansom traces his own path to becoming one of Australia’s most provocative artists. 21


Steve Carr Echo Elli Walsh

Forging alliances between materiality, magic, performance and cinema is what Christchurch artist Steve Carr does best. Playing with the mechanisms behind moving images and photographs, Carr creates controlled experiments that push the possibilities of film beyond the confines of linear narratives. His story arcs are hinged on moments of transformation – from the ethereal yet chunderous explosion of an apple and the mesmeric bursting of paint-filled balloons to the subtle flinching of carnation petals as they imperceptibly change colour. Carr denies his audience instant gratification by using time-lapse techniques and high definition to capture the minutiae of metamorphosis. ‘I’m captivated by material transformation’ says the artist, ‘how that connects to art’s ability to play with tension and our perception of time.’ Slowing spectacles down to microscopic movements in line with the longue durée, he often expands the single moment into an elongated, deeply immersive space that is at once spellbinding and frustrating. The patient viewer is rewarded with perceptual pleasure as the highly-charged dénouement strikes – a watermelon explodes into carnal chunks under the pressure of hundreds of individually placed rubber bands, or a balloon finally bursts after a threatening needle has been ceaselessly taunting its rubbery flesh. There is a sense of indulgence as time is served in excess, a poignant paradox when contextualised in our slim and fleeting fast-paced lives. For a moment, we’re given permission to pause and wallow in the luxury of the timeless. Unlike previous works that build anticipation through duration before reaching a climax, Carr’s Echo (2018) presents a poetic suite of repeated tensions with no fixed conclusion. It comprises a single channel film of manipulated found footage taken from a technical manual for synchronised swimming, revealing what happens below the water’s surface. Presenting

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and gold diggers. They were sent to Rottnest for their ‘crimes’ and many perished there. This stands in bitter contrast to the island’s current identification as a holiday destination. Dowling tells it how it is. The artist’s female ancestors shared similar traumatic fates. Her grandmother was taken from her birth parents at the age of 12 and her great-grandmother was forced to work in the pastoral industry. As a young adult, Dowling had helped her grandmother recover from a stroke, creating the work Molly had a Stroke (1993) in response. Rendered in blood, synthetic polymer and ochre, the painting depicts her grandmother with a map on her heart and a fence across her dress, standing below a crow illuminated by the moon. Using traditional patterning and an earthy red palette, Dowling illustrates the tragic tussle between an enduring sense of belonging and the growing wound of displacement experienced by her grandmother and countless others. Dowling is unflinching in telling the honest realities of Western Australia, beyond the colonial rhetoric. She does so with a visual language that is bold, accessible, uncompromising and multilayered with meaning. Her distinctive portraiture gives us intimate access into the artist’s experiences and those of her family and friends, for life; Babanyu. Dr Laetitia Wilson is a Perth-based freelance arts writer, independent curator and art history lecturer. Art Gallery of Western Australia Until 13 August, 2018 Western Australia

Molly had a stroke, 1993, synthetic polymer, blood, ochre on canvas, 224 x 132cm State Art Collection, Art Gallery of Western Australia Gift of Sue and Ian Bernadt, 2004 Icon to a stolen child: Perfect, 1998, synthetic polymer paint, red ochre and gold on canvas, 40 x 35.3cm State Art Collection, Art Gallery of Western Australia Purchased 1998 © Julie Dowling / licensed by Viscopy, 2018 Courtesy the artist and Art Gallery of Western Australia, Perth

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Celeste Chandler be my eyes Sophia Cai

Celeste Chandler’s latest solo exhibition ‘be my eyes’ at The Gallery at Bayside Arts & Cultural Centre is a visual story nearly 150 years in the making. The starting point for the exhibition is two anonymous historical paintings in the Bayside City Council collection dated 1859. Little is known about these portraits or their sitters – a young woman and a young man who both look directly at the viewer – and the works have never been publicly exhibited. A letter from the donor in 1976 confirms that the female subject is also the artist of both works, but her name or the history of them remains unknown. After exhibiting in the Bayside Art Prize in 2016, Chandler was invited by the gallery to work with the collection. The mystery surrounding these portraits provided a rich source of inspiration for Chandler, who has had a long fascination with figurative painting and the traditions of portraiture. Originally from Tasmania, Chandler completed her PhD at Melbourne’s Victorian College of the Arts in 2014. Working in the traditional art form of oil painting, her works interrogate and challenge the male-dominated history of painting. By inserting herself into her works, the artist raises broader questions of identity and representation through a focus on female perception. In ‘be my eyes’, Chandler exhibits a series of paintings that directly respond to the Bayside portraits. Fascinated with the way painting can take on the subjectivity of its sitter and become personified, the artist attempts to ‘become’ the portraits by re-imaging herself in their pictorial realm. With limited information about the original works, there is wide scope for artistic intervention. 36


Jacky Redgate Light Throw (Mirrors) Fold #1–10 Latrobe Regional Gallery Until 20 May, 2018 Victoria

Disobedient Daughters Metro Arts Gallery 4 to 21 April, 2018 Queensland

Jacky Redgate has worked with mirrors for over two decades in an ongoing investigation of light and space. This exhibition presents the photographic series Light Throw (Mirrors) Fold #1–10 (2014-15) for the first time in its entirety. In making this, Redgate used a white symmetrical hinged panel that unfolds progressively outward to the camera lens, according to the Fibonacci sequence, revealing a gleaming riot of stripy red-andwhite and blue-and-white zigzag shapes. The artist describes herself as an ‘absent presence’ in the work.

Featuring Australian and international artists, ‘Disobedient Daughters’ challenges the stereotypes of Asian women in a global context. Curated by Sophia Cai, the exhibition encompasses photography and video – mediums often used to (mis)represent – cutting through the objectification and exoticism of this demographic in popular media. Works comprise personal narratives and self-portraiture, conflating public and private life and offering insight into contemporary Asian female experience. While Cai does not seek to define this experience, the show examines real relations between race, gender, sexuality and societal expectations.

Light Throw (Mirrors) Fold #1 of 10, 2014-15, installation view Photograph: Latrobe Regional Gallery 2018 Courtesy the artist and Latrobe Regional Gallery, Victoria

Janelle Low, Untitled, 2018, from the series ‘At Your Surface’, inkjet print with gold leaf, 23 x 15cm Courtesy the artist and Metro Arts Gallery, Queensland

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Sensual Nature Fremantle Arts Centre Until 20 May, 2018 Western Australia

Samara AdamsonPinczewski Spatial Persuasions

Charles Nodrum Gallery Until 14 April, 2018 Melbourne

‘Sensual Nature’ looks at organic forms and the human predilection to perceive seductive shapes, symbols and metaphors in the world around us. Twelve artists from across Australia exhibit sculpture, painting, drawing, ceramics, textiles, and large-scale installations that draw on our suppressed desires and fears, as well as highlighting a number of contemporary environmental concerns. The artists use a range of materials including leather, metal, porcelain, resin, horse hair, fox fur, echidna quills, goat hide, merino wool, teeth, bone and living cocoons.

Samara Adamson-Pinczewski’s practice focuses on the relationship between abstract painting, architecture and urban space. For ‘Spatial Persuasions’ the artist presents a new series of 2D and 3D painted, geometric constructions on aluminium, paper and plywood, inspired by the Oblique in Brutalist architecture of Paris. In exploring ambiguous spatial readings of the reflective materials, reductive forms and askew linear structures of these buildings, Adamson-Pinczewski creates her own scintillating colour and delicately subtle surfaces in unison with extremely irregular, yet engaging, pictorial compositions.

Lia McKnight, Memento 17, 16 & 18, 2017, found objects, copper, wool and balga resin Photograph: Eva Fernandez Courtesy the artist and Fremantle Arts Centre, Western Australia

Study for Sainte-Bernadette 1, 2017, acrylic, iridescent acrylic and fluorescent acrylic on aluminium sheeting, 37 x 45cm Photograph: Gavin Hansford Courtesy the artist and Charles Nodrum Gallery, Melbourne

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Artist Opportunities We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs, Exhibition Proposals and more. Enjoy and good luck! National Portrait Gallery announces the Darling Portrait Prize

The recent announcement of the new ‘Darling Portrait Prize’ marks the 20th anniversary of the establishment of Canberra’s National Portrait Gallery in 1998 – a vision conceived by Founding Patrons Gordon L Darling (1921-2015) and Marilyn Darling through inspiration drawn from their visits to the already well-established National Portrait Gallery, London (est.1856) and its Washington DC counterpart founded in 1962.

The ‘Darling Portrait Prize’ will become an annual award in 2019 with the first call for entries open from May until July. A generous prize of $75,000 will be awarded to the winner for a painting of an Australian citizen or resident, person or persons who have a strong association with, or have made a significant contribution to Australian life. Paintings, which meet the Gallery’s Collection Development Policy, may be considered for acquisition. In preparation for the impending open call for entries, artists’ artworks must be completed on or after 1 September 2018. portrait.gov.au

Cossack Art Awards

Entries close 7 June 2018 The Cossack Art Awards is unique Australian regional art prize for two-dimensional works that have been completed within 12-months of the entry date (photographic works are not accepted) and offers $100,000 in prize money. An exhibition will be held in the heritage-listed town of Cossack from 22 July to 12 August, with the announcement of the winners on Saturday 21 July. cossackartawards.com.au

The Woollahra Small Sculpture Prize

Entries close 6 July 2018 The Woollahra Small Sculpture Prize is an acquisitive award open to Australian and international artists offering a prize pool of $24,000. Entries are now open and invite submissions of original freestanding sculptures up to 80cm in size, in any dimension and medium. The finalists exhibition will be held 20 October to 11 November. sculptureprize.woollahra.nsw.gov.au

Samstag Scholarship

Jiawei Shen, L. Gordon Darling, AC CMG, 2006, oil on canvas Collection: National Portrait Gallery, Canberra. Purchased with the assistance of the Mundango Charitable Trust and Claudia Hyles Courtesy the artist and National Portrait Gallery, Australian Capital Territory

National Portrait Gallery Director, Angus Trumble, welcomes the inauguration of the prize to the gallery program, stating ‘The Portrait Gallery is an advocate for the arts, fostering the creation of outstanding portraiture in a variety of mediums. It is only fitting that with the generosity of our Founding Patron, Gordon Darling, we establish a portrait-painting prize. We are excited to invite all painters to start thinking about a subject in preparation to begin painting from 1 September.’

Applications close 30 June 2018 The 2019 Anne & Gordon Samstag International Visual Arts Scholarships are now open. Scholarships include, for 12-months of overseas study, a taxexempt stipend equivalent to US$48,000, plus return airfares and institutional fees. Offered by The University of South Australia on behalf of the Trustee of the estate of Gordon Samstag, late of Naples, Florida USA. unisa.edu.au

Windmill Trust Scholarship for Regional NSW Artists

Applications close 26 May 2018 The Windmill Scholarship supports regional NSW professional artists across the fields of painting, printing, sculpture and drawing and is calling for applications for grants up to $10,000. The scholarship program is supported by the Windmill Trust in association with National Association of Visual Arts (NAVA). windmilltrust.org.au

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RMIT Gallery

344 Swanston Street, Melbourne 3000. T (03) 9925-1717. E rmit.gallery@rmit.edu.au W www.rmit.edu.au/rmitgallery Free admission. Lift access. H Mon-Fri 11.00 to 5.00, Thurs 11.00 to 7.00, Sat 12.00 to 5.00, closed Sun and public hols. Like RMIT Gallery on Facebook. Follow @RMITGallery on Twitter. April 13 to June 9 Chaos & Order: 120 years of collecting at RMIT – presenting the work of over 80 Australian and international artists, Chaos & Order is RMIT Gallery’s ambitious survey of the RMIT Art Collection. Artists include Tate Adams, Howard Arkley, Khadim Ali, Hannah Bertram, Peter Booth, Polly Borland, Godwin Bradbeer, Rupert Bunny, Penny Byrne, Maria Fernanda Cardoso, Peter Clarke, Michael Cook, Len Crawford, Daniel Crooks, Craig Easton, Peter Ellis, Neil Emmerson, Juan Ford, Hayden Fowler, Len French, Sally Gabori, Bill Henson, Petr Herel, Clare Humphries, Robert Hunter, Robert Jacks, Sam Jinks, George Johnson, Roger Kemp, Inge King, Grahame King, Juz Kitson, Grace Lillian Lee, Helen Maudsley, Nick Mourtzakis, Trevor Nickolls, Jill Orr, Polixeni Papapetrou, Susan Philipsz, Anthony Pryor, Reko Rennie, Yhonnie Scarce, Greg Semu, Jan Senbergs, Christian Thompson, Kawita Vatanajyankur and Ah Xian. Curator Jon Buckingham, curatorial assistants [RMIT MA Arts Management] Ellie Collins, Adelaide Gandrille, Marybel Schwartz, Valerie Sim, Sophie Weston. Public programs at RMIT Gallery: Curator’s talk, Fri April 13, 12.30-1.30pm. Panel: Indigenous art choices, Thurs April 19, 5.30-6.30pm. Panel: Public & private collections, Thurs April 26, 5.30-6.30pm. New Order (RMIT student ID required) featuring Starlings: Sound Diffusion Collective/live DJ/ performance art, Thurs May 3, 5-9pm. Industry talk: Starting a collection, Thurs May 17, 5.30-6.30pm. Book launch: Ken Scarlett OAM Vincas Jomantas, Thurs May 31, 5.30-6.30pm. See inside front cover.

Tolarno Galleries

Level 4, 104 Exhibition Street, Melbourne 3000. T (03) 9654-6000 F 9654-7000. E mail@tolarnogalleries.com W www.tolarnogalleries.com Director: Jan Minchin (member of ACGA). H Tues-Fri 10.00 to 5.00, Sat 1.00 to 5.00. To April 28 Buddens by Rosemary Laing.

West End Art Space

175-185 Rosslyn Street, Melbourne 3003. T 0415-243-917. E westendartspace@gmail.com W www.westendartspace.com.au H Wed-Sat 11.00 to 4.00. April 7 to 28 (opening Sat April 7, 2-4pm) Poetry of Colour and Space by Manfred Krautschneider. Also, Nature Waits for Nobody by Alicia King. Also, Vision Frisson by Will Dickerson, and Marking Landscapes by Miranda Russell. See ad page 89.

Flinders Lane Anna Schwartz Gallery

185 Flinders Lane, Melbourne 3000. T (03) 9654-6131. E mail@annaschwartzgallery.com W www.annaschwartzgallery.com Director: Anna Schwartz. H Tues-Fri 12.00 to 5.00, Sat 1.00 to 5.00.

ARC ONE Gallery

45 Flinders Lane, Melbourne 3000. T (03) 9650-0589. E mail@arc1gallery.com W arcone.com.au Directors: Fran Clark and Suzanne Hampel (member of ACGA). H Tues-Sat 11.00 to 5.00. To April 14 What Colour is the Sacred? by Janet Laurence. April 17 to May 19 (opening Thurs April 19, 6-8pm) Golden Hour by Cyrus Tang.

Janet Laurence, The matter of the masters (detail), 2017 Photograph: AGNSW, Christopher Snee Courtesy the artist and ARC ONE Gallery

Polly Borland, Untitled (Nick Cave wearing a blue wig), 2010 Recent acquisition, RMIT University Art Collection Courtesy the artist, Murray White Room, Melbourne and RMIT Gallery

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CBD The Rocks Art Gallery of New South Wales (AGNSW)

Art Gallery Road, Sydney 2000. T (02) 9225-1744, 1800-679-278. W www.artgallery.nsw.gov.au Admission charges apply to some exhibitions. H Daily 10.00 to 5.00. Art After Hours: Wed to 9pm. To April 25 ARTEXPRESS 2018. To April 29 Arcadia: landscape and bodies by Ewa Pachucka. To June 11, 21st Biennale of Sydney. SUPERPOSITION: Equilibrium & Engagement. To June 24 The lady and the unicorn.

Gaffa Gallery

281 Clarence Street, Sydney CBD 2000. T (02) 9283-4273. W www.gaffa.com.au H Mon-Fri 10.00 to 6.00, Sat 11.00 to 5.00. Closed Sun and public hols. Gaffa is an independent creative precinct, artist-run in attitude and execution. March 29 to April 9 (opening Thurs March 29, 6-8pm) Histories by Daniel Emmerig, and Amplification by Carolyn Menzies. Also, Awareness of Between-ness: Reproducing the Remarkable Trees of France and Australia by Miho Watanabe and Louse-Fowler Smith, and Euclidean Form by Ingrid Siliakus, Gloria McGrath, Eun Ju Cho and Nicholas Jones, curated by Pearl de Waal and Mahsa Foroughi. April 12 to 23 (opening Thurs April 12, 6-8pm) Womanhours by Tyler Payne, and Mediated Space by Ebony Secombe. Also, Place/ Displaced by Annelies Jahn and Jo Meisner, and Ever Renewing-Delight by Deborah White. April 26 to May 7 (opening Thurs April 26, 6-8pm) Engram by Maddy Anderson and Darcy Smith, New Paintings by Hilton Owen, and PERCEPTION by Sean Peters. Also, Locale curated by Kimberley Peel, Jenny Du and Pearl de Waal.

The Ken Done Gallery

Maya Jane Williams, Northern Beaches Secondary College Freshwater Senior Campus, To Forage: Nature’s Jewels, documented forms Courtesy the artist and Art Gallery of New South Wales

The Art of Dr. Seuss presented by Harvey Galleries, QVB

1 Hickson Road, The Rocks 2000. T (02) 8274-4500 F (02) 8274-4545. E gallery@done.com.au W www.kendone.com.au H Daily 10.00 to 5.30. Through April works include a series of new garden paintings from Ken Done’s home on Sydney’s Chinamans Beach and some recent reef paintings. Complimenting these are some quintessential Sydney drawings and small canvases of Chinamans Beach alongside pen and ink sketches to complete the show. Limited edition prints, posters and other art related products are available for sale in the gallery shop including the artist’s latest publication ‘Ken Done: Paintings you probably haven’t seen’.

Queen Victoria Building , Level 2, 33-35 / 455 George Street, Sydney 2000. T (02) 9261-0275. E drseuss@harveygalleries.com.au W www.harveygalleries.com.au H Mon-Wed 10.00 to 6.00, Thurs 10.00 to 8.00, Fri-Sat 10.00 to 6.00, Sun 11.00 to 5.00. Authorised editions from the Seuss Estate.

Sofitel Sydney

12 Darling Drive, Darling Harbour 2000. H Daily 10.00 to 4.00. To April 22 Bald Archy Prize 2018. Contact 0439-672-213. W www.baldarchy.com.au Then on to Deniliquin, Leura, Brisbane, Newcastle, Melbourne, Corowa and Temora. See ad page 135.

Ken Done, Soft morning, oil on linen, 102 x 137cm Courtesy the artist and Ken Done Gallery

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Hobart Sullivans Cove Battery Point Art Mob

29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E euan@artmob.com.au W www.artmob.com.au Director: Euan Hills. H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.

Colville Gallery

91a Salamanca Place, Hobart 7004. T (03) 6224-4088, 0419-292-626. E info@colvillegallery.com.au W www.colvillegallery.com.au H Daily 10.00 to 5.00. April 6 to 17 Alla Prima by Leanne Halls. April 27 to May 8 The Earth Muzzle by Jane Giblin.

The Henry Jones Art Hotel

25 Hunter Street, Hobart 7000. T (03) 6210-7700. E art@thehenryjones.com W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.

Michael Bugelli Gallery

Ingle Hall, 89 Macquarie Street, Hobart 7000. E michael.bugelli@gmail.com W www.michaelbugelligallery.com H Tues-Fri 11.00 to 5.00, Sat 11.00 to 3.00, or by appt.

MONA Museum of Old and New Art 655 Main Road, Berriedale, Hobart 7011. T (03) 6277-9900. E info@mona.net.au W www.mona.net.au Visit website for details.

Plimsoll Gallery School of Creative Arts, University of Tasmania

Hunter Street, Hobart 7000. T (03) 6226-4300. E Jane.Barlow@utas.edu.au W www.utas.edu.au/plimsoll H Daily 12.00 to 5.00 during exhibitions, closed on Tues and public hols. April 21 to May 27 Experimenta Make Sense: International Triennial of Media Art – Robert Andrew, Ella Barclay, Michele Barker and Anna Munster, Briony Barr, Steve Berrick, Antoinette J. Citizen, Adam Donovan and Katrin Hochschuh, Lauren Edmonds, Liz Magic Laser, Jon McCormack, Lucy McRae, Gail Priest, Matthew Gardiner, Jane Gauntlett, Scale Free Network: Briony Barr and Gregory Crocetti, Andrew Styan, Judy Watson and Katarina Zdjelar. Experimenta Make Sense expresses the disconcerting and delightful world of the digital age. This exhibition asks audiences to immerse their senses into a ‘thinking,’ ‘feeling’ and ‘doing’ contemplation of what it is to be human in the age of technological acceleration.

Jane Giblin, Stockman 027, 2017, gelatin silver print, 40 x 40cm Courtesy the artist and Colville Gallery

Handmark Gallery

Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193. E Hobart: hobart@handmark.com.au, Evandale: evandale@handmark.com.au W www.handmark.com.au Hobart: to April 9 Furniture and Design Exhibition – Simon Ancher, Rebecca Coote, Laura McCusker, Geoff Marshall, Matt Prince, Nick Randall, Scott Van Tuil and Stuart Williams. To May 1 Denise Campbell new paintings and works on paper. Evandale: to April 4 Landscape Exhibition new paintings and prints. April 8 to May 3 Katy Woodroffe new paintings.

Briony Barr, Drawing On Complexity, 2017, from the ‘Experimenta’ series, electrical tape, ply materials and rule station, participating agents, dimensions variable Photograph: Theresa Harrison © the artist Courtesy the artist and Plimsoll Gallery

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Jan Manton Art Contemporary Australian + International Art

1/93 Fortescue Street, Spring Hill 4000. T (07) 3831-3060, 0419-657-768. E info@janmantonart.com W www.janmantonart.com Director: Jan Manton. H Wed-Fri by appt, Sat 10.00 to 4.00 no appt required. Jan Manton Art has a changing program of leading and emerging contemporary artists. April 4 to 28 LibertĂŠ by Aaron Butt.

Metro Arts Gallery

Level 2, 109 Edwards Street, Brisbane 4000. T (07) 3002-7100. W www.metroarts.com.au H Mon-Fri 10.00 to 4.00, Sat 2.00 to 4.00. April 4 to 21 Disobedient Daughters – Mihyun Kang, Gwan Tung, Dorothy Lau, Pixy Liao, Janelle Low, Andy Mullens, Ma Quisha, Sancintya Mohini Simpson, Sad Asian Girls and Zoe Wong. Curated by Sophia Cai.

Pixy Liao, Red Nails, 2014, C-type print Courtesy the artist and Metro Arts Gallery Aaron Butt, Study for Petit (Notre Dame), 2017, oil on canvas board, 40 x 30cm Courtesy the artist and Jan Manton Art

Jan Murphy Gallery

486 Brunswick Street, Fortitude Valley 4006. T (07) 3254-1855. E enquiries@janmurphygallery.com.au W www.janmurphygallery.com.au Director: Jan Murphy. H Tues-Sat 10.00 to 5.00 or by appt. March 27 to April 27 On Painting by Guy Maestri. April 28 to May 12 Claudia Greathead and Jason Fitzgerald.

Mitchell Fine Art

86 Arthur Street, Fortitude Valley 4006. T (07) 3254-2297. E admin@mitchellfineartgallery.com W www.mitchellfineartgallery.com H Mon-Fri 10.00 to 5.30, Sat 10.00 to 5.00. April 4 to 28 Watiya Juta by Mitjili Napurrula.

Jugglers Art Space Inc.

103 Brunswick Street, Fortitude Valley 4006. T (07) 3252-2552. E info@jugglers.org.au W www.jugglers.org.au/marie-ellis Facebook: jugglersartspace. H Mon-Fri 10.00 to 4.00. An artist run organisation committed to supporting artists in Brisbane.

168 Queensland

Mitjili Napurrula, Watiya Juta, acrylic on linen, 90 x 120cm Courtesy the artist and Mitchell Fine Art

Art Almanac April 2018 Issue  

Supporting the art community since 1974

Art Almanac April 2018 Issue  

Supporting the art community since 1974

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