Art Almanac November 2017 $6
Tarryn Gill Next Matriarch Penny Evans
Art Almanac November 2017
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 December 2017 / January 2018 issue: Thursday 2 November, 2017.
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.
Visual mediums are powerful; they transmute facts and ideas. We explore this notion in regard to colonisation and identity – from Tarryn Gill’s theatrical faces to McLean Edwards’ portraits, new work by Penny Evans and the Indigenous women included in ‘Next Matriarch’ who use their practices to illuminate Ancestral knowledge and look to the future.
Contact Editor – Chloe Mandryk email@example.com Deputy Editor – Kirsty Mulholland firstname.lastname@example.org Art Director – Paul Saint National Advertising – Laraine Deer email@example.com Digital Editor – Melissa Pesa firstname.lastname@example.org Editorial Assistant – Penny McCulloch email@example.com Editorial Intern – Crystal Tong Accounts – Penny McCulloch firstname.lastname@example.org
Cover Tarryn Gill, Dearly Beloved 4 (work in progress), 2017, mixed media – foam, fabric, thread, sequins, Fimo, 30 x 29 x 25cm Courtesy the artist and Hugo Michell Gallery, South Australia
T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
[not|fair] Established in 2010, ‘[not|fair]’ is an independent stage for visual artists dedicated to those who are unknown or overlooked with the event itself outside the traditional retail model of a fair with a hybrid form both as curated survey exhibition and commercial event. This year the original founders, artists Sam Leach and Tony Lloyd and writer Ashley Crawford, will produce the Melbourne show with over 40 emerging artists to present recent and new work in an industrial setting across six buildings on James Street, Windsor from 11 to 14 November. Ara Dolation, Jason Phu, Pia Murphy, Robert Hague, Datsun Tran, Pip Ryan, Laetitia OlivierGargano, Magda Cebokli and Lucy James will be participating amongst an array of intriguing multidisciplinary practices. notfair.com.au Natalie Ryan, Untitled (pig trotters), 2016, silicon, resin, 22kt real gold leaf, synthetic fibres, dimensions variable Photograph: Matthew Stanton Courtesy the artist
In Cahoots ‘In Cahoots: artists collaborate across Country’ is a major new creative project partnering artists from six Aboriginal art centres with leading independent artists from around the country in an exchange of ideas, skills and materials through a series of residencies. ‘In Cahoots’ culminates in an exhibition at Fremantle Arts Centre from 25 November to 28 January 2018. Artist talks and gallery tours will take place on Saturday 25 and Sunday 26 November as well as workshops run by Indigenous artists where you can learn to sculpt your own clay coolamon or spin human hair into strands of string for weaving. A panel discussion on Monday 27 November highlights the ideas and issues central to cross-cultural collaboration in Australia today. fac.org.au Tony Albert, Kieran Lawson and David Collins, Warakurna Superhero #1 (detail), 2017, C-type print, 100 x 150cm Courtesy the artists, Sullivan+Strumpf, Sydney and Warakurna Artists, Western Australia
Elisabeth Cummings Drill Hall Gallery Publishing
To enter into the world of Elisabeth Cummings is to invite a vibrant sensory experience. Now considered in the prime of her painting life after a ‘slow burn’ of some 50 years this monograph is a dedicated showcase of her ‘visually exciting’ paintings that oscillate between abstraction and representation of the motif. Cummings recounts, ‘I’ve tried to simplify, to get to an economy of expression. I try to eliminate and open the space because I get very congested… The whole push-pull that’s what interests me. The juggling of matter.’ Contributors include; Sioux Garside, Michael Kempson, John McDonald, Terence Maloon, Guy Warren, and Anna Johnson who adds the work is ‘packed full of playful erratic lines and a highly intimate sense of inner logic’.
Stephen Ormandy Only Dancing Formist
Fifteen years of Stephan Ormandy’s practice is surveyed in Formist’s latest publication. With the first two-thirds of the book devoted to a stream of his colourful, geometric paintings, the title comes to a close with an essay by Lilly Wei in the signature futuristic font that adorns the cover, which compels us to take time soaking in the artist’s biography as we would the ‘moving’ parts of an image; underscoring his interest in the marriage of material, concept and form. Its unusual style, and substance, speaks of Ormandy’s lexicon; from collage and paint, to colour juxtapositions, the body and toggling between a figurative and non-objective point of view.
Tarryn Gill Dearly Beloved Naomi Riddle
Standing in front of Tarryn Gill’s soft sculptures from her Guardian series is an oddly comforting and strangely disquieting experience. From far away the individual hand-sewn foam and fabric sculptures look like a collection of glimmering suns floating in space. But on closer inspection the suns morph into faces, each with their own pair of shining eyes and an open mouth exposing neat little rows of teeth. The eyes are playful but gleam viciously when the light catches them; the mouths are halfway between a smile and a grimace. Gill’s upcoming solo show ‘Dearly Beloved’ at Hugo Michell Gallery will see the space filled with new works that form part of this ongoing series. As Gill states, ‘I’ve been approaching each of the sculptures as either a self-portrait or a portrait of my immediate family – my mother, father or sister.’ Suspended together from the ceiling, each individual portrait becomes part of a larger installation: ‘a family tree imagined as a constellation.’ The artist’s interdisciplinary practice has always been grounded in the theatrical and the Guardian series references the drama of the stage – there’s a gesture towards the illusion and play of masks and puppetry, the kitschiness of lustrously beaded costuming. Whilst initially working in video, performance and photography, Gill has recently moved to a more studio-based practice with a focus on the material. Her sculptures are delicate configurations that revel in the tactility of sequins tethered together by thread. But whilst there is humour and impishness at work in ‘Dearly Beloved’, Gill is also referencing her continuing preoccupation with symbolic objects and relics, with the faith and assurance embedded within them. After seeing a collection of the sixth century Japanese Haniwa at the Museum of Tokyo and undertaking a residency at The Freud Museum in London, Gill has become increasingly fascinated with the rituals associated with burying the dead. As a group of terracotta ornaments arranged around a burial site, Haniwa were thought to drive away evil and protect their ‘host’, and Gill’s familial guardians similarly work to create a protective closed circle. The poet Mary Ruefle confesses in ‘My Private Property’ (2016) that ‘my innermost fantasy is to own twelve beloved heads nestled in an egg carton, to comfort me in moments of dearth in exchange for my infinite love.’ The image of these beloved shrunken heads neatly contained in an egg carton has a domestic sweetness that’s laced with horror, and so too do Gill’s plushy sculptures. The softness of the material, the urge to gently cradle one in your hands, jars against the feeling that this cast of grinning faces has escaped the realm of the unconscious and marauded into the real world. They become part god, part seer and part haunting spirit, but still, there’s a sinister side lurking underneath all the gold sequins: it is never quite clear whether as a visitor into their domain your presence will invite their protection, or whether you are the very threat that such totems are intended to ward away. Naomi Riddle is a Sydney-based writer and artist.
Hugo Michell Gallery 23 November to 13 December, 2017 South Australia
Dearly Beloved (work in progress), 2017, mixed media â€“ foam, sequinned fabric, thread, gemstones, Fimo, 30 x 26 x 31cm Courtesy the artist and Hugo Michell Gallery, South Australia
McLean Edwards Passport Melissa Pesa
McLean Edwards’ fluid brushwork is capable of transforming even the most ordinary subject into an object of contorted beauty. The raw yet soft transition of light juxtaposed with a carnivalesque colour palette are idiosyncratic of the artist’s painterly manner, reinforced by bold lines and the farouche demeanor of his sitters. The artist’s oeuvre is often defined with references to art history; from the rich colour and masterful chiaroscuro style of his childhood ‘hero’, Rembrandt, and the sombre, frill-necked subjects distinctive of other Dutch and Flemish 17th century Old Master painters to the ‘Olympia style’ nudes of Neoclassical French artists such as Jean-Auguste-Dominique Ingres. Edwards borrows from the convention of these historical portraits, manipulating and refining the representation of social realism into his own offbeat, individualised style. Stylistically, his works reveal the influence of domestic artists that retain what he calls an ‘“Australian quality”, whatever that vernacular is’ – William Dobell, Russell Drysdale, Donald Friend, Noel McKenna, Sidney Nolan, Tony Tuckson and Brett Whiteley; ‘the list gets longer all the time,’ says Edwards. Further comparisons can be made with international artists Pablo Picasso and Francis Bacon, as well as contemporary painter George Condo who echoes his hybridisation of traditional European painting with a sensibility informed by popular culture. Edwards’ paintings are chaotic yet composed – self-described as ‘clumsy’. In his advocacy of automatism, the artist applies paint directly onto the canvas, free of preconceived or controlled thought with the absence of studies or photographs. ‘This entails risk, because I have absolutely no idea what roadblocks will come up,’ says the artist. ‘I find this spontaneity gives me a heightened sensation when navigating through the plate tectonics of the conscious and unconscious. The physical decisions even if unresolved provide an emotional sensitivity, which would be absent if I planned it all,’ he continues. Early in his career, Edwards depicted those he knew, occasionally strangers but always real people. He evolved to a 40
Not Niwe, Not Nieuw, Not Neu Luke Letourneau Through its title, 4A Centre for Contemporary Asian Art’s new exhibition declares, in three variations, that it is not new. ‘Not Niwe, Not Nieuw, Not Neu’ takes as its point of departure the scientific botanical work of Sir Joseph Banks conducted through his journey aboard the HMS Endeavour from 1768-1771, commanded by Captain James Cook. This voyage led to the collection of approximately 30,000 specimens of plant life from Australia and New Zealand, with 1,600 specimens totally new to Western science. For this show, that particular practice of discovery and assigning names is rejected as merely a form of colonial mythmaking that disrupts language, culture and history. Banks’ research will feature at points through the inclusion of a series of copperplate etchings of Australian botanical illustration. However, beyond these illustrations, none of the other artists’ work explicitly engage with Banks’ own practice or research. Instead, Daniel Boyd, Newell Harry, Fiona Pardington, Michael Parekowhai and James Tylor present works preoccupied with subverting the colonial prejudices of language by reframing the mythologies of nationhood engendered through Bank’s form of colonialist scientific practice. Harry, with his works incorporating concentric circles and texts in neon, is one artist directly interrogating the legacies of language and its value; with a particular focus on what begets value. These neon works are large in scale, not only because they are often over a metre wide and tall, but also because their light is a powerful emitter of intense and attention-demanding colour. Neon is, of course, the material of advertising, so when Harry’s works are present they are hard to miss. The texts accompanying these colourful circles are often brief statements embracing rhyme, alliteration and simile, and are presented in white neon. Circle/s in the Round: WHITE WHINE (2010) and Circle/s in the Round: AVID DIVA (2010) neatly exemplify the humorous but biting wit of the artist’s wordplay. The art gallery is a context rich in cultural capital and so positioning words and language in this space delivers a spiritual elevation of their value. Placing Harry’s text works within a critique of the colonialist project of discovering and (re)naming specimens which have existing names 44
And Then Nothing Turned Itself Inside Out
Photographer Rae Begley uses 35mm film and the silver gelatin printing process to create large-scale works that connect her audience to the beauty, and devastation of human impact on the Ngozumpa Glacier and Gokyo Lake in Nepal. She documents climate change and the presence of plastic chairs, discarded tarps and solar domes. The sacred mountain landscape is dually honoured with an installation of stacked rock piles, a ‘cairn’ in Tibetan Buddhism, and a sound work made in collaboration with Erik Omen.
Reconstructing the body to communicate ‘new articulations of self’, Gerwyn Davies combines a few art forms from self-portraiture to costume making and performance. With an emphasis on hyper-real tableaus and the excess and artifice of a ‘camp’ aesthetic the artist experiments with the many ways in which we can represent ourselves to the world and at the same time imagine a new world order entirely.
The End, 2016, archival pigment print from the exhibition ‘And Then Nothing Turned Itself Inside Out’ Courtesy the artist
The Wall, 2017, archival inkjet print, 80 x 100cm Courtesy the artist and Gould Galleries, Melbourne
COMMUNE 2 to 5 November, 2017 Sydney
Gould Galleries 16 November to 9 December, 2017 Melbourne
Nicola Jarvie and Melanie Murphy Juxtamentary
Brunswick Street Gallery 17 to 29 November, 2017 Melbourne
Camie Lyons Out on a Limb
Olsen Gallery 1 to 19 November, 2017 Sydney
Inspired by the beauty of floral transspecies, artist Nicola Jarvie plants a clay garden of voluptuous sculptural forms for ‘Juxtamentary’. Intentionally moulded in white clay, her figures enable light to emphasise the sensuality of their curves, lines and textures. Alongside these floral clusters with two-dimensional creations are Melanie Murphy’s abstract acrylic works on plywood blocks. Each piece is a response to the artist’s interior and exterior environments, reconsidering conventions of form and space.
New bronze sculptures, with rich burnt honey to blacked speckled moss surfaces, works on paper and paintings speak to real and ephemeral inspirations. Lyons’ work for this show considers the body while in movement and our thought processes – informed by Paul Ricoeur’s theories on memory and forgetting. By following the artist’s line we are encouraged to draw parallels with the twists, flexes and tensions of the human form and, metaphorically, our minds.
Nicola Jarvie, Arum Canina, 2017, clay, dimensions variable Courtesy the artist and Brunswick Street Gallery, Melbourne
Tying and Untying, Elbows and Knees, 2017, bronze with silver finish, 50 x 60 x 39cm Courtesy the artist and Olsen Gallery, Sydney
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! 2018 Samstag Scholarships recipients announced
We congratulate Sasha Grbich and Julian Day who have been awarded the Anne & Gordon Samstag International Visual Arts Scholarships for 2018. This provides each artist with a 12-month living allowance, travel expenses and study fees to attend a leading international art school of their choice to further develop their artistic practice. Grbich uses sculpture, installation, sound and video to explore the world, bringing about experiences to discover how art performs with audience in local environments. The artist ‘employs a process of sensitive and attentive listening to open up a space, in which difficult or seemingly impossible conversations can occur,’ says Andrew Purvis, artist, writer and curator. Day is an artist, composer, writer and broadcaster examining the world through sound, with site-responsive performance, installation, video and text. ‘My work deploys sound’s material properties – its promiscuous spread, its relational intimacy, to reveal and examine hidden or overt power relations,’ he explains.
Bayside Acquisitive Art Prize
Entries close 15 February 2018 Applications are now open for Painting for this annual acquisitive award, which aims to increase opportunities for participation in Bayside’s arts and cultural program; to foster a sense of identity, pride and place and enable the acquisition of suitable artworks for the Bayside City Council Art & Heritage Collection. The major prize is $15,000. The exhibition will take place from 18 May to 8 July 2018. baysideacquisitiveartprize.com.au
The Collie Art Prize
Entries close 12 January 2018 The Collie Art Prize is regional Australia’s richest acquisitive award open to artists across the country. Works in a variety of mediums are invited that address the theme of ‘Identity’ – the changing way we see our country, our communities, our people and ourselves. Presented by The Collie Art Gallery in Western Australia offering a first prize of $50,000 and a total prize pool of $63,500. The winning entries will form a significant collection of works and a history of Australia’s changing identity. collieartgallery.org.au
National Photographic Portrait Prize
Submissions close 9am, 20 November 2017 Entries are invited from Australian photographers for the National Photographic Portrait Prize. The total prize pool valued at $50,000 offers $30,000 in cash courtesy of the National Portrait Gallery, $15,000 in lighting equipment supplied by Profoto and $5,000 in Ilford paper and film supplies. Selected portraits will be displayed in the finalists’ exhibition from 24 March to 17 June 2018 at the gallery in Canberra then touring Australia through 2018 and 2019, and will be included in a catalogue publication. nppp.portrait.gov.au
Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA)
Sasha Grbich with Heidi Angove, Very Local Radio, 2014-15, still image from live performance Photograph: Zihan Loo Courtesy the artists and Anne & Gordon Samstag Museum of Art, South Australia
Entries close 16 March 2018 The 2018 call for entries is now open for the Telstra NATSIAAs, the longest running award dedicated to Indigenous art in Australia, which is now heading into its 35th iteration. Submissions are invited from Aboriginal and Torres Strait Islander artists from regional and urban areas across the country to submit one original work, not previously exhibited or made available for sale, in either traditional or contemporary media. All awards are non-acquisitive. magnt.net.au
Mornington Peninsula Frankston Arts Centre and Cube 37 Galleries
27-37 Davey Street, Frankston 3199. T (03) 9784-1896. W www.thefac.com.au Free Entry. H Tues-Fri 9.00 to 5.00, Sat 9.00 to 2.00. Through Nov Cabinet of Cardboard Curiosities: Eliza Jane-Gilchrist – Art After Dark from dusk on the street. Curved Wall Gallery: Steve Salo: The Back to Back Theatre Portraits. FAC Mezzanine: Peninsula Grammar School. FAC Atrium Gallery: Tania Ferrier. Cube Gallery: Statewide Autistic Services Inc., Southern Independent Schools. Art + Gift Boxes: FAC Gift Store.
Gordon Studio Glassblowers A Working Hot Glass Studio & Gallery
290 Red Hill Road (cnr Dunns Creek Road), Red Hill 3937. T (03) 5989-7073. E email@example.com W www.gordonstudio.com.au H Daily 10.00 to 5.00.
McClelland Sculpture Park + Gallery
Oak Hill Gallery
(map ref Melway 145 G10) 100 Mornington-Tyabb Road (adjacent to the Rose Gardens), Mornington 3931. T (03) 5973-4299. E firstname.lastname@example.org W www.oakhillgallery.com.au H Daily 11.00 to 4.00. Nov 4 to 28 (opening Sun Nov 5) Ways of Seeing by Noel Hill. Also, Inspired Journeys – Rye Community House. Fri Dec 1 Join the ‘Coming of Age Gala Cocktail Party’ celebrating our 18th Birthday. Tickets available at the Gallery. Entries open for our Christmas Deck the Walls affordable art exhibition Dec 3 to Jan 31, 2018. Entries close Fri Nov 17, 5pm.
Gippsland South East arc Yinnar Gallery
19 Main Street, Yinnar 3869. T (03) 5163-1310. W www.arcyinnar.org.au H Tues-Fri 12.00 to 4.00, Sat 11.00 to 3.00. To Nov 18 Gallery arc: Flourish recent works by Caroline Graley. sParc gallery: Just Love Pics landscape photography by Colin Briggs. Nov 25 to Dec 16 Summer Sizzler – an open entry show.
390 McClelland Drive, Langwarrin 3910. W www.mcclellandgallery.com See Melbourne entry for exhibition details.
Merricks House Art Gallery
3460 Frankston - Flinders Road, Merricks 3961. T (03) 5989-8088. E email@example.com W www.mgwinestore.com.au H Daily 8.30 to 5.00. Merricks House is located adjacent to Merricks General Wine Store and showcases talent from both the local Mornington Peninsula Region as well as artists from across Australia. Meander through the garden from the café, bistro, cellar door or deck to discover this hidden gem. To Nov 19 Bushwhacked by Baden Croft and Jess Milne.
Mornington Peninsula Regional Gallery (MPRG)
Civic Reserve, Dunns Road, Mornington 3931. W mprg.mornpen.vic.gov.au See Melbourne entry for exhibition details.
Caroline Graley, Flourish, 2017, mixed media on paper Courtesy the artist and arc Yinnar Gallery
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8 Parap Place, Parap, Darwin 0820. T (08) 8981-4822. W www.outstation.com.au Established in 2008, Outstation Gallery works directly with art centres in the presentation and promotion of Indigenous art from the Tiwi Islands, Arnhem Land, the Western Desert, the Kimberley and Central and South Australia. To Nov 4 Pennyrose Wiggins. Nov 11 to Dec 10 (opening Fri Nov 10, 5.30pm) A View from the Bush – New Landscapes by Steve Gough.
Alice Springs Araluen Arts Centre
61 Larapinta Drive, Alice Springs 0870. T (08) 8951-1122. E firstname.lastname@example.org W araluenartscentre.nt.gov.au H Daily 10.00 to 4.00. To Feb, 2018 (opening Fri Nov 10, 6pm) Museum and Galleries of New South Wales’ People Like Us captures universal aspects of the contemporary human condition through film, animation, digital and interactive art. This exhibition reveals the many experimental technologies being deployed by Australian and international artists as they comment on issues confronting us in the 21st century. Nov 11 to 19 Alice Springs Quilting Club 2017 Exhibition.
Angelica Mesiti, Rapture (silent anthem), 2009, single-channel video, colour, 10 minutes, 10 seconds Courtesy the artist and Anna Schwartz Gallery, Melbourne
Artback NT Arts Development and Touring
Steve Gough, Northern Rosella on Gold Leaf, 2017, oil and 22ct gold leaf on board, 22 x 29cm Courtesy the artist and Outstation Gallery
Tactile Arts Gallery Contemporary Craft Studios and Gallery
19 Conacher Street (located in the grounds of the Museum and Art Gallery of NT), Fannie Bay 0810. T (08) 8981-6616. E email@example.com W www.tactilearts.org.au H Tues-Sun 10.00 to 4.00.
67 Bath Street, Alice Springs 0871. T (08) 89535941. W www.artbacknt.com.au Artback NT is the Northern Territory’s arts development and touring agency. The visual arts program works with individuals, groups and arts-based organisations to present and tour dynamic and exciting visual arts exhibitions nationally and within the Northern Territory with a focus on the development and promotion of Northern Territory artists.
Tjanpi Desert Weavers
3 Wilkinson Street, Alice Springs 0870. T (08) 8958-2377. E firstname.lastname@example.org W www.tjanpi.com.au H Mon-Fri 10.00 to 4.00. Tjanpi represents more than 400 Aboriginal women artists from 26 remote communities on the NPY lands. See website for details.
Watch This Space ARI
8 Gap Road, Alice Springs 0870. T (08) 8952-1949. E email@example.com W www.wts.org.au H Wed-Fri 12.00 to 5.00, Sat 10.00 to 2.00 during exhibitions. Showcasing local, interstate and international emerging and established artists.
180 Northern Territory
Brisbane Andrew Baker Art Dealer
26 Brookes Street, Bowen Hills 4006. T (07) 3252-2292, 0412-990-356. E firstname.lastname@example.org W www.andrew-baker.com H Wed-Sat 10.00 to 5.00, or by appt. Paintings, photographs, prints and sculptures by leading contemporary Australian, Melanesian and Polynesian artists, including: Awis Artis (Vanuatu), Lincoln Austin, Leonard Brown, Michael Cook, Karla Dickens, Ruki Famé (PNG), Fiona Foley, Taloi Havini (Bougainville), Michael Leunig, Dennis Nona (Torres Strait), ÖMIE Artists (PNG), Michel Tuffery (New Zealand/Polynesia), Katarina Vesterberg and William Yang. To Nov 25 Sometimes I like to pretend I’m a robot by Lincoln Austin. Nov 29 to Dec 23 Horror has a face by Fiona Foley.
Fiona Foley, A Quintessential Act, 2016, brass and enamel paint, 9 x 15cm Courtesy the artist and Andrew Baker Art Dealer
52a Doggett Street, Newstead 4006. T (07) 3216-1250. E email@example.com W www.fireworksgallery.com.au H Tues-Fri 10.00 to 6.00, Sat 10.00 to 4.00. Nov 7 to Dec 23 Jennifer Herd: whiteNOT – Herd’s delicate references to the patterns of No.
grahame galleries + editions
1 Fernberg Road, Paddington 4064. T 0412-286-264. E firstname.lastname@example.org W www.grahamegalleries.com.au H Wed-Sat 11.00 to 5.00. Nov 11 to Dec 9 (opening Sat Nov 11, 4-6pm) Road to Bourke books, drawings and objects by Alex Selenitsch.
29 Merthyr Road, New Farm 4005. T 0418-740-467. E email@example.com W www.graydongallery.com.au A modern rental art gallery space ideal for short term exhibitions showcasing all art mediums from established, emerging and group artists. Nov 1 to 12 David Henderson. Nov 14 to 26 Sue Dryden. 182 Queensland
Institute of Modern Art
420 Brunswick Street, Fortitude Valley 4006. T (07) 3252-5750 F 3252-5072. E firstname.lastname@example.org W www.ima.org.au Free entry. H Tues-Sat 11.00 to 6.00, first Thurs of every month until 9.00. Nov 18 to March 10, 2018 Standard Length of a Miracle (The Bootleg) – Goldin+Senneby. Also, Amalia Pica. See ad inside back cover.
Jan Manton Art Contemporary Australian + International Art
1/93 Fortescue Street, Spring Hill 4000. T (07) 3831-3060, 0419-657-768. E email@example.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. Nov 1 to 25 Menagerie by Saffron Newey. Also, Sea Pictures by David King.
Saffron Newey, The Return Voyage of the Kongouro, oil on linen, 29.5 x 40.5cm Courtesy the artist and Jan Manton Art
Jan Murphy Gallery
486 Brunswick Street, Fortitude Valley 4006. T (07) 3254-1855. E firstname.lastname@example.org W www.janmurphygallery.com.au Director: Jan Murphy. H Tues-Sat 10.00 to 5.00 or by appt. Nov 7 to Dec 2 Adam Lester.
Jugglers Art Space Inc.
103 Brunswick Street, Fortitude Valley 4006. T (07) 3252-2552. E email@example.com 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.
Mitchell Fine Art
86 Arthur Street, Fortitude Valley 4006. T (07) 3254-2297. E firstname.lastname@example.org W www.mitchellfineartgallery.com H Mon-Fri 10.00 to 5.30, Sat 10.00 to 5.00. To Nov 18 Trajectory by David Hayes. Nov 22 to Dec 23 Petite group show.
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