Art Guide Australia — January/February 2026

J A N UA R Y/ F E B R UA R Y 2 0 2 6 $9

C OV ER S T ORY Beyond the sea with April Phillips and Friends with Computers PLUS Pasar Malam: Printmakers explore shadow places PLUS The Long View: The Power of the Art World Novel

EX HIBITION LISTINGS

V IC

NSW

QLD

AC T

TA S

SA

WA

NT

I N S I D E T H I S I S S U E

A Note from the Editor

20 Questions with Jess Cochrane

Chloé Wolifson

Anna Carlsson

PR EV IEW

Shadow Play: Pasar Malam (Night Market)

Sophia Halloway

Craft Master: Helen Britton

Objet d’Art—Theo Koning and his Creative Self PLAY!

Rhianna Melhem Suzon Fuks: e-Galaxy

Josephine Mead Briony Downes STUDIO

Hany Armanious

Louise Martin-Chew

Jane O’Sullivan

Revealing Dress: Fashion as portraiture

F E AT U R E

Emma Do Paola Pivi: I don’t like it, I love it

Rhianna Melhem Young | youth in Australian photography: 1980s to now

Anna Carlsson Hobart Current: Here

Emma-Kate Wilson Rosalind Lemoh: Masked Memory

Sophia Halloway Yield

Louise Martin-Chew Ode: Margaret Olley and Sally Anderson

Emma-Kate Wilson

The Threads That Bind: Tammy Kanat

Camilla Wagstaff Stress Test: 2026 Adelaide Biennial of Australian Art: Yield Strength

Steve Dow THE LONG V IEW

The Process is the Point: The Power of the Art World Novel

Joseph Earp F E AT U R E

Making a Home: Nell

Emma O’Neill All Grown Up: Iconic, Loved, Unexpected

Paul Sutherland

F E AT U R E

When Code Meets Care: April Phillips and Friends with Computers

Rosamund Brennan

MAPS 1 V I C T O R I A

9 & 10

D A R L I N G H U R S T, R E D F E R N ,

W AT E R L O O & PA D D I N G T O N

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MELBOURNE CBD 11 & 12

G R E AT E R S Y D N E Y

3

FI T ZR OY & C O LLI N GWO O D

& N E W S O U T H WA L E S

4

G R E AT E R M E L B O U R N E

13 & 14

G R E AT E R B R I S B A N E & Q U E E N S L A N D

5 & 6

NORTHERN & SOUTHERN MELBOURNE

15 & 16

BRISBANE & CANBERRA

7 S Y D N E Y

17 & 1 8

HOBART & ADELAIDE

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19 & 20

PERTH & FREMANTLE

SYDNEY CIT Y

Aarwun Gallery

Adelaide Contemporary Experimental

Annandale Galleries Artbank Sydney

Araluen Arts Centre, Mparntwe Art Collective WA

Art Gallery of South Australia

Adelaide Town Hall Gallery Ararat Gallery TAMA

Art Gallery of Ballarat

Artisan

Artists Shed

Artspace Mackay

Arts Project Australia

Australian Tapestry Workshop (ATW)

Bathurst Regional Art Gallery Belco Arts

Bett Gallery

Bayley Arts

Blacktown Arts

Brunswick Street Gallery Bunjil Place Gallery

Canberra Glassworks Castlemaine Art Museum City Gallery

Cowra Regional Art Gallery David Roche Gallery

Bankstown Arts Centre Bayside Gallery

Barometer Gallery

Blue Mountains City Art Gallery Bundanon

Bundoora Homestead Art Centre

Campbelltown Arts Centre (CAC) Cascade Art Gallery

Ceramic Break Sculpture Park

Charles Nodrum Gallery

Court House Gallery, Cairns

Craft + Design Canberra

Deakin University Art Gallery

Broken Hill City Art Gallery

Caboolture Regional Art Gallery

Caloundra Regional Gallery

correspondences

AVA Gallery

Beechworth Contemporary Artspace

Canberra Museum and Gallery (CMAG)

CBD Gallery

Civic Art Bureau

Art Space Gallery – The Concourse

Australian War Memorial

Buxton Contemporary

Caelene Nee Glen Art Advisory and Gallery

Art Leven

Australian National University Drill Hall Gallery

Bunbury Regional Art Gallery Burrinja

Art Gallery of New South Wales

Australian Centre for Contemporary Art (ACCA)

Australian National Capital Artists (ANCA) Gallery

Bank Art Museum Moree (BAMM)

Artbank Melbourne

Artitja Fine Art Gallery

ArtSpace at Realm and Maroondah Federation Estate Gallery

Alcaston Gallery

Craft Victoria

Cowra Micro Gallery

Darren Knight Gallery

Devonport Regional Gallery

D’Lan Contemporary

D’Lan Contemporary Fellia Melas Gallery

Eloise Cato Gallery

Everywhen Art

Fiona and Sidney Myer Gallery

Flinders University Museum of Art & Gallery Australia

Gippsland Art Gallery

Five Walls Gallery & Projects

fortyfive downstairs

Gallery LNL

Federation University Post Office Gallery

Gallerysmith

Frankston Arts Centre

Gallery Unbound

Gladstone Regional Art Gallery & Museum

Goulburn Regional Art Gallery

Grace Cossington Smith Gallery

Heide Museum of Modern Art Horsham Regional Art Gallery

HOTA

Institute of Modern Art Ivanhoe Library & Cultural Hub

JamFactory

La Trobe Art Institute

Hazelhurst Arts Centre

Hervey Bay Regional Gallery Incinerator Gallery

Islamic Museum of Australia

JamFactory at Seppeltsfield

Jewish Museum of Australia: Gandel Centre of Judaica King Street Gallery on William

Grainger Gallery

Hyphen—Wodonga Library Gallery

Ipswich Art Gallery

Koorie Heritage Trust

Gertrude

Gosford Regional Gallery

Hawkesbury Regional Gallery Hellenic Museum

Gallery76

Glasshouse Regional Gallery

Goolugatup Heathcote

Handmark

Gallery 48

Geelong Gallery

Glen Eira City Council Gallery

Griffith Regional Art Gallery

Flinders Lane Gallery

Jump Left

Jan Murphy Gallery Kingston Arts

Korean Cultural Centre Australia

Latrobe Regional Gallery

Lauraine Diggins Fine Art

Lavender Bay Gallery

Lawrence Wilson Art Gallery & Berndt Museum

Leighton Contemporary

Lennox St. Gallery

Liminal Gallery + Lab M16 Artspace

Linden New Art

Linton & Kay Galleries

Macquarie University Art Gallery

Maitland Regional Art Gallery

Liverpool Powerhouse

Madeline Gordon Gallery

Manly Art Gallery & Museum

Logan Art Gallery

Mailbox Art Space

Manningham Art Gallery

Manning Regional Art Gallery

Martin Browne Contemporary

McClelland Sculpture Park + Gallery

Melbourne Holocaust Museum

Midland Junction Arts Centre

Mildura Arts Centre

Monash University Museum of Art | MUMA Mornington Peninsula Regional Gallery Mudgee Arts Precinct

Mulgrave Gallery, Cairns

National Anzac Centre NGV Australia

National Art School NAS Gallery

Onespace Gallery

Outback Regional Gallery, Winton

Platform Arts

NGV International

NorthSite Contemporary Arts Outback Arts Gallery

Pamela Irving Studio + Gallery

Penny Contemporary PG Gallery

Plimsoll Gallery

Quadrant Gallery + Art Advisory Queensland Museum Kurilpa

Ngununggula

Orange Regional Gallery

Perth Institute of Contemporary Arts (PICA) Pine Rivers Art Gallery

Museum of Old and New Art (Mona)

NCCA – Northern Centre for Contemporary Art

Outsider Gallery

PARKER Contemporary

Murray Bridge Regional Gallery

National Gallery of Australia

Newmarch Gallery

One Star Gallery

Mossenson Galleries

Museum of Australian Photography (MAPh)

Museum of Contemporary Art Australia

New England Regional Art Museum

RACV City Club

MOORE CONTEMPORARY

Mundaring Arts Centre

National Portrait Gallery

Metro Arts

Mitchell Fine Art

Mosman Art Gallery

Museum and Art Gallery of the Northern Territory Museum of Brisbane

Mary Cherry Gallery

Parallel Projects

Penrith Regional Gallery Philip Bacon Galleries

Potter Museum of Art

PIERMARQ* Project8 Gallery

Queensland Art Gallery | Gallery of Modern Art

Queen Victoria Museum & Art Gallery

RACV Goldfields Resort

QUT Galleries and Museums

RACV Inverloch Resort

Redcliffe Art Gallery

Redland Art Gallery, Cleveland Riddoch Arts & Cultural Centre Roberson Art Gallery Samstag Museum of Art S.H. Ervin Gallery

Redland Art Gallery, The Mezz RMIT Design Hub Gallery

Rockhampton Museum of Art

Stala Contemporary State Library of Queensland

The Hive Gallery

The University Gallery

Stockroom Kyneton

Tasmanian Museum and Art Gallery

Tin Sheds Gallery

Town Hall Gallery

The Lock-Up

Straitjacket

Tamworth Regional Gallery

The Art Gallery of Western Australia

The Maritime Museum

Tolarno Galleries

Studio A

The Torch

Toowoomba Regional Art Gallery

Tweed Regional Gallery & Margaret Olley Art Centre

Umbrella Studio Contemporary Arts VAS Gallery – Victorian Artists Society Walyalup Fremantle Arts Centre

State Library of NSW

Sullivan+Strumpf Naarm/Melbourne

The Ken Done Gallery

Shepparton Art Museum

South East Centre for Contemporary Art

Stanthorpe Regional Art Gallery SteelReid Studio

RMIT Gallery

Rusten House Art Centre

Scieppan Gallery

South Australian Museum

Sullivan+Strumpf Gadigal/Sydney TarraWarra Museum of Art

RMIT First Site Gallery

Roslyn Oxley9 Gallery

Sauerbier House Culture Exchange

Shivers Gallery

Rex-Livingston Art + Objects

University of the Sunshine Coast Art Gallery Wagga Wagga Art Gallery

Wangaratta Art Gallery

West End Art Space

West Space

Walker Street Gallery and Arts Centre

Watt Space Gallery

Wentworth Galleries

Whitehorse Artspace

White Rabbit Contemporary Chinese Art Collection Yarrila Arts and Museum

UNSW Galleries

Wyndham Art Gallery

Zig Zag Gallery

Image credit: Megan Hanson ‘Synthesis (Marcus),’ 2025. Photo by Chantel Bann.

Benjamin Akuila Atong Atem Cigdem Aydemir Joan Banoit Hannah Gartside Jordan Gogos Lily Golightly Megan Hanson Dan Harden Alix Higgins Wackie Ju Grace Lillian Lee Patrick McDavitt Gian Manik Jacquie Meng Mia Middleton Claudia Nicholson Nicol & Ford Nik Pantazopoulos Alex Seton

8 November 2025 – 19 April 2026

Hany Armanious, Mumble 2023, pigmented polyurethane resin, gouache. Courtesy of the artist and Fine Arts, Sydney.

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Free entry Tuesday to Saturday 11am – 5pm Cnr Southbank Boulevard Dodds Street, Southbank The University of Melbourne BuxtonContemporary.com

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ARTGALLERY.WA.GOV.AU Paola Pivi ? 2014 (detail). Polyurethane foam, plastic, feathers, 115 x 148 x 109 cm. Courtesy the Artist and Perrotin. © Paola Pivi. Photo: Guillaume Ziccarelli.

Ron Mueck Crouching Boy in Mirror 1999–2002, The Broad Art Foundation, Santa Monica © Ron Mueck, courtesy Thaddaeus Ropac, London – Paris – Salzberg – Seoul

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Mary Nolan, Tessa, Arles, 1964, black and white photograph (detail). National Library of Australia, courtesy of the Lady Mary Nolan Estate.

A Note From the Editor January/February 2026

Welcome to Art Guide Australia’s January/February issue, which is wrapped in summer vibes. Our aquatic cover image is a still from April Phillips and Friends with Computers, whose digital installation Under Waters has been developed through the Perth Institute of Contemporary Arts’ inaugural boorda yeyi Immersive Arts Commission. As Rosamund Brennan writes, Phillips’ work embodies “a portal between digital and physical, between sea and stars, between self and vastness.”

Phillips notes that while her work is made on a computer, “it is so handmade in the realm of digital. Everything is created with a lot of care and love.” It’s a theme that echoes through this issue of Art Guide, with artists being guided and challenged by their chosen materials in the service of their vision: from the instinctual mark-making of painter Jess Cochrane to fibre artist Tammy Kanat painting with thread; from multidisciplinary artist Helen Britton’s repurposing of objects of memory to sculptor Hany Armanious wrestling with the nature of perception.

For the Indonesian and Australian artists involved in Pasar Malam (Night Market), creating the large-format screenprints for this touring exhibition was also a challenging process. However, as Josephine Mead writes, the resulting project highlights the possibilities of such collective creative exchange.

Elsewhere, the summer reading continues with the next in Art Guide’s long form essay series The Long View. Painter and novelist Joseph Earp writes on the art world novel, taking as his jumping-off point Patrick White’s seminal text The Vivisector, and exploring the recent wave of Australian literature set in the world of Australian art.

Please enjoy this issue, and immerse yourself in art this summer.

Chloé Wolifson Print Editor, Art Guide Australia

Editorial Team ED I TOR–AT–LARG E

PRINT E D I TOR

Neha Kale

Chloé Wolifson

ASSOCIATE EDITOR

Anna Carlsson

WE BSI TE AND SO C IAL M E D I A COORDINATO R

Minna Gilligan DESIGNER

Jack Loel BOOKSTORE MANAG ER

Jackson McLaren P R OD UCTI ON ASS ISTANT

Madeline Walling L I STI N GS AS S ISTANT

Arthur Foulkes CONTR I BUTO RS IS SU E #159

Rosamund Brennan, Evie Cahir, Anna Carlsson, Emma Do, Steve Dow, Briony Downes, Joseph Earp, Sophia Halloway, Louise Martin-Chew, Josephine Mead, Rhianna Melhem, Emma O’Neill, Jane O’Sullivan, Paul Sutherland, Hamish Ta-mé, Camilla Wagstaff, Emma-Kate Wilson SUB E D I TO R

Art Guide Australia Wurundjeri Country, 43-47 Simpson Street, Northcote, Victoria 3070 Phone: 03 7044 9750 artguide.com.au Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates.

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Cover artist: April Phillips and Friends with Computers

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ISSN: 091 091 593 April Phillips and Friends with Computers, Under Waters, (still), boorda yeyi Immersive Arts Commission, 2025, Perth Institute of Contemporary Arts. Courtesy of the a rtist.

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Issue 159 Contributors Rosa mund Br enna n is a Fremantle, Western Australia-based freelance journalist and photographer focusing on culture, travel and society. Her work has appeared in publications including The Guardian, The Australian, Al Jazeera, The Sunday Telegraph, Qantas Magazine and Delicious, among others.

Louise M a rtin-Chew is a freelance writer. Her most recent book is Margot McKinney: World of Wonder, published by Museum of Brisbane, 2022.

Her first biography, Fiona Foley Provocateur: An Art Life (QUT Art Museum, 2021) won the 2022 Best Book Prize (joint), AWAPA, Art Association of Australian and New Zealand.

Ev ie Ca hir born in Ballarat, 1992, studied a degree in Illustration from NMIT (2013) and now lives and works in Melbourne. At the heart of Cahir’s practice is a deep engagement with light and colour, both of which act as a vehicle for emotional and spatial awareness.

Josephine Mea d is a visual artist, writer & curator, living and working on Wurundjeri woi wurrung & Dja Dja wurrung Country (Australia).

A nna Ca r lsson is a writer born in South Korea, raised in Warrnambool but now residing on Wurundjeri land. She has a background in publishing with an arts and cultural focus and is co-writer of the Substack, Pleasure Principle.

Emm a Do is a writer and editor based in Naarm/ Melbourne. She runs an infrequent podcast called Smart Casual and fires off the occasional missive at spacesbetween.substack.com.

Stev e Dow is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT. Br ion y Dow nes is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer.

Most recently, she spent time studying art history through Oxford University.

Joseph Ea r p is an awarded and exhibited novelist, painter and critic. His fiction debut Painting Portraits of Everyone I’ve Ever Dated was released by Pantera Press in 2025.

R hi a nna Melhem is an independent curator, arts writer and art consultant specialising in contemporary Australian art. Previously, she was associate director of Artereal Gallery for 16 years, and sat on the Art Month Sydney board and the Museum of Contemporary Art’s Next committee.

Emm a O’Neill is an arts manager, writer and curator based on unceded Gadigal land.

Ja ne O’Sulli va n is an independent art writer.

She has contributed to VAULT, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog and is also a former editor of Art Collector.

Paul Suther la nd is a writer, editor, and former journalist. He writes short- and long-form fiction and non-fiction from his home in regional Victoria.

H a mish Ta-mé is an established commercial photographer with a parallel career as an exhibiting artist. He focuses on portraiture in both his commercial and fine art practice.

Ca milla Wagsta ff is a journalist and writer based in Sydney, Australia. She specialises in arts, culture, interiors and travel writing.

Emm a-K ate W ilson is a contemporary art and design writer originally from the UK and now based in Bellingen, NSW. She has written for various publications such as Art Collector, Art Almanac, ArchitectureAU, Habitus Living, and others.

Sophi a H a lloway is an art critic and writer based in Kamberri/Canberra. She has written for publications including Art Monthly Australasia, Art Almanac, and others.

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Previews W R ITERS

Anna Carlsson, Emma Do, Sophia Halloway, Louise Martin-Chew, Rhianna Melhem, Emma-Kate Wilson

Fremantle/Walyalup Objet d’Art—Theo Koning and his Creative Self

Walyalup Fremantle Arts Centre Until 26 January

Theo Koning’s artistic legacy is as wide-ranging as his practice, which spanned an incredible diversity of media, including sculpture and assemblage, often drawn from found materials, painting, drawing, print editions and artists’ books. As an artist, teacher and activist, Koning had a profound impact on the arts community in Fremantle and across Western Australia. This legacy is celebrated in an expansive retrospective at Walyalup Fremantle Arts Centre, comprising over 250 works drawn from the artist’s estate and institutional, corporate and private collections across Australia.

Objet d’Art—Theo Koning and his Creative Self Theo Koning, A Life Lived, 2022, acrylic paint on traverses the incredible breadth of Koning’s output, painted metal, 48 x 44 cm. Courtesy the Estate including a series of Instagram posts, the homemade of the A rtist. photoGRAPH: R ebecca M a nsell. horror film Amputation (1980), and Koning’s gardening works and unpublished poetry. “He possessed a fluid urgency around collecting materials and creating things,” curator André Lipscombe explains. “He had this exquisite method of bonding materials together, of understanding their tolerances.”

“Koning was interested in the idea of the constructed self, of identity as something that’s crafted by culture through various experiences and histories,” says Lipscombe. The exhibition will chart the experiences that informed Koning’s creative output—his art advocacy and involvement with contemporary art organisations such as Praxis, his 2015 residency at Atelier Mondial Studio in Basel, and his family life, all of which remained a vital source of both support and creative impetus throughout his career.

It is impossible to summarise the essence of Koning’s legacy through words alone—his works can speak to that—but Lipscombe hopes the artist can be remembered, among many other things, for “the totality of his aspirations of blending art and the constancy of everyday life.” — S O P H I A H A L L OWAY

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Theo Koning, Construction#26, 2006, assemblage found materials, painted elements, 102 x 65 x 34 cm. Collection of Philip Gr iffiths. photogr a ph: Robert Fr ith.

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Katoomba/Dharug and Gundungurra Country PLAY!

Blue Mountains City Art Gallery Until 15 February

Bursting with tactile, playful works that call out for touch and engagement, PLAY! at Blue Mountains City Art Gallery invites audiences to set aside the usual etiquette Sanné Mestrom, Still Life Moving, 2022, in of gallery viewing. Encouraging curiosity and hands-on The Whole is Greater than the Sum of Her Parts exploration, the exhibition—curated by Hayley Zena playspace. Photogr a ph: K er r ie Br ew er, Poynton—dissolves traditional institutional boundaries, Nationa l Ga llery Austr a li a. transforming the gallery into a space for intergenerational connection, creativity and shared discovery.

As Poynton explains, PLAY! emerges from a deep awareness that “there’s such a clear need from the public for frivolity, for joyousness, for a feeling of interconnectedness. When you look at the political and war-torn landscape globally, these microcosms of community—created even just for an afternoon— feel incredibly powerful.”

Anchoring the exhibition is an interactive playable sculpture by Sanné Mestrom.

Known for creating playful, socially engaged work, Mestrom’s piece references cubist forms, presenting an abstracted female body that can be reassembled, climbed upon and inhabited—reimagining how audiences engage with art. Alongside this, Melissa Gilbert presents a work from her Hyper Temples Playkit series (2022)— an installation of chromatically charged soft sculptures that invite what she calls “ceremonial activations”, as visitors continually rebuild the work so it’s always in flux.

Also included are meticulously constructed artworks by Corrigan Fairbairn, which defy categorisation. Part painting, part sculpture, these analogue animations invite viewers to turn a wooden handle, setting in motion an evolving sequence of colours, patterns and forms that transmogrify before the eyes.

Spanning an eclectic mix of mediums, PLAY! also features an interactive, motion sensor work by Andrew Yip—a playful ‘choose your own adventure’ experience—and Nastia Gladushchenko’s expanded paintings, which invite audiences to leave their mark on a collective artwork. Joined by works from Robert Frost, Nadia Odlum and Kate Reid, the exhibition positions play as a vital tool for social inclusion, reconnecting audiences through shared curiosity and a sense of wonder. — R H I A N N A M E L H E M

Cairns/Gimuy Suzon Fuks: e-Galaxy

NorthSite, Cairns 16 February—18 April (exhibiting concurrently at Stanley Street Gallery, Sydney/Gadigal Country 7—26 March)

Suzon Fuks, SpinWheel Galaxy, 2024.

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e-Galaxy reimagines electronic waste as a new macro-environment. Artist/activist Suzon Fuks explores the component materials of our electronic devices, noting that the core minerals at their centre were formed by the Earth millions of years ago, and that these and other materials used impact the environment through their sheer volume and built-in obsolescence.

Yet she also celebrates the human achievement that produces these devices.

Throughout her career, which began in Brussels as a performer, Fuks has also practiced as a visual and digital artist. With e-Galaxy, her versatility is evident.

She told Art Guide, “What is the most important for me in art is what we want to say. Then, we choose which skills to use. Personally, I continuously learn new skills or update them.” e-Galaxy is suitable for audiences of all ages. In Cairns, the exhibition comprises a labyrinth filled with possibilities that the audience may walk through, a series of artists’ books made from obsolete smartphones, two videos, and miniature e-Galaxies using smaller components.

In this installation, which Fuks has presented all over the world in recent years, most recently in Munich, “I talk to the public, as we are all explorers of the future. It draws in issues of child labour, mining, minerals and access to electronic devices.

Only seven of ten people globally have access to electricity—three will never have these devices—so it’s important to share, reuse and recycle.”

“I also talk about the accumulation of knowledge and skills over time in order to get to this technology. There is a wonder that I try to share, and a warning. I try to make people think and rethink how we make things, use them, and recycle and redesign with long term vision.” — L O U I S E M A R T I N - C H E W

Liverpool/ Dharawal Country Revealing Dress: Fashion as portraiture Liverpool Powerhouse Until 19 April

Beyond the spectacle of the runway, fashion is an everyday language for storytelling. Whether intentional or not, what we wear broadcasts our emotions, values and identities. “Clothes can reveal ourselves and who we want to be seen by,” says Luke Letourneau, head of Liverpool Powerhouse’s curatorial team.

These intimate connections to clothing are laid bare in Revealing Dress, an exhibition of over 20 independent Australian fashion designers and visual artists whose works foreground garments. The themes are expansive: clothing is posited as heirloom, resistance, cultural archive, and mirror. Grace Lillian Lee’s twine and feather exoskeletons, mesmerisingly woven using the traditional Torres Strait Islander ‘grasshopper’ technique, were inspired by her grandmother’s wedding on Thursday Atong Atem, Men In This Town [04], 2024.

Island. Lily Golightly’s kid-friendly installation of handCourtesy the artist and MARS Gallery, painted cloaks, each representing various emotions, Melbourne. makes clear how fashion reflects our feelings. Meanwhile, a puffer jacket elegantly carved from marble by Alex Seton questions what we insulate ourselves from.

There is, of course, a clear celebration of creativity. Pieces by designers including Jordan Gogos, Alix Higgins, Nicol & Ford and Wackie Ju herald artistry over commerce. Among five new commissions, Megan Hanson’s work demonstrates a quiet commitment to craft—a thread that runs through the show. The textile artist transformed photographs of her friend and collaborator Marcus Whale into a bespoke outfit, weaving its fabric on a digital Jacquard loom.

It was Claudia Nicholson’s video, in which young asylum seekers playfully don masks and costumes, which offered Letourneau direction early on.

In it, fashion is both self-expression and concealment. “It called to an interesting tension,” Letourneau says. “We want to put ourselves out there, we want human connection and to be seen. But we’re also hesitant to be fully on display in a hyper-surveilled world.” — E M M A D O 33

Perth/Boorloo Paola Pivi: I don’t like it, I love it Art Gallery of Western Australia Until 26 April

On viewing Paola Pivi’s major solo exhibition I don’t like it, I love it, it’s hard to believe all the works on display come from a single artist. Internationally renowned for her exuberant practice—from vibrant feathered polar bears and giant inflatables, to fantastical photographs depicting surreal scenes such as zebras cavorting on snow-covered mountains—Pivi’s work spans a scope and breadth that keeps audiences constantly expecting Paola Pivi, Untitled (donkey), 2003, framed the unexpected. photographic print, 180 x 224 cm.

Beloved by many in the contemporary art world, Courtesy the A rtist a nd Per rotin.

Pivi has developed a cult following for her work, and © Paola Pi v i. Photogr a ph: Hugo Glendinning. this expansive exhibition marks one of the Italian-born artist’s most ambitious projects in her almost 30-year career. It features three major new commissions created especially for the Art Gallery of Western Australia: three joyously romping feathered polar bears, a giant inflatable line drawing of a character from Lincoln Peirce’s Big Nate comic series, and an ethereal installation of 999 suspended trays filled with viscous liquids in a jewel-bright palette recalling stained glass.

Elaborating on the themes that unite these seemingly disparate works, curator Robert Cook explains: “One of the conversations in Paola Pivi’s work is about suspension—suspending belief and disbelief. The photographic works of the donkey floating on water, the inflatable that makes you wonder how it’s held up, the trays of coloured liquid hanging from the ceiling… In all of these there’s a sense of precariousness—of vulnerability and confidence, optimism and doubt—which feels right for these troubling times. They speak to that complexity, to things hovering in between, as if they could go either way.”

Executed in unexpected materials, Pivi pushes the boundaries of inflatable and installation art, creating playful yet deeply thoughtful works that explore themes from the human condition to environmental concerns. Balancing fun and whimsy with philosophical curiosity, the exhibition invites audiences into a vivid world alive with magic and possibility. — R H I A N N A M E L H E M

Melbourne/Naarm Young | youth in Australian photography: 1980s to now Museum of Australian Photography Until 22 February

Naomi Hobson, The good sister ‘Ms. Daley, the kindergarten teacher has a flash black bike, it’s them olden-style one. Every time I drop Erica off at kindy, I always check it out.’ Kayla, 2019, from the series Adolescent wonderland, pigment ink-jet print, 69.2 x 104.1 cm. Museum of Austr a li a n Photogr a ph y, Cit y of Monash Collection, acquir ed 2021. courtesy of the a rtist, A rthouse Ga llery (Sy dney) a nd V i v ien A nderson Ga llery (Melbour ne).

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The experience of youth is individual as it is universal.

Senior curator Angela Connor, speaking about building the Museum of Australian Photography’s latest show, Young | youth in Australian photography: 1980s to now, says, “The exhibition came about from thinking about my own youth in the 1990s.” But it was Naomi Hobson’s The good sister ‘Ms. Daley, the kindergarten teacher has a flash black bike, it’s them olden-style one. Every time I drop Erica off at kindy, I always check it out.’ Kayla (2019), that was the seed for the project. It is the joyful confidence and personal style of the young people in Hobson’s photograph that captures the freedom of youth, a time, Connor reminds us, when our identities are “constructed visually”.

Paola Pivi, I am a new art, 2023, urethane foam, plastic, feathers.

172 x 202 x 85 cm.

Courtesy the A rtist a nd Per rotin. © Paola Pi v i. Photogr a ph: Hugo Glendinning.

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Self-expression is a strong thread across the show’s ten sections.

Drawing from an archive of over 4,000 photographs, the exhibition captures the complexities, attitudes and anxieties of adolescence. With artists including Polixeni Papapetrou, Trent Parke, Samuel Hodge, Atong Atem and Bill Henson, the works catalogue a breadth of cultural and sexual perspectives, across time periods and relationships between subject and photographer. In the section, Not Your Muse, the exhibition acknowledges that across art history, the representation of girlhood has often been mediated through the gaze of others, most often male, most often idealised.

But being young, is not just a fleeting moment in time. The pain, lessons and wonder from youth run parallel to our adult lives. That is the importance of Young, as Connor states, these experiences shape us, and “memory is not always tender”.

— A N NA CA R L SSON

Hobart/Nipaluna Hobart Current: Here

City of Hobart and the Tasmanian Museum and Art Gallery (TMAG) Until 26 April

Curated by Travis Tiddy and Denise Robinson, Hobart Current: Here is the third offering of the biennale by the City of Hobart and the Tasmanian Museum and Art Gallery (TMAG) that inserts itself within the colonial architecture of Nipaluna/Hobart and the surrounding streetscape.

Jonny Scholes, Department of Truth, 2025, With a shared philosophy and curating practice mixed media, video game code, public signage, that emphasises creating an empowered environment social media content and real time data for artists within the art ecosystem, the curators asked communication. Installation view (detail) at artists, what does here mean for you? The concept Salamanca Lawn, Hobart. Hobart Current: Here, 2025. Photogr a ph: A ndr ew W ilson. came together after Tiddy and Robinson mused on this platform that gives ‘rise’ to the artists’ practice.

In these highly visible, significant Tasmanian locations—Hobart’s CBD and TMAG—the exhibition embodies a shared experience, for the artists and for the 50,000 people who come through these public spaces.

Breaking down barriers, taking over the gallery, the car park, to the town itself, fundamentally Hobart Current: Here is underpinned by a relational approach that engages a synaptic feeling between all the artists, and in turn, the audience. “In the early days, we spoke about how [to] curate people together; not just their ideas.

It was a really care-focused process… [to] not feel bound by conventions,” says Tiddy. “We wanted to break down that confining space of the gallery… expanding beyond the walls,” continues Robinson.

Hobart Current: Here features artworks from ten Lutruwita/Tasmaniabased artists: Andy Hutson, Dylan Sheridan, Jade Irvine, Jenni Large, Jodi Haines, Jonny Scholes, Marion Abraham, Mary Scott, Peter Waller, and Sara Morawetz—spanning performance, animation, painting, sound, installation, drawing, and even a nostalgic bus journey. “There’s a sense of awe, there’s a sense of magic, a sense of increased inquisitiveness and provocation,” says Robinson.

“An invitation to consider what here may mean to someone engaging with the work.”

— E M M A- K AT E W I L S O N

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Canberra/Ngambri Country Rosalind Lemoh: Masked Memory

Canberra Contemporary Until 24 January 2026 (Holiday closure 14 December 2025—12 January)

During a residency at Bundanon in 2025, Sierra Leone-born Australian artist Rosalind Lemoh had a fortuitous meeting with fellow Artist in Residence, Rosalind Lemoh, Masked Memory, 2025, the African-American writer, Jeffery Renard Allen. installation view, Canberra Contemporary.

The exchange of ideas that followed was a continuation Photogr a ph: Br enton McGeachie. of Lemoh’s longstanding engagement with the work of African-American artists and writers, to interpret her own experience of African identity and diaspora in Australia, where the discourse is less prevalent. Lemoh explains: “Jeff and I spoke a lot about the in-between space where language might fail you. What happens when an experience sits outside the language of a dominant culture?”

In Masked Memory at Canberra Contemporary, Lemoh uses the language of sculpture and photography to convey an African-Australian experience of cultural masking and memory. Lemoh blends personal objects and memories of Sierra Leone—a Gongoli mask, her father’s drum, bright wax print fabric, and cast bronze railway spikes, okra and ground nuts—with Australian references, such as cockatoo feathers. “The cockatoo feathers are a distinctly Australian reference, but they also speak to a grasping for lightness amid the weight of history,” says Lemoh.

Central to the exhibition is W E B Du Bois’ concept of double consciousness, an internal conflict experienced by members of marginalised groups who are both a part of, and othered from, the dominant culture. In a series of self-portraits, Lemoh’s back is turned, juxtaposing anonymity with the bright colours and contrasting prints of the traditional clothing she wears. “As a person of colour, you’re hypervisible and invisible at the same time. Masking is a verb, it’s about hiding in plain sight.” Masked Memory lifts the veil on the complex dualities of cultural identity and the role of memory in understanding the self. — S O P H I A H A L L OWAY

Caboolture/ Kabi Kabi Country Yield

Caboolture Regional Art Gallery Until 14 March

In this exhibition, the term Yield invokes agricultural histories, stimulated by the research of Dr Joseph Bancroft, a medical doctor who brought his family to Brisbane in 1864. While he practised medicine, he also explored issues impacting stock and agriculture, and Yield exhibition view (left to right): Libby Harward, Ngali Gabili (we tell), 2024, living plants, soil, glass invented a process of drying and canning beef at his terrarium, audio file; Shivanjani Lal, ek story bathao Deception Bay property. (tell me a story), 2020, 5 channel digital video, 10:00.

Yield curator Hannah Williamson cast the artistic Winner 15 Artists 2020, City of Moreton Bay Art net wide to encompass local and national agricultural Collection. Im age courtesy Cit y of Mor eton Bay. Photogr a ph: Louis Lim. histories through the work of 12 artists. The exhibition has already attracted strong local audiences: “It offers an opportunity to stop and think about the legacy of agriculture, its impacts, and our reliance on food production. And I think it prompts the realisation that outcomes would have been so different had the colonisers listened to First Nations knowledges.”

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Libby Harward was invited to exhibit her ongoing Ngugi Bajara (Ancestors’ Footsteps) project, which she reiterated as Ngali Gabili (We Tell) (2024). In this work, living plants, both Indigenous and exotic, are displayed in terrariums, and they ask, in language, “Why am I here?” Harward explains, “For the first time this iteration fits into my Aboriginal and colonial heritage through John Tinker Campbell, who came over from Canada. His son, who married my Ngugi grandmother, was a pastoralist in an era of agricultural policy that saw foreign plants like sugarcane being trialled on my ancestral Country.”

Bancroft’s take on food preservation inspired Elizabeth Willing’s Pluck Pickle, which sees an excess of cast ceramic sausages piled on a table. “His interest in preservation is so familiar in modern food production, and the way it is displayed— on a bed of Styrofoam, in the centre of a table—refers to the plasticity of contemporary food.”

During the course of the exhibition, the engagement space will be activated over three iterations, initially featuring activities designed by Lyndon Davis, to be followed by Elizabeth Willing and finally Fernando do Campo.

— LOU ISE M A RTI N- CH EW

Tweed Valley/ Bundjalung Country Ode: Margaret Olley and Sally Anderson

Tweed Regional Gallery Until 8 March

Ode: Margaret Olley and Sally Anderson at the Tweed Regional Gallery unites the practices of two painters whose lives are seemingly entwined, their oeuvres hovering at the boundaries of still life and landscapes.

Like Margaret Olley, Sally Anderson was born in Lismore, NSW, on Bundjalung Country, and both spent time in Sally Anderson, Olley’s green still life, iPad Paris exploring the galleries and house museums. landscape, MO cushion, Augie’s highchair, placenta banksias, 2025, acrylic on canvas, 137 x 168 cm.

During Anderson’s 2025 residency at the gallery’s Im age courtesy of the a rtist, © The a rtist.

Nancy Fairfax Artist in Residence Studio, she found inspiration for her new paintings in the reconstruction of Olley’s home. This led Anderson to consider how composition and ‘arranging’ are embedded within their respective practices.

“I think a lot about arranging—how we arrange thoughts, time, memories, households, feelings, gardens, furniture, objects, colour—and how rearranging the order of things ultimately shifts meaning, revealing new truths, narratives, and histories,” says Anderson in her artist statement. “I find the arrangement of Olley’s home/studio completely fascinating. The layers of objects, surfaces, textiles, smells.” Anderson’s paintings feature personally significant objects deliberately positioned alongside objects borrowed from Olley’s reconstructed home/studio.

While recently her art explored the intersection of her life and maternal experience, Anderson now muses on mortality after her father’s passing. She reflects on memento mori in art, particularly in still-life paintings, where iconography such as fruit and flowers can serve as reminders that life is fleeting. Anderson muses how these symbols allow paintings to become “a kind of afterlife”.

As seen at the Tweed Regional Gallery, objects can live on far beyond their owners. Ode: Margaret Olley and Sally Anderson combines both artists’ works to become gentle reminders of time and memory. — E M M A- K AT E W I L S O N

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Sally Anderson, Self as subject (after PP in Paris) with quilt window, hydrangeas and birth banksias, 2025, acrylic on polycotton, 198 x 152 cm. Im age courtesy of the a rtist, © The a rtist.

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W H EN CODE M EETS CA R E Digital art often overwhelms the senses, but April Phillips invites us to slow down. In a new major commission, she turns light, sound and code into something tactile, gentle and deeply human.

WRITER

Rosamund Brennan

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April Phillips and Friends with Computers, Under Waters, (still), boorda yeyi Immersive Arts Commission, 2025, Perth Institute of Contemporary Arts. Cou rte sy of the a rtist.

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April Phillips and Friends with Computers, Under Waters, (still), boorda yeyi Immersive Arts Commission, 2025, Perth Institute of Contemporary Arts. Cou rte sy of the a rtist.

For the Wiradjuri-Scottish artist April Phillips, technology is not a shortcut but a material to be shaped. In her practice, light, sound and projection are built slowly, layer by layer, until they take on the tactility of craft—in a method she calls “digital handmade”.

“It’s done on a computer, but it is so handmade in the realm of digital,” says Phillips. “Everything is created with a lot of care and love.”

Living and working on Yuin Country on the south coast of New South Wales, Phillips’ practice is rooted in futurism and media arts, spanning moving image, printmaking, illustration, augmented reality (AR) and photogrammetry (3D photo scans).

She continually expands the limits of the digital realm, exploring how virtual worlds can open new ways of seeing and feeling.

Her new commission at the Perth Institute of Contemporary Arts (PICA) extends that vision.

Working with collaborators Pat Younis and Jordan East under their collective Friends with Computers, Phillips is creating Under Waters, a large-scale installation that moves between the deep ocean and outer space. Visitors will step inside a darkened room where light, sound and projection shift in response to their presence. “It’s about the tension between our world and another world,” she says. “You really are transported, and you go somewhere else.”

Developed through PICA’s inaugural boorda yeyi Immersive Arts Commission, Under Waters marks

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the beginning of a three-year initiative supporting artists who merge technology and contemporary practice. For Phillips, it’s a chance to push the language of immersive art toward something slower and more sensorial. Rather than dazzling spectacle, the work invites quiet participation, a space where stillness becomes the point of connection.

Visitors will be tracked in real time, but not in the usual reactive sense. “People will be rewarded for staying and being,” she explains. “The longer the camera detects the same body staying, the more that will happen. It’s about finding and growing within the space.”

The work will take shape inside a room within a room, where projection spills across translucent scrim, creating what Phillips calls “a delicate portal membrane into a parallel place”. Rather than light hitting a wall, the scrim allows illumination to hover mid-air. “It’s almost like suspending light in air,” she says. “It feels like being inside your dream space.

It’s so restful for your eyes, and it’s almost like clouds, the way the light comes through.”

To build these worlds, the team uses a blend of photogrammetry and 3D modelling—processes that merge the real and the digital. “I’m the kind of person that will go for a walk, pick up sticks, then take hundreds of photos of them to create 3D models and place them into digital earth,” she explains. “All of the energy and the vibrations of the real world, when you pull that into digital, that’s when you create this pull and this tension between digital and analogue.”

April Phillips and Friends with Computers, Under Waters, (still), boorda yeyi Immersive Arts Commission, 2025, Perth Institute of Contemporary Arts. Cou rte sy of the a rtist.

“People will be rewarded for staying and being. The longer the camera detects the same body staying, the more that will happen.

It’s about finding and growing within the space.”

A PR I L PH I LLI PS

For Under Waters, Phillips is also collaborating with the Western Australian Museum to integrate 3D scans of marine specimens, including xenophora shells, creatures that collect other shells and attach them to their own. “They’re beautiful spiral shells,” she says. “We’re looking at doing some photogrammetry scans with them, bringing them to life in different ways.”

Each detail is designed with sensitivity to site.

The work’s celestial mapping will mirror the night sky above Perth. “When you look up in the sky, the stars will correspond with the longitude and latitude coordinates,” she says. “So if you went up on the roof at PICA and looked up, it would be exactly the same.”

Phillips also describes the project as “art which puts First Nations first,” both in theme and in method.

“People have expectations of First Nations art,” she says. “They expect it to look and sound a certain way, but what’s important is the methodology.” The work will involve intergenerational First Nations artists from regional Western Australia, contributing across sound and visuals. “It’s about collaboration,” she says. “Not just consultation or co-design.”

This ethos of care runs through all her projects.

In kajoo yannaga (2024), Phillips collaborated with Yuin Djiringanj artists Warren Foster Jnr and Warren Foster Snr to create a virtual walk on Country guided by the Companion Sky Spirit.

Through real-time motion tracking, the work brings together story, movement and technology to reflect on connection and care for Country.

For Phillips, Under Waters reflects a broader shift in how immersive art is evolving. “It’s kind of becoming its own thing, sitting beyond digital, beyond film, beyond all these things,” she says. While international institutions are embracing innovation in this field, she sees PICA’s boorda yeyi commission as a chance to help shape how immersive practice grows locally. Her new work steps into that space, offering a contemplative alternative to fast, overstimulated digital culture.

Under Waters embodies that ethos: a portal between digital and physical, between sea and stars, between self and vastness. “We’re overstimulated and cramped,” she says. “What we yearn for is that wonderful feeling of being able to see so far that you can’t see the end of it.”

Under Waters April Phillips

Perth Institute of Contemporary Arts (Perth/Boorloo WA) 19 February—29 March

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20 QU E STIONS W ITH

Jess Cochrane

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AS TOLD TO

Anna Carlsson

Jess Cochrane is a modern-day artist, looking through a lens of Impressionism, motherhood and her camera roll. Acknowledging the legacies of life before her, the London-based artist’s work combines inspiration from the past with the mundane of the present, to create a time stamp of life in this moment. Her latest solo show, The Middle of the Flower at Sullivan+Strumpf in Sydney, is an ode to family history and family heartbreak, as she embarks on a journey of self-exploration.

Describe your practice in seven words?

Literal, personal, connecting, joyous, contemplative, honest, humorous.

Your first art love?

The National Gallery of Australia.

Dad would take me there often as a child and it really informed my understanding that the world can be a visually magical place, and that human imagination and inner worlds are sacred and should be celebrated.

Jess Cochrane, Sunflowers at Corner 75, 2025, oil on canvas, 65 x 80 cm.

Im age cou rte sy the a rtist a n d Su lli va n+Stru mpf.

left

How and when did you first start painting?

Being an artist has always been my calling. I am lucky to have been raised by parents who did nothing but encourage the creative part of me. My father, Rick Cochrane, has been involved with Canberra Art Workshop and M16 Artspace for as long as I can remember. When he saw my interest in drawing figuratively at around age 16, he let me join a life drawing class. But it wasn’t until recently, when I gave birth to my first daughter, that I decided to take painting seriously. Becoming a mother made me realise I’d spent my life embodying art but being too afraid to really paint. There is nothing that will crush your concept of what is fearful and hard quite like giving birth.

How important is place to you when creating?

The studio is as much a machine as it is a gremlin art cave and your best friend. So much of being an artist is showing up and being in your studio. Sometimes you need to dance around the studio like a lunatic, sometimes you need to cry in there. The space’s importance lies in its ability to hold you through all phases of making. Ultimately, it has to be an extension of you.

Jess Cochrane in the studio, 2025.

Photogr a ph: Chloe Bor ich.

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What would a typical working day look like for you?

My days are planned around a three-year-old with a penchant for wearing ballerina tutus and eating croissants. I try and keep things somewhat 9am–5pm based around her school schedule, so I can be present for her. My favourite time to work is from 3pm–8pm so I look forward to those hours when I get the chance. I also work most weekends.

What do you think can be revealed in a still life versus portraiture?

Portraiture plays on the literal whereas a still life is often heavy on metaphorical contemplation.

I like to explore consumerism and how that plays into our society. So, I think a still life can also be a time stamp for where we’re at societally.

Your paintings depict the intimate aspects of human connection—how do you select the subjects of your work?

The subjects in my work are all people I know personally that play a role in my joy.

The most interesting thing someone has said to you about your work?

Someone once told me my line work reminds them of medieval wood carvings of someone’s camera roll. Insane combination. Great compliment.

Painters who’ve influenced your work?

Impressionism and neo-Impressionism are big influences. More specific influences are the likes of Grace Cossington Smith and Ethel Carrick. I like to think that the work I’m making is in some way an extension of their legacies. Both women spent time in the UK where I’m now based and got to connect female Australian painters to the bigger global conversation. This is very important to me.

Your work often combines modern technology with traditional ornaments and elements—what interests you about this intersection?

I’m interested in the mundane. The impressionists were masters of this theme. I find thinking about this from a modern perspective impossible without the inclusion of elements like phones and social media and how they impact our visual language.

It’s something we look at art historically in the likes of George Seurat’s scenes of the weekend [in the context of] the Industrial Revolution. I find joy in exploring this intersection with a little bit of humour and pushing derivative aspects into transformational space.

How much of yourself is reflected in your artwork?

My work really reflects my life lived and my inner world. I would say that it’s made from a very personal and literal perspective.

Best advice you’ve been given about making art?

Make a list of your day-to-day life and things you like. Interrogate it. Find things to question in it.

Find visual language in it.

Your work has a distinctive technique, with defined brush and pencil strokes. Did this come naturally, or did it develop over time?

Both. When I decided to take painting seriously, I allowed myself a year and a half of uninterrupted time to figure out who I am as a painter. I spent a lot of time in galleries in London and Paris figuring out which paintings excited me, and why. In the studio, I worked hard to not let my former practice influence my hands’ natural way of moving.

I found that my hand wanted to move similarly to when I write—a sort of elongated pointillistic line.

I got lucky that I landed in a space where I can have these conversations with an art-historical period that speaks deeply to my soul.

Favoured paint brand?

Charvin. Going into their shop in Paris is my personal equivalent of Carrie Bradshaw going to Bergdorf’s shoe department. Total heaven.

Your work uses a lot of warm colour palettes.

Is this deliberate?

I try to let my work be what it is without overthinking it as much as possible. I would say that my palettes are instinctual, much like my mark-making.

Best colour to create with?

Van Dyke Brown.

Favoured paint tool?

A tiny, scratchy hard bristle round brush, a tiny synthetic or squirrel hair round brush and Chelsea Classical Studio citrus or lavender essence brush cleaner.

Quick advice for young artists?

Look to yourself first. Figure out what makes your soul sing. Make like a child, refine like a scientist.

Sit with your work with no other intention but to listen to it.

What can we expect to see in your new solo show, The Middle of the Flower at Sullivan+Strumpf?

It’s a self-exploration through cultural heritage, family history, family heartbreak. I am looking to mend a void in my world through the transformative nature of painting and connecting the dots between the traditional, the contemporary and the circumstantial.

What would you like to do next?

Dance in my studio like a lunatic.

46 4 6

RIGHT

Jess Cochrane, Dinner at Corner, 2025, oil on canvas, 70 x 70 cm.

Im age cou rte sy the a rtist a n d Su lli va n+Stru mpf.

B ELO W

Jess Cochrane in the studio, 2025.

Photogr a ph: Chloe Bor ich.

The Middle of the Flower Jess Cochrane

Sullivan+Strumpf (Sydney/Gadigal Country NSW) 26 February—21 March

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Shadow Play A major touring exhibition of large format screen prints

by Indonesian and Australian artists explores the transgressive allure of the Indonesian night market, and highlights the possibilities of collective creative exchange.

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W R I T E R Josephine Mead

Ida Lawrence in collaboration with Krack Studio, Pasar Malam (It had come to her attention), 2025, screenprint on 100% cotton Clairefontaine paper, 150 x 200 cm, edition of 4 + 2AP.

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Krack Print Studios was established in the Indonesian city of Yogyakarta over a decade ago by Prihatmoko Moki, Rudi Hermawan, Malcolm Le Smith and Sukma Smita.

The term “print studio” is hardly a wholistic representation of Krack. I asked Malcolm if Krack could be related to the Indonesian word kampung—a term I recently became acquainted with through Tito Ambyo’s writing. He reflected, “I’m not sure if kampung is the right word, but maybe it is.

In Indonesia it means neighbourhood.

Various writers have described the Javanese collaborative process in different ways.” Malcolm relates Krack’s remit to the broader term ekosistem—a word often used by Southeast Asian curators when describing culture as a living thing that needs nurturing. This word encompasses Indonesian notions of lumbung (community space), gotong royong (labour exchange) and sanggar (community school). They also pointed me in the direction of Jakartabased art collective ruangrupa—who used the term lumbung when speaking in relation to contemporary art exhibition documenta fifteen, which they co-directed—drawing metaphors with shared warehouses where Indonesian farmers from different villages store their produce collectively.

This sense of resource-sharing and community-building speaks to Krack’s latest offering—Pasar Malam (Night Market)—an exhibition of large-format screen prints by Indonesian and Australian artists. The exhibition opened in Yogyakarta, travelled to Semarang on Java’s north coast, and is about to go on an Australian tour to multiple venues across the Northern Territory, Western Australia, Queensland and New South Wales. It features artists Alfin Agnuba, Enka Komariah, Ipeh Nur, Restu Ratnaningtyas, Rizki Maulana, Tamarra, Timoteus Anggawan Kusno, Amina McConville, Ida Lawrence, Jumaadi, Leyla Stevens and Tobias Richardson, as well as works by Moki, Rudi and Malcolm.

Sukma explains, “Krack currently consists of 10 multidisciplinary members.

We love printing but are not all printmakers.

We often work with archives and popular visual cultures from Indonesia. Krack initiates festivals and workshops and has become a source of celebration for Indonesian printmaking practice.”

Pasar Malam (Night Market) was born courtesy of conversations between Malcolm and John Cruthers of 16albermarle Project Space, who Krack has partnered with for this project.

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top lef t Restu Ratnaningtyas in collaboration with Krack Studio, Roda Roda Gila, 2024, screenprint on 100% cotton Clairefontaine paper, 200 x 150 cm, ed. of 4 + 2AP. bot tom lef t Alfin Agnuba in collaboration with Krack Studio, Menggali-gali, 2024, screenprint on 100% cotton Clairefontaine paper, 200 x 150 cm, ed. of 4 + 2AP.

top r ight Rudi Hermawan in collaboration with Krack Studio, Mystical object; whispering in the midst of the crowd, 2025, screenprint on 100% cotton Clairefontaine paper, 200 x 150 cm, ed. of 4 + 2AP. bot tom r ight Jumaadi in collaboration with Krack Studio, Prajurit Jaga Malam, 2024, screenprint on 100% cotton Clairefontaine paper, 200 x 150 cm, ed. of 4 + 2AP.

The exhibition centres around the notion of the Indonesian night market as a cultural and visual device. Malcolm notes, “we were interested in a bunch of Indonesian artists who were making work that was selfconsciously dark and exotic—a type of ‘Indonesian Gothic’. In the end we chose to use the term ‘Night Market’ as more of an open envelope term. It allows the artists to consider transgressive spaces that exist within our society.”

The prints in the exhibition are huge— each image is 200 cm x 150 cm, requiring specialist equipment to produce. Krack’s studio was too small to work at this scale, so they rented space in Singaporean artist Jimmy Ong’s house. Alfin and Rudi built the large table and the equipment needed to make the work. Rudi explains, “at this scale, equipment and materials can be hard to source. It’s hard to even find print medium.

What we initially sourced dried too quickly.”

Alfin continues, “we couldn’t get screens large enough in Yogyakarta and had to source them from [the nearby city of] Solo. We trialled aluminium, but the metal wasn’t rigid enough for the scale and the frames bent. We moved to steel. Everything was more difficult at a large scale—from cleaning the screens, to moving the prints between rooms.”

The process of printing the works took nine months over two years. Each artist was invited to come to Krack’s studio in Yogyakarta to print their work, although some attended via videocalls. Malcolm notes, “all the prints, even though they are obviously the works of different artists, also have the feeling of Krack.” Each work took about two weeks to produce—from idea to finished edition. Many of the artists are not printmakers. Tamarra is a performance artist; Leyla a photographer and filmmaker; Timoteus a filmmaker, visual-artist and researcher. Enka and Ipeh both worked in printmaking previously and were able to immediately involve themselves in printing. Leyla and Amina were new to the world of printmaking and spent time learning about the process.

Rudi recalls Ipeh’s work was the most challenging. Her desire to use natural inks, created from indigo, charcoal and soil, challenged the Krack team as these new materials presented difficulties in getting the consistency of the ink right. Ipeh was one of the most hands-on artists—in the studio everyday mixing paint, testing and experimenting. The resulting print likens Indonesian second-hand markets to life cycles.

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Malcolm Le Smith in collaboration with Krack Studio, 101 Torments of Hell, 2024, screenprint on 100% cotton Clairefontaine paper, 200 x 150 cm, edition of 4 + 2AP.

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“We were interested in a bunch of Indonesian artists who were making work that was self-consciously dark and exotic—a type of ‘Indonesian Gothic’. In the end we chose to use the term ‘Night Market’ as more of an open envelope term. It allows the artists to consider transgressive spaces that exist within our society.”

M A L COLM LE SM ITH

Tobias Richardson in collaboration with Krack Studio, Rumah Hantu, 2024, screenprint on 100% cotton Clairefontaine paper, 150 x 200 cm, edition of 4 + 2AP.

While the works redefine new meanings for the term ‘Pasar Malam’, there are still many suggestions—visual and otherwise— to longstanding Indonesian cultural devices and stories. Synonymous with Jumaadi’s wider practice, the artist celebrates wayang kulit—a tradition of shadow puppet plays that originated in Java and Bali—through his hand-cut print. Jumaadi’s work references the poem Prajurit Jaga Malam written by Chairil Anwar in the late 1940s in response to Indonesia’s fight for independence.

Alfin’s work portrays Penembakan Misterius (the Mysterious Shootings) when thousands of Indonesians were murdered from 1983-85. The deaths that occurred, under President Suharto, have been estimated to range from 300 to 10,000. Many of the victims were accused of being preman (gangsters), although many were just young men with long hair and tattoos. Alfin recalls a deeply dark idea of pasar malam.

Tragically, Krack’s studio burnt down in July. Speaking to the process of rebuilding, Malcolm describes this obstacle as an, “opportunity to build a bigger studio and change the focus of the organisation. Rudi is looking for new locations to build a new space. People have been amazingly supportive and we’ve been able to raise money to relocate. We invited 12 artists to make a series of prints using the ash from the remains of the old studio.” This act can be seen as a beautiful allegory for Krack—a group of hardworking artists, fuelled by printmaking, creating possibility through collective creative exchange.

Pasar Malam (Night Market)

Northern Centre for Contemporary Art (Darwin/Larrakia Country NT) 12 February—11 April Followed by a national tour

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Craft Master Material and memory come together in the deliberately crafted works of multidisciplinary artist Helen Britton, whose longstanding practice is being celebrated by the Australian Design Centre.

For nearly four decades, the Newcastle-born, Munich-based artist Helen Britton has been blending everyday materials and objects to create artwork filled with potent symbolism and personal significance. With a wealth of multi-disciplinary work behind her (and more still to come), it is fitting she was named the Australian Design Centre (ADC)’s 2025 subject for their major exhibition series, Living Treasures: Masters of Australian Craft.

Currently touring Australia, The Story So Far features pieces from across Britton’s career and is presented through selections of photography, drawing, sculpture, installation and jewellery.

Throughout her long and fruitful working life, Britton’s practice has remained enmeshed with themes of memory, nature and the magic of inner worlds, with her work often exploring how these elements change and connect across time. Animals also feature heavily in her work, particularly the horse, the wolf and a menagerie of insects.

Homing in on the personal significance of her chosen materials, The Story So Far is imbued with the legacy of her godmother, Kath Carr. Spending many school holidays at Carr’s home in Clarence River on Ngunitiji, Yaegl Country, Britton was deeply influenced by her tenacity for creativity and ability to find beauty and wonder in the everyday. “We would paint and we would draw, we would collect flowers from the garden and press them, and we’d go to the beach and collect shells and make arrangements with them,” says Britton. “She was a very creative woman, and a lot

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W R ITER

Briony Downes

of her intelligence and energy went into creating something out of nothing by using what she had at hand and inventing things. That was a very important experience for me.”

The touchstone of the exhibition is Britton’s photographic essay, My Godmother’s House (2018-2025).

Revisiting the house years after her godmother’s passing, Britton discovered the building and its contents had remained locked up and untouched for over two decades. “I went back twice with my full format camera and a tripod and took over 700 photographs. It was the first time I’d been in that context since I was about 15. Absolutely everything was still exactly where she’d left it when she died. It was really an incredibly formative experience, both being there as a child and young adolescent and then returning in my middle age to make that connection across time.

It was an epiphany in terms of understanding why my practice looks like it does. Now 20 of those photographs and key moments are in the exhibition.”

Another major piece in the show is The Magic Cupboard (2025), a wooden wardrobe filled with shelves of artwork intermingled with objects like a vintage music box, folded fabrics and glass jars filled with feathers. “I wanted to use a cupboard I had loved in my childhood, so I repurposed it and turned it into a kind of portal, like a time machine,” explains Britton. r ight Helen Britton, The Magic Cupboard, 2025, Australian wardrobe 1914, archival and new works 1986-2025, childhood detritus, block prints, paint pen, approx. 250 x 180 x 40 cm.

Photogr a ph: Jacquie M a nning.

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“I wanted to use a cupboard I had loved in my childhood, so I repurposed it and turned it into a kind of portal, like a time machine.”

— H E L E N BR I T T ON

top lef t Helen Britton, Shades of Differenc, 2023, shells, puffball dyed silk, 100 x 45 x 3 cm. top r ight Helen Britton, Fin the Big Blue Dolphin, 2023, silk, lapis lazuli, German lapis, silver.

Photogr a ph Eisel Dir k . lef t Helen Britton, Jewellery for the Jewellery Fiends, 2024. photogr a ph Eisel Dir k .

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Helen Britton, The Story So Far, (installation view), Australian Design Centre. photogr a ph: Jacquie M a nning.

“It became a reliquary of objects from my early childhood, filled with things I’d made up until this date, including new works made for the exhibition. I see it as a complete work, not just a display cabinet.” Similar to this is The Mysterious Path of Matter and Time (2025), a wall mounted, multi-panelled set of objects collected in Britton’s childhood and framed by a jumble of painted twigs. In other parts of the exhibition, a weather-beaten trunk, a set of drawers and a table and chairs are also part of the installation, adding an intimate feel to the overall experience of the work. At the table, Britton’s newly published monograph is presented as another artwork.

Across two years, Britton worked with German book designer Alexandra Rutischka to produce what she now describes as, “a key guide that’s going to help anybody make sense of me and my work.”

Still ringing true today, back in 2016 Britton wrote about Wildstone, a solo exhibition responding to a residency she completed at Villa Bengel in Idar-Oberstein in Germany, describing her making process as a way “to think about how materials develop and to actively participate in the profound processes that are churning through the universe, to make sense of experience and create a story not with words but with materials, consciously sought out and carefully constructed”, and concluded that this, “is in fact what I do as an artist.”

With all of Britton’s artwork, the magic lies in how she puts her pieces together—from configurations of worn timber and shells, to industrial detritus and Galalith, a manmade material made from milk protein and formaldehyde—it all leads back to a deeply imaginative oeuvre meticulously constructed with tremendous technical skill and thoughtfulness.

Note: Soon after Britton’s exhibition completed its Sydney run in October 2025, the ADC announced its decision to cease operations from June 2026—a result of the discontinuation of a large portion of their funding from the Federal Government (through Creative Australia) and the State Government (through Create NSW). While The Story So Far will continue its planned touring schedule into 2026, at the time of writing the ADC is currently $350,000 short of the minimum $500,000 annual amount that the organisation needs to continue operating. If alternate funding cannot be sourced, the ADC will close its doors after 61 years as a key touch point for artists and designers at all stages of their careers.

Helen Britton: The Story So Far

7 February—24 April University of Newcastle Galleries Watt Space (Newcastle/Mulubinba NSW) Followed by a national tour

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STU DIO

Hany Armanious

AS TOLD TO

Jane O’Sullivan

Hany Armanious’ studio is in an old commercial kitchen at the back of a large complex in the inner west of Sydney. Used moulds are stacked in the walk-in fridge.

The resins and pigments for his uncannily realistic sculptures are stored under the long workbench, and a hammer and crowbar hang from the tool rack above.

It’s a fitting workspace for an artist whose current survey exhibition, Stone Soup, is named after a folktale about cooking something from nothing.

Stone Soup was first presented at the Henry Moore Institute in the United Kingdom in 2024. The Melbourne exhibition at Buxton Contemporary is a significant expansion, bringing together over 80 works from the past 15 years

PHOTOGR A PH Y

Hamish Ta-mé

including key pieces from his showing in the Australian pavilion at the 2011 Venice Biennale.

His practice is often described as alchemical but it might be better understood as an attempt to recalibrate perception. Armanious, who is also working towards a solo exhibition at Sydney’s Museum of Contemporary Art in mid-2026, gravitates to well-used, everyday objects like polystyrene packaging and stubs of crayon tangled in rope. By casting and reproducing these humble finds, he draws fresh attention to their tactile qualities, and also to wider questions around value, what we choose to see and how we anchor ourselves in the physical world.

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Hany Armanious, Moth, 2020, pigmented polyurethane resin, gouache.

Cou rte sy the a rtist a n d Fin e A rts, Sy dn ey.

PL ACE H A N Y A R M A N I O U S : The studio space is really set up for fabrication. A lot of the ideas happen elsewhere, often in my apartment. I’ll have a series of objects that I’m looking at and thinking about.

They’re peripheral objects. Almost nothing.

They’re the things that I find most striking, most poetic. You can’t really expect them to turn up, they just do, so it’s about remaining open and letting them appear.

Eventually, if I commit to wanting to work with them, then I bring them in here and start making moulds.

It’s really time-sensitive because I don’t have a lot of time in the studio.

I’m working at the National Art School four days a week. The rest of the time I’m here, or I come after work. Setting up this place [first with Mike Hewson and Patrick Hartigan and now also with Agatha GotheSnape, Salote Tawale and others] was really important for all involved. We’re always walking into each other’s spaces and having a look. A lot of times, you’re working in this vacuum, and you need fresh eyes.

I’m often surprised at how wrong I can be, about what I’m thinking is happening and what actually is happening, so others’ point of view is really vital.

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“The more this goes on, the more I know that I have less and less control and actually, I can’t direct. I don’t know where the next one will appear, or whether or how I’ll be able to bring it about. It’s always beginning from the start, with every single one.”

H A N Y A R M A N IOUS

below

Hany Armanious, Delphi, 2024, pigmented polyurethane resin.

Cou rte sy the a rtist a n d Phillida R eid, Lon don. Photogr a ph: H a n na h Smith. r ight Hany Armanious, Vitrine, 2024, brass, pigmented polyurethane resin.

Cou rte sy the a rtist a n d Phillida R eid, Lon don. Photogr a ph: H a n na h Smith.

PROCESS H A N Y A R M A N I O U S : In the studio, it’s just hard work. It’s unpleasant work and it’s hair-raising because it’s expensive and time consuming and you get one shot at it.

But it’s a pretty programmed process.

You know, one step follows another. There are the stages of preparing the objects before a mould is made. Then you’ve got to create a box to pour the liquid silicon into and make sure there are no leaks. The resin is clear so all the colour matching happens before you cast. You’re forever mixing colours until it’s accurate. And then you pour.

Once it’s set, it’s all fused together so you’ve got to crank everything open.

It takes quite a lot of energy and willpower [laughs]. And you need to be careful not to actually break your cast. But once it’s out of the mould, there’s no painting to be done.

It comes out complete. People assume that they’ve been hand-painted afterwards, but they’re not. If anything, they’re just patinated by rubbing a dirty rag over them.

Often they’re one offs. In the process, the object or the mould will be destroyed. That’s why if something goes wrong, it’s irretrievable, so you’ve got to rehearse every step really carefully. It can be really nerve-wracking. Leaks are a big one. Or you may not put enough pigment in and it’s a little bit translucent but it should be opaque, or vice versa, and it’s just not convincing. It just looks like a plastic object—and the last thing you want is for it to look like a plastic object.

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Hany Armanious, Tapestry, 2024, pigmented polyurethane resin.

Cou rte sy the a rtist a n d Fin e A rts, Sy dn ey.

Hany Armanious, A Good Thing, 2024, pigmented polyurethane resin.

Cou rte sy the a rtist a n d Fin e A rts, Sy dn ey.

Hany Armanious, Untitled, 2015, UV reactive dye on cut pile nylon carpet.

Pr i vate collection of K a i a n d W en dy Ta n.

Photogr a ph: Chr isti a n Ca pu r ro.

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Hany Armanious, Body Swap, 2015, mirror and steel.

Collection, M u r r ay A rt M useu m A lbu ry (MAMA).

Donated by the a rtist, through the Austr a li a n G ov er n ment’s Cu ltu r a l Gif t Progr a m, 2021.

Photogr a ph: Chr isti a n Ca pu r ro.

PROJECTS

Hany Armanious, Portrait, 2020, pigmented polyurethane resin. Nationa l Portr a it Ga llery.

Pu rch ased w ith fu n ds prov ided by donors 2024.

H A N Y A R M A N I O U S : In Stone Soup, there are a couple of pieces that were only seen around the time of the Venice Biennale and it’s nice to see them again: Happiness (2010) and another piece called the Birth of Venus (2010). There’s also recent work, a few pieces from this year, and then a couple of new pieces [developed for the exhibition], which are prints for the wall.

In a sense they’re an extension of the casting process too.

Often what will drive it is being sufficiently excited about a project that, you know, nothing will get in the way of bringing it about. It energises you when you’re really excited about something. I mean, if you’re not really having a good time, it’s not going to work. But it’s interesting, the price you pay. The grunt that goes into realising these quite incidental moments of levity.

It’s a permanent fixing, through these permanent artificial materials, of something that’s almost ephemeral.

The more this goes on, the more I know that I have less and less control and actually, I can’t direct. I don’t know where the next one will appear, or whether or how I’ll be able to bring it about.

It’s always beginning from the start, with every single one.

It’s not as though I can build on a past work, or add to a series.

It’s always got to be intuitive.

Entirely new, and new every time. On its own terms.

Hany Armanious: Stone Soup Buxton Contemporary (Melbourne/Naarm VIC) Until 11 April

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The Threads That Bind Fibre artist Tammy Kanat’s weaving practice began, as many good yarns do, by chance— and is guided by an intuitive relationship with her chosen material.

When Melbourne-based fibre artist Tammy Kanat is weaving, she is listening. Not to music or podcasts, but to something quieter, more internal.

“I don’t have an intention when I start a work,” she says, speaking over Zoom from Paris, where she’s completing a curated two-week residency. “I just create with freedom, and then afterwards, I find out what they’re about. The works seem to come from within me. It’s very intuitive, very process-based.”

That intuitive rhythm—gentle yet powerful—is central to Kanat’s practice. Working with wool on her distinctive hand-formed copper looms, she has developed a sculptural language that pushes tapestry into new terrain. “Wool is such a wonderful material,” she says. “It’s gentle but strong. It offers both at the same time, which is really fascinating to me. When I’m weaving, I have this rhythm. Even though it’s delicate, the rhythm isn’t gentle—it’s got a real energy to it.”

Kanat’s weaving practice began, as many good yarns do, by chance. About a decade ago, the artist wandered into a small local wool shop—the kind of place where time seems to slow. “It had been there for over 50 years,” she recalls. “There was this beautiful big room out the back filled with vintage wool. It was like a treasure trove of colour and texture.” Kanat became mesmerised by the bundles of yarn, taking a few of them home to experiment. She then returned to the shop to show the women who worked there what she’d done. “They said to me, ‘You’re doing something really special.’ That was the beginning of it all.”

Since then, Kanat has become one of Australia’s

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Camilla Wagstaff

most recognisable fibre artists. Her works have been featured in the MECCA x NGV Women in Design Commission, and in 2024 she received the Melbourne Art Fair’s inaugural Richard Parker Award, recognising excellence in artistic development. Her large-scale woven forms now sit in significant private and public collections, resonating with audiences drawn to their colour, tactility, and emotional power.

She is commercially represented by Sydney’s Gallery Sally Dan-Cuthbert.

Kanat levelled up her home-honed weaving skills at the Australian Tapestry Workshop, an institution with which she still has a strong relationship and great fondness. “Once I understood the fundamentals, I let them go,” she explains. “I use the wool like paint.

When I’m making a work, I’ll have threads and yarns all over the floor and I’ll just start painting with them.

It feels like the wool tells me where it needs to go.”

This intuitive journey has led Kanat to her latest and most ambitious project, Circle of Her, now showing at the Jewish Museum of Australia.

Commissioned as part of the Eva and Marc Besen Contemporary Artist series, the exhibition is a sculptural and spiritual exploration of female archetypes drawn from Jewish history and mysticism. In seven monumental woven forms, Kanat traces the lives and legacies of Lilith, Ruth, Tamar, Miriam, Esther, Sarah and the divine feminine presence of the Shechinah.

Each work is a meditation on womanhood, resilience, and connection—on the ancient stories woven through history that continue to influence us today.

Tammy Kanat, Sarah, 2025, wool, copper frame, 150 x 100 x 40 cm.

Im age Courtesy Ta mm y K a nat, Ga llery Sa lly Da n- Cuthbert, Sy dney, a nd Jew ish Museum of Austr a li a, Melbour ne.

Photogr a ph: Josh Robenstone.

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“I use the wool like paint. When I’m making a work, I’ll have threads and yarns all over the floor and I’ll just start painting with them. It feels like the wool tells me where it needs to go.”

— TA M M Y K A N AT

Tammy Kanat, Breathe (Moss Sky), 2023, woollen tapestry, brass frame, 108 x 108 cm.

Im age Courtesy Ta mm y K a nat, Ga llery Sa lly Da n- Cuthbert, Sy dney.

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Tammy Kanat, Breathe (Blush), 2023, woollen tapestry, brass frame, 158 x 199 x 5 cm.

Im age Courtesy Ta mm y K a nat, Ga llery Sa lly Da n- Cuthbert, Sy dney.

Tammy Kanat, Lilith, 2024, wool, copper frame, 200 x 125 x 95 cm. Im age Courtesy Ta mm y K a nat, Ga llery Sa lly Da n- Cuthbert, Sy dney, a nd Jew ish Museum of Austr a li a, Melbour ne. Photogr a ph: Josh Robenstone.

“Originally, the exhibition was going to reflect my smaller circle of women,” Kanat explains. “But when I started the first piece, this big red sculpture, I realised it was Lilith. I’d been researching [Germanborn American artist] Kiki Smith, who made a bronze sculpture of Lilith, and I just went down this rabbit hole.

So, the circle expanded — from my personal circle to a broader circle of history.” Lilith—often depicted as a figure of danger and defiance—has long fascinated feminist writers and artists. For Kanat, she’s a symbol of autonomy and courage. “She was really demonised— this woman who wouldn’t lay down with Adam,” Kanat says. “But to me she represents choice, independence, resistance. Lilith doesn’t apologise.”

For Kanat, the women of Circle of Her are not distant mythic figures but living presences. “She’s my mother, my sisters, my daughters,” she says.

“She’s my girlfriends, my colleagues—and she’s also me. The idea behind the circle of her really is so broad.

It spans all history, all women, all the way to the now.”

Her next exhibition, opening in March at Gallery Sally Dan-Cuthbert, will take her practice in a different direction. “I’m thinking about going inward,” she says. “Exploring the seeds within us—the internal

stuff we’re made up of. It will be softer and gentler than Circle of Her. Of course, it’ll still have power, but it will be more tender.”

Kanat’s woven worlds are tender by nature.

They invite stillness and reflection, but also motion— in the viewer’s movement around and through them, and in the rhythm of making embedded in every thread.

“I hope that audiences take away exactly what they need to,” says the artist. “As I listened while creating, I hope they can listen too—and hear what they need to hear.”

In this sense, Kanat’s work reminds us that art is not only about creating. It’s also about listening: to material, to history and to the invisible threads that bind us all.

Tammy Kanat: Circle of Her Jewish Museum of Australia (Melbourne/Naarm VIC) Until 22 March

Solo exhibition Gallery Sally Dan-Cuthbert (Sydney/Gadigal Country NSW) Opening March

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Stress Test The 2026 Adelaide Biennial, Yield Strength, highlights the ways artists are pushing materials to their limits, to reflect the world around them.

In 1985, the late Australian ecofeminist Val Plumwood was paddling in a borrowed canoe across a tributary in Kakadu in the Northern Territory, seeking a proposed walking track in these wilds she had fought to secure as a national park.

Pulling her canoe over for a “hasty, sodden lunch” in water rising due to flooding, she sensed she was being watched. Torrential rain started up as she pulled back into the main current when a floating stick developed the eyes of a crocodile, repeatedly slamming into her wooden vessel.

To avoid capsizing, Plumwood jumped into the branches of a paperbark, but the crocodile leapt too, dragging her down into a triple death roll.

Surviving the incident, Plumwood wrote in her 1996 essay, Being Prey, about “having this philosophical revelation in the space of the death roll,” says Melbourne-based sculpture and installation artist Lauren Burrow.

“She recognises her sense of an individual self fractures and splits apart and she comes to understand herself as meat in this animal’s food chain, having to reckon with how indifferent this creature is towards her and her life.”

Burrow’s work for the 2026 Adelaide Biennial is inspired by the activist philosopher’s brush with death. The artist purchased a canoe like the one Plumwood used, which is held in the National Museum of Australia.

Working in her studio in Melbourne’s Coburg, she created a beeswax mould of her canoe, which started to resemble a crocodile skin once she applied a green patina.

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Steve Dow

“I’m interested in the similarity of this oblong form with two tails to the shape of a crocodile’s body,” she says. “It also resembles a canoe, and it might be a stand-in for Plumwood’s body. It pulls between these three forms without neatly landing in one.”

In art school, Burrow was interested in animism in relation to objects and materials when her partner introduced her to Plumwood’s writing. Burrow herself had grown up around Darwin and had her own close encounters with crocodiles.

“Living in proximity to them and in the climate of the tropics is a constant reminder of the limitations of human life,” she says, “having an embodied understanding of what it is to respect the space of creatures that can harm you.”

Burrow is among 24 artists creating new work for the Biennial, themed as Yield Strength. Artistic director Ellie Buttrose tells Art Guide Australia the term is used in a technical engineering sense for the point at which materials can be pushed to their limit, noting a return to materiality among artists in Australia and internationally.

“After you’ve pushed past that point, materials become disfigured or changed forever, which is an apt metaphor for major changes—ecological and political,” she says.

For Indian-born artist Kirtika Kain, who has lived in Sydney since the age of three, materials such as cow dung, human hair, charcoal, gold, tar and sindoor—a traditional vermillion powder marking a Hindu woman’s marital status—all allow her to “connect her Dalit body to an ancient Dalit presence” and to “reclaim their traditional religiosity” as her own.

Kirtika Kain, The illusion of your history, 2023, gold, gold leaf, wax, cotton wicks, human hair, wire, plastic, cow dung, chunni fabric, cotton, Rangoli pigment, Holi pigment, plasticine, coconut broom grass, acrylic paint, grains, copper leaf, coir rope, leather, wire, card- board, plaster, impasto, black lotus seeds, sindoor, turmeric, tar, 300 x 1000 cm. courtesy of the a rtist a nd Rosly n Ox ley9 Ga llery, Sy dney. photogr a ph: H a mish McIntosh.

Lauren Burrow, work in progress, 2025, beeswax, sea glass, silk. courtesy of the a rtist.

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“After you’ve pushed past that point, materials become disfigured or changed forever, which is an apt metaphor for major changes—ecological and political.”

— E L L I E BU T T RO SE

Kirtika Kain, gold silkscreen, 2025, gold leaf, wax, charcoal and cotton on silk screen, 183 x 78 cm. courtesy of the a rtist a nd Rosly n Ox ley9 Ga llery, Sy dney. photogr a ph: Dav id Su yasa.

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Archie Moore, Kamilaroi/Bigambul people, Queensland, Dwelling (Victorian Issue), Installation view at Gertrude Contemporary, Melbourne, 2022. courtesy The Commerci a l, Sy dney. photogr a ph: Chr isti a n Ca pur ro

Living and working in Rydalmere in Sydney’s western suburbs, Kain still feels part of the Indian diaspora yet marked by the pernicious discrimination of the caste system.

“When I was growing up, because my parents came as migrants, we would often share our home with other Indian families,” she recalls. “My parents never talked about their caste, because they knew we’d be treated differently.”

Kain deploys ancient materials, her imagination a form of remembrance. Having trained in printmaking in art school, she has repetitively applied gold using cotton wicks on silk screens, to be hung juxtaposed alongside each other, with tar added to play with density, accumulation and weight.

During a six-month Creative Australia residency in London, Kain etched sheets of copper in acid, leaving the sheets to oxidise to form a patina resembling abstracted landscapes, which will be suspended in the gallery in Adelaide.

“Copper itself is so active and resilient, so they’re very solid and heavy, but they’re quite porous as well,” she says.

Gold, meanwhile, “is one of those materials so embedded in Indian women, in Indian culture, but it is such a material of the earth,” says Kain. “I think with Dalit people how ancient that system is too and how resilient.”

Elsewhere, Kamilaroi/Bigambul artist Archie Moore is creating a new work for the Adelaide Biennial inspired by the hunt for enrichment. “It’s about his family,” says Buttrose, declining to name the material Moore is using but promising it will be “quite the reveal”.

“It’s about how they were very poor, and his father had a prospecting licence. That’s very much part of the Australian story: the hope that you will be able to transform your life. But what does it mean to strike it rich on his mother’s ancestral Country?”

Given Buttrose curated Moore’s now-famous work about Aboriginal deaths in custody, kith and kin (2024), did winning the Golden Lion at the Venice Biennale create a certain pressure for what comes next from the artist?

“For both of us, it’s not front of mind, but maybe it does place some subconscious pressure,” she says.

“But I wanted to include him in the Biennial because he had a great idea. It’s very different from having a oneon-one, very intensive relationship for those almost two years but we still get to hang out and talk ideas.”

2026 Adelaide Biennial of Australian Art: Yield Strength Art Gallery of South Australia, Samstag Museum of Art and Adelaide Botanic Garden (Adelaide/Kaurna Country SA) 27 February—8 June

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V I EW

Over the last few years, the art world novel has captivated writers and readers. There’s something prescient about the way in which, for writers from Australia and overseas, the art world reflects and refracts the questions that are shaping this cultural moment—from money and labour to the value of the artistic process.

Critic and painter Joseph Earp explores the wave of recent Australian literature set in the art world through the lens of what he sees as the original Australian art world novel, Patrick White’s The Vivisector. In time for the summer reading season, Earp’s essay—accompanied by original illustrations by Evie Cahir—explores the hold these books have over our imagination, and gets to the heart of their enduring appeal.

Neha Kale E D I T O R -AT- L A R G E 72 7 2

WRITER

Joseph Earp

I L L U S T R AT I O N S

Evie Cahir

The Process is the Point: The Power of the Art World Novel 73

The evolution of the art world novel, writes Joseph Earp, mirrors the changing status of artists and writers in society—while enacting the pitfalls and possibilities of creative work.

Early on in his masterpiece The Vivisector, Patrick White writes of that strange, hard-to-define itch that nags at people for years, incessantly and ephemerally, until they give up trying to fight it and become painters.

He writes of his hero, the mercurial but eradefiningly talented Hurtle Duffield, at this stage in the novel just a child: “He loved the feel of a smooth stone, or to take a flower to pieces, to see what there was inside.

He loved the pepper tree breaking into light, and the white hens rustling by moonlight in the black branches, and the sleepy sound of the hen shit dropping. He could do nothing about it though.

Not yet. He could only carry all of it in his head.”

How often it goes like this: the act of creation is something we turn to because we’re not sure what else we’re meant to do. For Duffield, the creative act is an inevitable response to the extraordinary amount of stuff in the world; flowers and hen shit and everything in between.

Which is just one of the ways that The Vivisector remains perhaps the most clear-eyed piece of literature ever written about a painter. Rarely have the complexities of artmaking been laid out so definitively. The strained relationships; the sparks of inspiration; the money, both incoming and outgoing.

It’s all there, contained within the pages of a book that will shift at key moments into the second person, making it nigh-on-unbearable to read if you’re a working artist yourself: Patrick White knows who you are, and his gaze is not always gentle.

The Vivisector is dedicated to both Cynthia and Sidney Nolan, friends of White—for a time, anyway.

Inevitably, Sidney found himself turned on by the hot-headed Nobel Prize Winner following Cynthia’s death. But that dedication is not the only way Nolan believed he appeared in the text. When he first read the book, he went through it with a pencil, annotating all the ways Duffield’s life resembled his.

Nolan, for his part, once described painting and writing as being “different kinds of mysteries”, and he seemed perplexed by the suggestion that the two artforms were linked in any way at all. But even if Nolan and White were engaged in separate acts of conjuring, when The Vivisector was published in 1970, they were seen on equal footing and as pursuing a similar goal. For a start, both of them were

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making distinctly Australian art—a goal that seems almost anachronistic now, given that Australian artists appear to have given up on any real attempt to work out what the national character is, much less translate it into creative work, in favour of joining the Americans and the British in the pursuit of setting-less, homogenised “universality”. And, more than that, both White and Nolan repeatedly probed through their work at the very act of observation.

That one of them would make art that traced the artmaking principles of the other checks out.

The Vivisector is, after all, a book about a man both utterly infatuated with, and totally undone by, the act of observation. By the midpoint of the novel, Duffield can no longer meaningfully connect with those around him, seeing people in his orbit as nothing more than subjects for potential paintings.

And Nolan’s work—his Ned Kelly paintings most of all—reacquaint us with our own mythology; even with colour and geometry itself, redirecting the eye back and forth in a way that still has the power to discombobulate.

No wonder that Nolan was convinced that he was present in The Vivisector. Whether or not White actually drew on Nolan’s life, White definitely drew on his own, and the two men were more similar than either of them would later want to admit.

But if one thing has changed in the 55 years since The Vivisector was published, it is exactly this: the equal footing of writers and artists. Looking back now, Nolan’s career seems lucky and happy, but nonetheless pretty familiar: young artist wins acclaim for their unique voice, mounts a series of awarded and well-reviewed exhibitions, and comfortably funds themselves with commissions. There aren’t tonnes of those stories around now, but then again, there weren’t tonnes of them in Nolan’s time either, and it’s not a story of fantasy.

What now seems like fantasy, however, is White’s career. Here was an immensely popular writer who was also something of a socialite (though the quasi-reclusive White would have hated that term), and who, above all else, penned long works of fiction that were serious in their aims, and were taken seriously. Huck a rock into a major art gallery and you’ll ding twenty Sidney Nolans. Do the same at a literary event and the best you’ll hope for is to mildly concuss one Trent Dalton.

call it “literary fiction”, which I eventually learned was used as a term to mark it as distinct from the books that get discussed on TikTok, or that people who primarily consume romantasy might pick up.

I just thought I’d written a book.

Difficult books are also now seen as inherently riskier: pop a “theme” or two in your manuscript, and you’ll be ringing a magical bell that summons rejections. And perhaps worst of all, the demarcation contributes to a terrifying sameyness in both book types: the Serious books get more serious, hard-to-read and academic, and the bestsellers get more bestseller-y.

***

*** Make no mistake: serious writers still exist. So do writers who sell lots of copies, mark the culture and inspire imitators. Nor should you see this argument as one more repetition of the high art/low art distinction—my claim is not that all serious novelists are lying in the garret, unloved in their time, and that all bestselling novels are nothing but glorified kindling.

But increasingly, these two types of art are seen as different. So often in the world of publishing, manuscripts are treated as exclusively falling into one of two buckets: the slim, dense novel which will win awards and garner critical praise, or the “optimised for sale at the supermarkets” barnburner.

The machinery of publishing, not to mention the culture at large, is no longer prepared for the regular publication of novels that blur that line.

Even a book like Tim Winton’s Cloudstreet, released a few short decades ago, seems like a transmission from an alternate universe: a dense, long, magic realist work of Australian fiction that was The Book to be discussed around the watercooler. In short, as the world is presently, never shall the Big W aisle stretch into the green room at a literary award show.

Such a demarcation is false, limiting and destructive. It means that more “difficult” books have a longer, more arduous route to the mainstream. When my debut novel was published in 2025, I was surprised by how many rushed to

All of which I present to you as background to explain the raft of contemporary novels that, à la The Vivisector, centre on an artist in particular, or the art world in general. Because there are, in short, so bloody many of those.

Let’s call them the Art World Novel, or the AWN for short. We live in the age of the AWN. At home, think Angela O’Keeffe’s The Sitter; Ella Baxter’s Woo Woo; Bri Lee’s The Work; Liam Pieper’s Appreciation.

Abroad, think Miranda July’s All Fours; even Ottessa Moshfegh’s My Year of Rest and Relaxation.

There are so many, in fact, that when my own novel came out earlier this year, an AWN titled Painting Portraits of Everyone I’ve Ever Dated, I panicked at the thought that I had somehow found myself mired in a genre that had become overexposed even within the time of my manuscript getting sold and it being published.

I want to make it clear that there is no problem whatsoever with such a trend. Literary trends are nothing more than contextual confluences that sometimes end up becoming marketing terms. Look at the Sad Girl Novel, a particularly bizarre example, because the history of published writing has always contained the Sad Girl Novel (does Madame Bovary count?), and which was really just a way of talking about the fact that writers were engaging with our thoroughly depressing contemporary times, and that their protagonists were sometimes female.

But the rise of the AWN is worth close examination because of the shift in who writers and artists are. When The Vivisector was released, that White could have been writing about both himself and Nolan simultaneously was believable. Nowadays, the only real writer I can think of who possesses the stature and reputation that means they could be blending themselves with the life of a visual artist is Richard Flanagan: only there would the rubbing of shoulders (unhappily, in Flanagan’s case) with the ultra-wealthy make sense.

In turn, that means AWNs can do something that books about writers or other creatives can’t really do: tackle wealth, insofar as they can centre on creative people who believably make a boatload of money. Indeed, if we want to further subdivide TH E PROCE SS IS TH E POINT

75

the AWN, we can break it down into two more categories: the AWN about wealth, and the AWN about creativity.

Bri Lee’s The Work is the most obvious example of the former category. Unfairly drubbed by critics upon release (indicative of the fact that even though some things about Australian literature have changed, Tall Poppy Syndrome will never go out of style), it’s more about money changing hands than about creation—and very much by design.

I read The Work as a spiritual successor to the books that Jay McInerney and Bret Easton Ellis were writing in the ‘90s: a deliciously curt novel about posers and money-makers who frequently seem to forget that they’re meant to be artists at all, trading in McInerney’s beat-inflected wannabe writers for dead-eyed conceptual practitioners. (If there’s been any upside to the eradication of opportunity in the world of Australian literature, it’s that we don’t have to deal with such hucksters anymore, and that you know everybody is pretty much in it for real: the idea someone might try and write an experimental novel for the money makes as much sense as the butcher who pursues that line of work because they want to spend more time around animals.)

The Work is set in a world where even sex has become a capital-based exchange. The novel’s unhorny horniness is precisely the point. These are people who fuck the same way that they assess and consider art: to bring a transaction to completion.

That barbed satire cuts through Pieper’s Appreciation, set in a world where cultural capital is the only currency that matters: in the novel, the true “art” produced by creatives is not their exhibited work, but instead their carefully honed and cultivated identities, the more marginalised the better (the barb being that the art world of Appreciation is dominated almost exclusively by the middle class playing at being oppressed). In a social media-dominated age, identities can be marketed easier than paintings, and so, in Appreciation as in life, it’s all about who you are, not what you do. That secret AWN, My Year of Rest and Relaxation, is similar: it’s a story of business dealings, not creativity. The backdrop of a high-end art gallery is the perfect place for that latter novel’s unnamed heroine, given she’s someone with vaguely creative aspirations who has the thought patterns of Patrick Bateman.

The sidelining of actual creativity in such novels charts the terrifying way capital has sunk its hooks into what should be, at its heart, the practice of making things for the sake of making things.

Given what’s happened to the literary industry, such AWNs can also be read as writers attempting to warn artists to get out while they still can. The transformation that has seen writing so sanded back and stripped down could easily happen to artmaking, as the near-miss of the NFT bubble and the definitely-not-gonna-miss-us threat of AI shows.

A book like The Work says: it happened to me, and it can happen to you.

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TH E LONG V IEW

*** Which also sets the scene for the second type of AWN: the novel about the creative act. Of this sub-sub-genre, The Vivisector is still the gold standard, with one endearing shortcoming: White doesn’t seem to particularly know how painting works. (Nor does he seem to care.) There’s so much extraordinary writing in The Vivisector about the painter’s eye: Duffield is forever noticing things that other people don’t notice, and the imagistic writing will sum up people by, say, skin that has the “transparency of thinned-out watery milk”.

When it comes time to put Duffield in front of the canvas, White uncharacteristically rushes, and Duffield might be the only painter who thinks in deeply abstract means about his work, rather than brushstroke after brushstroke.

But contemporary AWNs make up for what White glosses over, in part because so many of them welcomely romanticise the actual process of artmaking. In a small way, this is what I tried to do with my own art world novel: I am a painter as well as a writer and wanted to ensure there were lengthy scenes where my protagonist Ellie actually got behind a canvas, and we learned what she thought about the peculiar magic of paint drying. (Most notably, Ellie is shocked by a revelation that she stumbles across while painting human faces: that the black of everybody’s nostrils is always showing.)

Angela O’Keeffe’s The Sitter, for instance, is all process. The novel blends two time periods, focusing on both Marie-Hortense Fiquet, wife of Paul Cézanne, and a writer in 2020 trying to pen her own work about Fiquet.

The result is a doubling of Fiquet’s status as muse: she becomes the focus of both Cézanne’s art, and the art of the writer. But, in a neat reversal of the muse cliche, Fiquet flowers through depiction rather than being hemmed in by it, like a sketch of a landscape drawn from a moving car—mountains that shift even as you’re trying to capture them. In O’Keeffe’s novel, we never get the sense that depiction is synonymous with ownership: Fiquet wasn’t captured in brushstroke by Cézanne. His artistic success was also a kind of failure, as The Sitter proves, given Fiquet was more than pigment could ever contain. And, importantly, by dealing with these subjects head on, O’Keeffe has also written a novel that gets into the bones of what it actually means to summon a picture out of brushstrokes.

So it also goes in Ella Baxter’s Woo Woo. Though on its surface an AWN about wealth and cultural standing—Baxter’s hero, Sabine, finds herself utterly intoxicated by her own perceived reputation in the art world—Woo Woo has much to say about the ugly, hard-won transcendence of process. In fact, it’s a novel that so fully engages with artmaking that when Sabine starts openly addressing her stalker, a threatening presence she calls “Rembrandt man”, her audience begin to see even that authentic call for assistance as its own form of creative work. The old adage that anything can be art takes on a new viciously comic and insightful twist: Sabine has submitted to the work of being an artist, which means nothing is meaningfully her own anymore.

Woo Woo is a darker book in many ways than The Sitter. But it has its romantic vein too, by virtue of the fact that there are no Patrick White time skips; no time spent away from the metaphorical canvas, because Sabine doesn’t get any time away from the metaphorical canvas. The act of creative production is charted and analysed from beginning to end, in a way that seems oddly enviable and foreign.

***

We live in a world that has an increasingly limited interest in process. AI is the boldest example of a thought process that has defined capitalism since its very conception: that when it comes to art, all that matters is the end product, because the end product is the thing that can be sold.

In this view, how art gets created—the drafting and false starts that make it what it is—is at best a cute little story to help with marketing, and at worst a waste of time. Artmaking is thus seen as at its best when it is frictionless; when the artist most resembles a production line, as though we live in a world where the art that is made faster and more painlessly is naturally “better.”

This sickening notion, in fact, is the foundation for the argument that the tech peddlers use to convince us their ugly digital doodles, built on the backs of plagiarised work by living human beings, is art at all. If you don’t care how something gets made, you’ll accept the laughable idea that the person who clicks a button is an artist.

Somehow, these people have convinced themselves that being able to make art without breaking a sweat is a good thing. Books like The Sitter—indeed, all AWNs about creativity—remind us that the sweat used to be the whole bloody point. The failures; the false starts; the space between what was planned and what was actually created—that was, and should be, the very centre of art.

This perhaps also accounts for the success of AWNs, not just the reason for their being written in the first place. Each of the books mentioned here have sold well and have been mostly acclaimed.

AWNs are at their heart uplifting and “feelgood”, even when they’re barbed and vicious, due to the simple fact that they are about artists. Which, in a world that sees artists as ultimately expendable, has an essential beauty to it.

Even The Vivisector, with all its White-esque cruelty, seems like escapism now: in re-reading it for this essay, I was brought almost to tears multiple times by the simple story of a human being who decided upon that most ridiculous and extraordinary of career paths: to make things.

There’s something terrifyingly outdated about that goal, given the world we live in now, but something universal about it too. We would do well to allow AWNs to do what they are designed to do: to remind us of what we used to be, and how we used to make.

Hurtle Duffield, Angela O’Keeffe, Patrick White, Sidney Nolan, Bri Lee: none of them grew up dreaming that their life’s ambition was to click a button that says “generate”. I don’t think you did either.

TH E PROCE SS IS TH E POINT

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Making a Home A clan of characters from the storied three-decade practice of Sydney-based artist Nell settle into the domestic surrounds of Heide Modern.

The act of making a home demands much of the same assembling, arranging, and object collecting that occupies artists day to day. Outside the studio and in the museum, these gestures extend to the making of an exhibition. With its history as the residence of John and Sunday Reed and the Reeds’ guiding precept for it as a “gallery to be lived in,” Melbourne’s Heide Museum of Modern Art has long operated at the intersection of home and museum.

In a broad sense, all museums, regardless of their origins, should serve as a kind of refuge. They are civic spaces that welcome visitors (mostly) without demanding exchange, shelter artworks from wear and exposure, and are shaped by the people who move through them. At the same time, museum workers have a vested interest in separating the institution—and the artworks it stewards—from routine life. The walls create new context, confer authority, and distance objects from the ways we have come to know them. They are at once havens and sites of removal.

Nell’s survey show Face Everything leans into this dichotomy. For the exhibition, Heide’s director Lesley Harding observes, “Nell brings another dimension to this domestic space, drawing out its histories and reimagining it as a living, breathing environment.”

The artist’s works, more than 85, including over 50 new pieces, appear on shelves, beside doorways and under windows. Much like the objects she transforms, the house museum becomes more than a container and is instead animated as a collaborator in her work.

Harding, who has overseen a shift in the Heide Modern program toward mid-career artists presenting installations of their choosing, describes

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Emma O’Neill

the challenge of curating within such a charged building: “Some like to take a broad look at the artist’s practice and career, while others choose to work with the beautiful sculptural and material quality of the building to create an installation and new work, and others still look to its domestic history and the Reeds’ legacy,” she tells me. “Nell’s exhibition is a blend of these approaches, surveying her thirty-year career while taking a thematic through-line that is sensitive to and acknowledges Heide Modern’s past as a home.”

Face Everything sees what the artist refers to as her “extended family of characters and spirits” come to inhabit the house-museum. Ghosts, eggs, smiley faces, birds, and snakes are among these figures, all familiar refrains in a long and storied practice.

“Together, they hold space for celebration and joy, complexity and grief, and everything in between,” she has noted. It is a gathering of things from an oeuvre that spans painting, sculpture, performance and site-responsive installation, drawing on wideranging influences, from Buddhist philosophy to rock ’n’ roll, from children’s iconography to art history.

In Nell’s world at Heide, disarming faces appear almost anywhere the eye might land. Eggs, in particular, are all around: perched on an upturned ironing board, nestled in a basket beside the sink, scattered across a low shelf, and also across canvas. When you catch them, there is a moment of surprise and recognition.

Their “ooh” faces, with open circular mouths, register delight or astonishment. Simplified, often in graphic form or a reduced palette, these faces evoke emojis, inviting an immediate emotional response. “Like a song that cuts to the heart,” she has said, “the simplest artworks go the deepest.”

Installation view, Nell: Face Everything, Heide Museum of Modern Art. photogr a ph: Chr isto Crock er.

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Installation view, Nell: Face Everything, Heide Museum of Modern Art. photogr a ph: Chr isto Crock er.

“Nell brings another dimension to this domestic space, drawing out its histories and reimagining it as a living, breathing environment.”

— L E SL E Y H A R DI NG

Installation view, Nell: Face Everything, Heide Museum of Modern Art. photogr a ph: Chr isto Crock er.

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Nell, Happy to be Sad, 2025, bamboo, polyester, elastane sock, hand-blown glass, 5.9 x 7 x 17.2 cm. Fa br ication; Glassblow ing: A nnet te Bla ir, Coldwor k ing: Louis Gr ant at Canberr a Glasswor ks. Photogr a ph: Jenni Ca rter.

Nell, Upside Down Happy Bucket, 2021, galvanised steel, 32 x 22 x 28.5 cm. Pr i vate collection, Melbourne. Photogr aph: Chr isti a n Ca pur ro.

Nell, golden birth, 2025, shell, epoxy clay, acrylic paint, 3.2 x 3.9 x 3.3 cm. Courtesy the a rtist a nd STATION, Austr a li a. Photogr a ph: Jenni Ca rter.

Nell, Everyday Happiness, 2025, bronze (patina varied), 9.0 x 13 x 10 cm, edition no. 4/5. Courtesy the a rtist a nd STATION, Austr a li a. Fa br ication Bronze: Cr aw for ds Casting, Sy dney. Photogr a ph: Jenni Ca rter.

Music is also important fodder for Nell. Hung high above a staircase at Heide, a pair of violins are modified to resemble faces, their strings and fingerboards removed. The violins convey two opposing emotions, referencing the duality of comedy and tragedy masks in Ancient Greek theatre. The title If You Could Hear the Sound of My Violin, You Would Know How I Feel (2025) draws from a letter by the modernist sculptor Constantin Brancusi to the novelist Blaise Cendrars. Though rendered non-functional, Nell’s intervention does not flatten their emotional range but instead pays homage to the objects as longstanding markers of emotional resonance.

More art-historical references appear throughout the exhibition. Sculptures rest atop books on Michelangelo, Sonia Delaunay and Rodin. Placed in what was once the study, these plinths, Nell tells me, reveal lineage: “It’s a mischievous art gag … we all stand on these artists.”

By recasting domestic materials—from old ironing boards, buckets and shovels to personal heirlooms—as artworks, the artist considers the push and pull between the ordinary and the poetic.

Her approach is meticulous but not precious: animated by humour, tenderness and the belief that everyday objects hold deep emotional charge.

Among the most disarming is the face that peers in from the garden, brandished onto a concrete mixer.

Nell, by her own admission, keeps returning to this object: “It is just so damn adorable,” she tells me. This inside–outside approach to the exhibition echoes Heide architect David McGlashan’s vision to dissolve the boundary between home and landscape. Within the museum’s interior, nature comes alive. Across large-scale paintings, snakes slither or devour fruit, leaves dance in the wind, eggs nestle in branches, each scene laid over a rich, dark underpainting.

Like the play between exterior and interior, dualities structure much of Nell’s thinking: east and west, dark and light, the profane and the sacred. The invitation of Face Everything is encoded in its title and enacted throughout the exhibition. “We’re all going to die…” reads one canvas, emblazoned with a smiley face and rendered in rock-and-roll black and red.

Her approach is encapsulated here, and across an exhibition which asks us to hold joy and sorrow together, be at ease with cycles of life and death and make a home amid these opposing forces.

Nell: Face Everything

Heide Modern (Melbourne/Naarm VIC) Until 1 March 81

All Grown Up For visitors and artists alike, Iconic, Loved, Unexpected—the inaugural exhibition celebrating the reopening of an iconic institution—will feel both like a homecoming and a bold new beginning.

After 20 years of planning and setbacks, Newcastle Art Gallery’s $48 million redevelopment will soon finally be revealed. The expansion leaves the gallery two and a half times larger and equipped to host major loans from around the world.

Gallery director Lauretta Morton OAM calls it a “game changer”. She would know: Morton became director in 2018, but her connection to the gallery spans decades. She worked under previous directors as exhibitions manager and curator—and has even displayed her own work there, first as an art student in the late 1980s.

“I lived in Port Stephens and used to come in on the bus,” she recalls. “As a student, Newcastle was the gallery you visited to see the Olsens and the Dobells.

For me, it never gets old.”

Since a bequest 80 years ago began what is now Newcastle Art Gallery, its collection has grown to more than 50 times its original size. Various efforts have been made to display as much of it as possible.

In 2006, a design competition for the knock-down and rebuild of the 1977 brutalist gallery building was won by LAB Architecture Studio, the firm behind Melbourne’s Federation Square. But according to Morton, the plan fell through; funders had no appetite.

About a decade later, plans for a redevelopment three quarters of the current size lacked support and were abandoned. With each attempt at improvement, the project faced criticism and competing views, cost overruns and funding setbacks.

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Paul Sutherland

When Morton became director, she made the gallery’s redevelopment her priority. “Our collection is worth $145 million, and no one can see it,” she says.

On her second day, she walked into the CEO’s office and made the case—not for a rebuild, but an expansion. The rhetoric had changed, and the focus was clear: the iconic brutalist building had to be enhanced, not demolished.

The gallery’s team took eight months to photograph, pack and condition report more than 7,000 works. During that process, they found pieces in storage they didn’t know existed, paintings and ceramics that might have been on display in the former gallery space in what’s now the City Library in the 50s or 60s and not seen since.

The redevelopment sees the number of gallery spaces grow from five to thirteen, allowing unexpected pieces and local favourites, like Brett Whiteley’s Summer at Carcoar (1977), to hang permanently on the wall. Newcastle’s will now be the largest public gallery in New South Wales outside of Sydney. “It’s about turning it into a modern gallery that everyone would expect this city to have,” Morton says.

The inaugural exhibition, Iconic, Loved, Unexpected, celebrates the permanent collection while introducing new works from local, national, and international artists. Morton’s vision was that the gallery would be “First Nations first”, with female artists prominently featured.

Newcastle Art Gallery, Central Atrium Gallery 3, Ground Floor, 2025.

Photogr a pher: M at t Ca r bone.

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Brett Whiteley, Summer at Carcoar, 1977.

Newcastle A rt Ga llery, Austr a li a, Gif t of Dr W illi a m Bow mor e AO OBE through the Newcastle R egion A rt Ga llery Foundation 1977. © the a rtist's estate.

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John Olsen, Life burst, 1964.

Newcastle A rt Ga llery, Austr a li a, Gif t of the Sir W illi a m Dobell A rt Foundation 1976. © the a rtist's estate.

“It’s about turning it into a modern gallery that everyone would expect this city to have.”

— L AU R E T TA MOR T ON OA M

At the entrance, visitors will encounter a fourmetre-high sculpture by Shellie Smith, a local artist, academic and Awabakal descendent, in collaboration with Julie Squires. In the new central atrium, the 44 oyster shell-adorned poles of Quandamooka artist Megan Cope’s Kinyingarra Guwinyanba (Off Country) (2022) will make use of the atrium’s 11-metre height.

At the heart of the gallery, embedded in the cement where the old building connects with the new, is Dabuyarra murun: A story of life, legacy, and connection (2025), a permanent steel installation

by Wiradjuri and Wongaibon artist Renae Lamb.

A soundscape by music composer Adam Manning, capturing the sounds of local Country, will create a Sonic Acknowledgment of Country, immersing visitors in a uniquely Novocastrian experience.

Work behind the scenes has been equally transformative. A secure, weatherproof loading dock with a dock leveller and a hoist capable of lifting the weight of a car means staff will no longer have to haul crates up the hill in the rain. These new facilities mean the gallery can now host exhibitions and loans from across the globe, including works previously out of reach.

The gallery now includes a café and shop, amenities long overdue for a city of Newcastle’s size.

And with 80,000 visitors annually, Morton expects numbers to double after the February opening. “It is the most significant collection outside of a State or the national institution,” she says. “We have an active external loans program. Each year we loan to the National Gallery, we loan to State and regional galleries. That shows the significance of our collection.

The driver of this expansion is that people can now come to our gallery to see it.”

Newcastle Art Gallery has long been locally driven, nationally significant, and internationally connected. From February, both displaying artists and visitors will find the iconic institution has doubled-down with Iconic, Loved, Unexpected, and transformed itself into a gallery that’s all grown up.

Iconic, Loved, Unexpected

Newcastle Art Gallery (Newcastle/Mulubinba NSW) Opening February

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Zoe Amor Kim Barter Robert Croft Inga Dalrymple Jackie Gorring Zoe Hambleton Kir Larwill Fionna Madigan Tony Scott

Artpuff at The Mill 9 Walker St, Castlemaine, VIC Open: Thur - Sun 11-5 artpuff.com.au + @artpuff_studio Inga Dalrymple, Accoutrements, 2025, oil on canvas, 100x92cm

Hidden: Seven Children Saved Hidden is an immersive exhibition that includes experiential learning to ensure the lessons of the Holocaust are transmitted to the next generation.

mhm.com.au

Scan the QR code to find out more and book tickets.

Whose Paradise?

by Jill Orr

Exhibition Dates: 6 February - 12 April Opening Night: 7 February, 6-8pm Location: Art Gallery 275 @ Ivanhoe Library & Cultural Hub

As part of Banyule Council’s ongoing celebration of Heidelberg School masterpieces—on long-term loan from the National Gallery of Australia as part of Sharing the National Collection—we have invited leading Australian artists to enter into a critical dialogue with this treasured heritage.

Whose Paradise? by Jill Orr presents a meditation on the idea of progress, weaving contemporary vision into the fabric of history. Her photographs are placed in conversation with Heidelberg School paintings, creating a layered narrative where past ideals and current questions converge.

Image Credit: Same Place Different Time - Making Waves, 2025 Photographer: Christina Simons for Jill Orr © 2025

Corban Bamba Clause Williams, Kaalpa, 2025, acrylic on canvas, 76 x 152 cm.

CORBAN BAMBA CLAUSE WILLIAMS Melbourne Art Fair 2026 19–22 February

Emilia Galatis Projects emiliagalatisprojects.com

National tour developed

by MCA Australia

29 Nov 2025 – 22 Feb 2026 Bunjil Place Gallery

Maria Fernanda Cardoso Spiders of Paradise

Exhibition developed and toured by the Museum of Contemporary Art Australia.

This project has been assisted by the Australian Government through Creative Australia, its arts funding and advisory body. This project is supported by the NSW Government through Create NSW. Image: Maria Fernanda Cardoso, Spiders of Paradise: Maratus anomalus, 2024, pigment print on paper, framed, courtesy the artist and Sullivan+Strumpf, Sydney © the artist

HOUSES, SPOUSES, CRISES AND CHRISES 31 JANUARY - 7 MARCH

ARTWORK: Chris O'Brien Untitled 2019, screenprint on paper (detail) © Copyright the artist. Represented by Arts Project Australia, Melbourne

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40 Porter Street Prahran Victoria 3181 | 03 9008 4592 | www.gallerysmith.com.au | marita@gallerysmith.com.au

FINE ART PICTURE FRAMING AND LIMITED EDITION PRINTING

Colour Factory offers custom picture framing in Melbourne to perfectly complement your artwork.

Our framing services are tailored to meet the unique needs of artists and collectors, offering high-quality archival materials and finishes that protect and enhance your art.

10 Chingford Street, Fairfield Vic 3078 – 03 9419 8756 – colourfactory.com.au

Co ntempora ry jewel l er y w e l fe.com 13 4

All That is Alive

Tully Arnot Saskia van Pagee Anderson Kylie Banyard Elisa Jane Carmichael Sonja Carmichael Madeleine Collie Other Matter Sarah Poulgrain Mandy Quadrio Keg de Souza Magnetic Topographies Ivey Wawn

18 February – 10 May 2026

La Trobe Art Institute

75 Bridge Street East, Benalla

During the Benalla Art Gallery Stage 1 Redevelopment, visit us at the Pop-Up Benalla Art Gallery to enjoy major exhibitions, programs, and to explore the Gallery shop featuring artisan wares by talented artists of the region.

CONTACT 03 5760 2619 gallery@benalla.vic.gov.au benallaartgallery.com.au

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FREE ENTRY Mar—Aug: 10AM—4.30PM Sep—Feb: 10AM—5PM Closed Tuesdays

NOW SHOWING Reconfigured 14 Nov 2025 — 26 Jan 2026

TOWN HALL GALLERY 12 NOV 2025 TO 24 JAN 2026

HAWTHORN ARTS CENTRE 360 BURWOOD ROAD HAWTHORN, VICTORIA 03 9278 4770

Image: Nadine Christensen, ‘Untitled (Connect4)’, 2018, acrylic on board with cedar stretcher, 95 x 80 cm, image courtesy of the artist and Sarah Scout Presents, Melbourne.

MELBOURNE ART FAIR 19–22 FEB ‘26

MARCUS ‘DOUBLE O’ CAMPHOO KEMARRE MAISIE PETYARRE BUNDEY

(03) 9415 8666 gallery@chapmanbailey.com.au www.chapmanbailey.com.au

+61 (08) 8998 6003 gallery@8hele.com www.8-hele.com

Wollongong Art Gallery New 2025 program Karla Dickens: Rise and Fall 15 March – 1 June Seeing Things 22 March – 3 August Teo Treloar: A Void A Maze 5 April – 29 June Patrick Pound: Dream Vitrine 17 May – 16 November Greetings from Wollongong 14 June – 31 August Adriana Māhanga Lear Fafangu: To Awaken 5 July – 7 September Mitch Cairns: Restless Legs 6 September – 30 November Wollongong Art Prize 6 December 2025 – 1 March 2026 Free entry to every exhibition.

Come See. Image: Karla Dickens, Rise and Fall, 2024 (detail), c-type photograph. Courtesy of the artist and STATION.

Find out more at wollongongartgallery.au Open Tues–Fri 10am–5pm, weekends 12-4pm 46 Burelli St, Wollongong

A tribute to the women whose skill, persistence and imagination have carried timber craft forward in Tasmania 25 Oct- 8 Feb At the centre of Heartwood is a major new commission by contemporary Tamanian furniture designer Laura McCusker, to be acquired into the Design Tasmania Wood Collection - the only collection of its kind in the country. This acquisition strengthens the representation of women in the permanent collection, also marking ten years of Design Tasmania’s leading Women in Design program,

For more info

designtas.info/heartwood

Media enquiries:

artisticdirector@designtasmnia.com.au

Design Tasmania

corner Tamar and Brisbane Streets, Launceston Tasmania

Hours

Weds to Sat 10am - 3pm | Sun 10am - 2pm

Featuring work from:

Laura McCusker Sally Brown Pippa Dickson Linda Fredheim Gay Hawkes Ellen Nora Payne Linda van Niekerk

HEARTWOOD

Tasmanian Women in Timber

With thanks to:

Pictured: Laura McCusker with Forest Stand Photo: Peter Whyte

artguide.com.au

& Gallery Australia www.andgalleryaustralia.net Bunurong Country 21 Morce Ave, Sorrento, VIC 3943 [Map 1] 0417 324 795 Open daily 10am–5pm.

Art Gallery of Ballarat → Bethany Allan, Misperception, 2024, charcoal on paper.

Winner of the Award for Excellence, Next Gen 2025.

Art Gallery of Ballarat Tammy Honey, Reflection, 2025, synthetic polymer paint on canvas, framed in white Vic ash, 100 x 100 cm.

3 January—26 January The Realist Stewart MacFarlane Triptych Cameron Hayes Transition Tammy Honey

www.artgalleryofballarat.com.au 40 Lydiard Street North, Wathaurong Country, Ballarat, VIC 3350 [Map 1] 03 5320 5858 The Art Gallery of Ballarat is closed for refurbishments. Off-site programming continues at Backspace Gallery and on the Art Screen in Alfred Deakin Place.

Art Screen Alfred Deakin Place Ballarat:

24 November 2025—30 January TEXT/SCREEN/TEXT Henrik Haukeland

Isabelle Devos, Where Once I Dreamt Of You, synthetic polymer on birch, 50 x 40 cm.

Swedish-born Henrik Haukeland is an early-career artist living in Naarm/ Melbourne. His TEXT/SCREEN/TEXT is a work that draws from celluloid archives.

By splicing together the title frames from countless films, Haukeland’s work presents a ‘mash-up’ that creates new sentences and meanings from movie titles. Haukeland’s application of cutups to moving image works dives deeper into an understanding of cinematic language. The 2025 Art Screen program has been devised by guest curator Madeleine Sherburn.

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Next Gen 2026 showcases some of the best creative work by Government, Catholic and Independent school students from Ballarat, and the western Victorian region, developed in the previous school year (2025). Discover the issues, ideas and causes that are inspiring our next generation of young artists when ‘Next Gen 2025’ opens at 43 Mair Street on 15 March, 2025.

This exhibition is presented in partnership with LCI Melbourne.

82 Vincent Street, Djab Wurrung Country, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm.

See our website for latest information.

The Distance Between Isabelle Devos

www.alcastongallery.com.au

7 February—5 April Next Gen 2026

www.araratgallerytama.com.au

Artists of the Mornington Peninsula The Locals

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12noon–6pm or by appointment.

Backspace Gallery 43 Mair Street Ballarat:

Ararat Gallery TAMA

31 January—26 February LATITUDES Ken Johnson

Alcaston Gallery

Dating back to ancient Greece, votive offerings are objects made and gifted in rituals of healing. Throughout many cultures, people have used votive objects to express hope, seek restoration, or mark a threshold between suffering and relief.

Through her sculptures, local artist Tas Wansbrough continues this tradition.

Created through repeated gestures of cutting, carving, sanding, each bodily form is the result of practiced skills and labour.

The repetition of these actions becomes a ritualistic process; a way of making meaning through doing. Fragments of healing invites viewers to consider how the act of making, rooted in ritual, repetition, and intention, can become a tool for resilience.

Tas Wansbrough, Votive offerings, (detail), 2025, timber and pigment, dimensions variable. Photograph: Glen Muller.

Courtesy the artist.

Backspace Gallery 43 Mair Street Ballarat:

13 December 2025—26 January Tas Wansbrough: Fragments of healing

Ararat Gallery TAMA (Texti le Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. A curatorial and collection focus that began in the early 1970s. The TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today.

VICTORIA

Artbank Melbourne

my discomfort and my hope for a united, healing future—one where truth and integrity bridge divides—through painting, sculpture, video, and fabric works.”

— megan evans.

www.artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Fri, 10am–4pm or by appointment for all leasing requirements.

Maroondah Federation Estate Gallery:

Until 16 January Ritual Artefacts Inga Hanover

Nusra Latif Qureshi, This Urge of Wanting, 2025, lithograph (plate lithograph).

Image drawn on the plates by the artist and printed in three colours from three plates by APW printers at Australian Print Workshop, Melbourne, 2025.

Gary Carsley, The Banks are Burning, 1986, oil on canvas. Artbank Collection, purchased 1986.

5 February—2 April The Banks are Burning The Banks are Burning centres on Gary Carsley’s 1986 artwork of the same name, originally commissioned as a backdrop for New York’s influential club The Limelight.

Created during the uncertainty and fear of the AIDS crisis, Carsley’s work captures the energy and urgency that defined a generation of queer expression. Recontextualised within Artbank’s collection, The Banks are Burning becomes both a tribute and a provocation, drawing a connection between the artwork’s title and the ‘bank’ of works in the Artbank collection, to the heat and pulse of the dance floor.

This exhibition explores the nightclub as a space of transformation, performance and community. It celebrates the cultural legacy of Australian LGBTQIA+ artists, and their allies, and the connection between art, identity and the spaces where we come together.

ArtSpace at Realm and Maroondah Federation Estate Gallery

Tony Scott, Jill Orr, Karen Casey, Yvonne Boag, Caroline Williams, Heather Shimmen, Allan Mitelman, Gracia Haby and Louise Jennison, Clare Humphries, Bridget Hillebrand, Teho Ropeyarn, Nusra Latif Qureshi, Deborah Klein, Vicki Couzens, Ben Reid, Judy Watson, Yuho Imura, Maria Kozic, Rona Green, Melinda Harper, Katherine Hattam, Angela Cavalieri, Judy Holding Power of Print reflects the enormous creative potential that resides in the meeting of ink and printing matrix with paper, and the continued fascination the print medium holds for artists.

The exhibition features 38 original prints by 29 artists from the Maroondah City Council Art Collection dating from 1977 to 2025.

Maroondah Federation Estate Gallery:

Until 16 January DISillusion/DISsolution megan evans

DISillusion/DISsolution is an artist’s response to the outcome of the 2023 Referendum on the Aboriginal and Torres Islander Voice. “The result of the Referendum deeply hurt many—especially my Aboriginal friends and family. I felt grief and uncertainty too. For over 15 years, my work has directly explored the importance of acknowledging and taking responsibility for my settler-colonial ancestors. This exhibition presents pieces that reflect both

Ritual Artefacts by Inga Hanover explores ancient, yet enduring folklore rituals and ceremonies of indigenous Latvian traditions through textiles, sculpture and video.

Maroondah Federation Estate Gallery:

27 January—20 March Un/Becoming Claire Bridge

In Un/Becoming, artist Claire Bridge traverses themes of disruption and subversion, playing with the improper, indigestible and unruly. Across sculptural ceramics, wearable art, painting and installation, Bridge conjures matter in motion.

Maroondah Federation Estate Gallery:

27 January—20 March Flos + Legere Kerri Wilson McConchie

Flos + Legere (Latin for flora and gather) by Kerri Wilson McConchie assembles local indigenous plants into large scale moving images and explores cycles of decay and renewal in Naarm/Melbourne’s unique plant ecosystems. Projected onto large transparent fabrics, these choreographed animations reflect the rhythms of ecological transformation while celebrating the delicate beauty of our region’s vulnerable floristic communities.

Arts Project Australia www.artsproject.org.au Wurundjeri Country, Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm.

www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm.

Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–5pm.

ArtSpace at Realm:

24 November 2025—26 January Power of Print Raymond Arnold, Martin King, Lloyd Rees, Jayne Dyer, Catherine Woo,

Chris O’Brien, Untitled, 2019, (detail), screenprint on paper.

Claire Bridge, Cup II, 2025, glazed ceramic. Photograph: Simon Strong.

31 January—7 March Houses, Spouses, Crises and Chrises 149

artguide.com.au Arts Project Australia continued...

Curated by Chris O’Brien, Sarah Lamanna and Caroline Wylds Houses, Spouses, Crises and Chrises is the 3D Real Estate fantasy of Arts Project Australia (APA) artist and co-curator Chris O’Brien. Starting with a floorplan, Chris narrates a tale, enlists assistance, and it appears before him. Real and imagined characters become cohabitants of the space. Long-time collaborator Joanna Anderson observes Chris, acting as an editor and illustrator of our auteur.

Set in and around an abandoned old house in Northcote, the show constructs a world both mundane and surreal: where furniture is stolen in slow motion, burnt beans bubble in the fireplace, and the roar of V8s echo through the TV on lazy afternoons.

A red 1971 Fiat Autobianchi waits outside - engine sputtering, ready to go, but only making it halfway down the road before the petrol runs out.

film, sculpture, and installation that celebrate identity, memory, and resilience.

Together, these exhibitions challenge perspectives, inspire change, and highlight the vibrant futures of trans, Black, and First Nations communities.

Australian Tapestry Workshop (ATW) www.austapestry.com.au Wurundjeri and Bunurong Country, 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm.

Textiles X Art, 2025, Ramona Barry & Beck Jobson, Thames & Hudson AU. textiles as both medium and message— finding new ways to engage with ancient technologies that demonstrate the expressive power of cloth to speak to urgent contemporary themes of identity, gender, migration, and environment. Featuring the work of former Artists in Residence at the Australian Tapestry Workshop, this exhibition presents the diverse practices of artists who have each explored the medium in unique and compelling ways.

Curated by Beck Jobson and Ramona Barry, the exhibition coincides with the launch of their new book Textiles x Art (Thames & Hudson AU).

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne Wurundjeri Woi-wurrung Country, 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm.

Bayley Arts www.bayleyarts.com.au Adjacency Studio, Counterpoint, 2024, woven by Amy Cornall. Photograph: Marie-Luise Skibbe.

Tourmaline, Far and Away, 2022–2025.

Courtesy the artist and ChapterNY. This summer, The Australian Centre for Contemporary Art proudly presents the international debut of two important exhibitions that honour and uplift the trans experience.

12 December 2025—15 March r e a: c l a i m e d rea 12 December 2025—15 March Tourmaline: Transcendent Tourmaline Experience r e a : c l a i m e d, a major retrospective from the acclaimed Gamilaraay, Wailwan, and Biripi digital media artist r e a, alongside Tourmaline: Transcendent, from the visionary American artist, filmmaker, and activist Tourmaline. Immerse yourself in powerful photography, 15 0

22 November 2025—3 February Propositions and Provocations – Ten Years of the ATW Tapestry Design Prize Greenshoot Consulting + N’Arweet Carolyn Briggs AM, Ground Under Repair (Emma Jackson), Hotham Street Ladies + Pop Architecture, Justin Hill, Troy Emery + Cox Architecture, Yvette Coppersmith + Anouska Milstein, Mouriya Senthilkumar + Ian Tsui, John Wardle AM Propositions and Provocations – Ten Years of the ATW Tapestry Design Prize celebrates a decade of tapestry design by leading Australian and international architects, interior designers, and artists, each responding to sites of architectural significance across Australia. Featuring tapestries, studies, and samples, the exhibition brings together highlights from the finalists of all five editions of the prize.

9 December 2025—21 February Textiles X Art John Brooks, Troy Emery, Beck Jobson, Phong Chi Lai, Louise Meuwissen, Misako Nakahira, Ema Shin, Jacqueline Stojanović Increasingly, textiles are a site for resistance, storytelling, and innovation.

Contemporary artists continue to turn to

Bunurong Country, 1 Avoca Street, Highett, VIC 3190 [Map 4] 03 9113 0610 Mon to Fri 9am–4pm, or by appointment.

Closed public holidays.

17 January—22 January Jessica Row A selection of screenprints.

Vivi Palegeorge, A Tuscan Vista, 2025, watercolour on paper, 55 x 77 cm.

Courtesy of the artist.

14 February—27 February A Painting Odessey – Vivi Palegeorge As part of Bayside Creatives Month, Bayley Arts Gallery is pleased to present works by Vivi Palegeorge in her solo exhibition A Painting Odyssey. The exhibition features a collection of watercolour and oil

VICTORIA paintings from the artist’s Australian and Mediterranean travels. Gallery open Sat to Sun during exhibition, 1pm–4pm.

Brunswick Street Gallery

Bayside Gallery

www.brunswickstreetgallery.com.au Wurundjeri Woi-wurrung Country, 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sat 10am–5pm, Sunday 11am–4pm.

See our website for latest information.

www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson Streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. Free Entry.

4 January—17 January Small Works Art Prize 2026

31 January—1 March Bayside Local Bayside Local presents an eclectic and energising mix of works that range from traditional landscape painting to textile pieces, photographic images and experimental ceramic forms.

Opening Friday 9 January, 6pm–9pm.

Godwin Bradbeer, Red Rag, diptych, 200 x 180 cm, 2025, chinagraph, silver oxide and pastel on paper.

24 January—8 February O UT: Emerge Group Exhibition Remembered Places Clive Douglas

Beechworth Contemporary Artspace www.beechworthcontemporary.com.au 89 Ford Street, Beechworth, VIC 3747 [Map 4] 0421 072 098 Fri to Tue 10am–5pm or by appointment.

See our website for latest information.

6 February—2 March Godwin Bradbeer, Terry Batt and Kevin White A dynamic and very unique regional coming together of three eminent senior Australian artists. All three gentlemen have maintained a professional art practice whilst also being instrumental in educating a generation of younger artists through Royal Melbourne Institute of Technology

Terry Batt, Dot, oil on linen, 183 x 153 cm.

(RMIT), Melbourne. Godwin Bradbeer is celebrated for his large scale figurative drawings, Kevin White for elegant, colourful ceramic vessels and Terry Batt for his bold curious figurative paintings and sculpture.

Kingston Poplar, With Beautiful Pleasure, 2021, acrylic on canvas, 101.6 x 76.2 cm.

Bayside Gallery → Bayside Local, 2023–24, installation view, Bayside Gallery. Photograph: Mark Ashkanasy.

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artguide.com.au

Burrinja

Brunswick Street Gallery continued...

www.burrinja.org.au

A Painter’s Passage Kerry Males

Cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sun 10am–4pm.

Opening Saturday 24 January, 6pm–8pm.

24 January—8 February Each in Ourselves an Island Kingston Poplar She’s a Brick House Melanie Thoren

Pia de Bruyn, Female Trouble, (install view), 2025. Photograph: James Henry.

11 October 2025—14 February Arranging by chance Abbra Kotlarczyk and Briony Galligan 11 October 2025—14 February Rest time Jingwei Bu, Emma Buswell, Kate Just, Shannon Lyons and Dhana Merritt.

Curated by Laura Couttie.

Corinna Berndt, jpg Fossils, (install view), 2025. Photograph: James Henry.

8 October 2025—14 February jpg Fossils Corinna Berndt Toni Vallance, Untitled 11/25, 2025, wax pastel, acrylic and oil pigment stick on canvas, wood, MDF board, house paint, 97.7 x 60.5 cm.

24 January—8 February Untitled (Becoming) Toni Vallance 12 February—1 March A Swell Like You Jessie Hartwig-Boutkan

Bunjil Place Gallery www.bunjilplace.com.au Bunurong/Boonwurrung Country, 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun, 10am–4pm.

Forms & Figures of Noise & Omittance Elijah Värttö

Nephew. Jinta. Restricted with Pauline Nampijinpa Singleton, 2014–2018, proof 1.

26 October 2025—1 March Revisions: Made by the Warlpiri of Central Australia and Patrick Waterhouse (UK) Over a period of ten years, groups of Warlpiri artists in Yuendumu and Nyirripi (hundreds of kilometres northwest of Alice Springs) collaborated with internationally acclaimed London-based photographer to revise a collection of maps, flags, photographs, comic illustrations and other archival material. An Australian premiere, Burrinja presents a major exhibition of these works, curated by Warlukurlangu Artists and Patrick Waterhouse.

Buxton Contemporary

EAT Isaac Hood Animula Ruby Archer

www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 Tues to Sat, 11am–5pm.

Opening Friday 13 February, 6pm–8pm.

Bundoora Homestead Art Centre www.arts.darebin.vic.gov.au/ bundoorahomestead Woiwurung Country, 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm.

See our website for latest information.

11 October 2025—14 February Female Trouble Pia de Bruyn Delivered as a part of Midsumma Festival.

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Maria Fernanda Cardoso, Spiders of Paradise: Maratus splendens, 2024, pigment print on paper, framed. Courtesy of the artist and Sullivan+Strumpf, Sydney © the artist.

29 November 2025—22 February Maria Fernanda Cardoso: Spiders of Paradise An MCA touring exhibition of video and photographic work by Maria Fernanda Cardoso.

Hany Armanious, Delphi, 2024, pigmented polyurethane resin. Courtesy the artist and Phillida Reid, London. Photograph: Hannah Smith.

VICTORIA Group show showing the beauty and disruption of a woman’s threaded needle.

Opening celebration Thursday 29 January.

ered conversations, creating a dynamic, inclusive platform for First Nations and contemporary voices, community connections, reflections and ideas.

City Gallery www.melbourne.vic.gov.au/city-gallery www.melbourne.vic.gov.au/art-andheritage-collection Wurundjeri Woi-wurrung Country, City Gallery (enter via Customer Service, Melbourne Town Hall) 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 8.30am–5pm.

Free admission.

See our website for latest information.

Hany Armanious, Mumble, 2023, pigmented polyurethane resin, gouache.

Courtesy the artist and Fine Arts, Sydney.

Photograph: Rob Harris.

21 November 2025—11 April Hany Armanious: Stone Soup In Stone Soup, leading Australian artist Hany Armanious transforms everyday objects, from crackers and candles to lightbulbs and lumps of Blu-Tack, into near-perfect doubles that unsettle what we think we know. Featuring more than eighty works spanning fifteen years of practice, this major solo exhibition invites us to pause, look closer and rediscover the joy of seeing life’s objects as if for the very first time.

Caelene Nee Glen Art Advisory and Gallery www.caeleneneeglen.com Bunurong Country, 143 Martin Street, Brighton, VIC 3186 [Map 4] 0437 776 903 Tue to Fri 11am–6pm, Sat & Sun 10am–5pm.

Victoria Floratos, The Pause in the Pulse, 2024, mixed media and eggshells on board.

19 February—8 March The Interruption

Art and Heritage Collection: City of Melbourne Art and Heritage Collection store tours (enter via Administration Building, Melbourne Town Hall)

Solo show by Victoria Floratos, curated by Nina and Pequito.

Opening Thursday 26 February, 6pm–8pm.

Cascade Art Gallery www.cascadeart.com.au Dja Dja Wurrung Country, The Church, 1A Fountain Street, Maldon, VIC 3463 [Map 1] info@cascadeart.com.au 0408 844 152 Thu to Sun 10am–5pm.

Gallery closed until 17 January.

See our website for latest information.

Maker unknown, Image 6 – Aerial view of Docklands, 1967. Photograph: Tobias Titz.

City Gallery:

2 October 2025—6 February You Are Here: Melbourne Memory-scapes

Art gallery, art supplies, eco-store and drawing sessions. Gallery space open to bookings for exhibitions and social events.

1 February—28 February Cascade Showcase

Curated by Angela Bailey, You Are Here considers a collection of 1960s black-andwhite aerial photographs of Melbourne/ Narrm and its immediate surrounds.

Originally a mapping, surveying device, the images here, invite the viewer to locate memory, place and connection. We trace ourselves here. Memory and the marks we make is further explored through the accompanying verse of writer Susie Anderson, whose words navigate the boundaries set upon the landscape.

Castlemaine Art Museum www.castlemaineartmuseum.org.au 14 Lyttleton Street, Castlemaine, VIC 3450 [Map 1] 03 5472 2292 Thurs and Fri 10am–4pm, Sat 11am–4pm, Sun 12noon–4pm.

Free admission.

See our website for latest information.

Joanna Thomas, Masculini-tea, sculpture and hand-embroidery, 2025.

29 January—15 February Threaded 2026

Located on Dja Dja Wurrung Country in the foothills of Liyanganyuk Banyul, Castlemaine Art Museum (CAM) is a leading regional institution in the sphere of bold curation, bringing art and objects from the past and present into multilay-

City of Melbourne Art and Heritage Collection Store, 2023. Photograph: Tobias Titz.

Art and Heritage Collection:

Ongoing

In May 2023, the City of Melbourne Art and Heritage Collection store officially opened 15 3

artguide.com.au City Gallery continued... in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 10 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. Free guided tours are now available. Bookings essential, visit our website for more information.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm

Curated by Joseph Gardner.

Joseph Gardner is the 2025 Visionaries curator, presenting DONE/UNDONE – an exhibition of 50+ artists.

DONE/UNDONE is one of Craft’s largest exhibitions to date – featuring artists working across medium, scale and practice, representing exceptional Australian talent. Visionaries is Craft’s annual exhibition series – presenting the future of Australian art, craft and design through the lens of one of the country’s most influential creatives.

DONE/UNDONE explores the creative process as a space of constant negotiation — a series of decisions to build, erase, repeat, or let be. It’s about that intuitive moment when a maker chooses to pause, to push further, or to dismantle entirely.

The exhibition marks the second iteration of Craft’s Visionaries exhibition series – an annual program inviting leading Australian creatives to guest curate an exhibition.

Joseph Gardner is the Style Editor at Vogue Living and the director of gallery space Studio Gardner.

correspondences www.correspondences.work

Lesley Dumbrell, Red Centre, 1974, Liquitex on canvas, 129.5 x 187.5 cm.

19 February—22 February Lesley Dumbrell at the Melbourne Art Fair

Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Thurs to Sat 11am–5pm.

Reopening 19 February.

Craft Victoria www.craft.org.au Wurundjeri Country, Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.

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This Way, That Way is curated by Emma Thomson. It will be presented across two sites, at MAF and at correspondences, until 1 March, where historical works will be shown, foregrounding the starting points, correspondences, and inspirations for the new works featured at the Fair.

Alongside the exhibitions, communitymaking and a range of events are planned.

For further information, visit our website.

This Way, That Way is presented as part of MAF’s PROJECT ROOMS initiative, a platform for non-commercial and independent spaces. It is a stage to explore the dynamic and experimental, the innovative and explorative works that Australasia’s contemporary artists are creating today.

Deakin University Art Gallery www.deakin.be/art-gallery Wurundjeri Country Deakin University Art Gallery Melbourne Burwood Campus Building FA, 221 Burwood Hwy Burwood, VIC 3125 [Map 4] Mon to Fri 10am—4pm.

Closed public holidays.

See our website for latest information.

www.dlancontemporary.com.au 40 Exhibition Street, Melbourne/ Naarm, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm.

19 February—1 March This Way, That Way

14 November 2025—7 February Visionaries: DONE/UNDONE

Inspired by Edwin A. Abbott’s eccentric sci-fi novella Flatland (1884), the project features new works of photography, sculpture, and video by Ali McCann, drawing and installation by Ravi Avasti, sound by Fia Fiell, and movement practice

by Sekar Sari together with historical works of sculpture by Yoko Ozawa and Ruby Brown.

D’Lan Contemporary

Ali McCann, Slurry (After Maar & Matter), 2024, framed archival pigment print, 70 x 47 cm. © Ali McCann.

Photograph: Pier Carthew

full richness, reason and intuition, memory and imagination.

In 2026, correspondences arrives at Melbourne Art Fair (MAF), a new home away from home from 19–22 February, with This Way, That Way, a group presentation examining thinking, in its

Janet Koongotema.

Portrait: Gus Davidson.

28 February—2 April Archer River Country Janet Koongotema D’Lan Contemporary, in collaboration with Wik & Kugu Art Centre, is honoured to present Archer River Country —

VICTORIA

Carole Wilson, Islands of Hope, 2024, hand-cut and stitched maps on paper, 215 x 160 cm. Courtesy of the artist.

13 February—10 April SCOPE26: VISUAL ARTS LECTURERS Everywhen Art → Shirley Purdie (Birrmarriya), My Story Growing up at Mabel Downs, ochres on canvas, 80 x 100 cm. Courtesy of the artist and Warmun Art Centre. a joyful celebration of the ancestral landscape seen through the eyes of Janet Koongotema. Born in 1938, Koongotema is recognised as the most senior Wik-Mungkan elder of the Winchanam Ceremonial Clan and the custodian of several important creation sites of totemic significance including the dilly bag, fishing net, Burdekin Duck and White Bellied Sea Eagle. Janet carries forward knowledge that is central to Winchanam Clan identity and cultural continuity.

Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au

Everywhen Art www.everywhenart.com.au Bunurong Country, Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318 Until 11 January, 7 days a week, 11am–4pm, from 12 January, Fri to Sun, 11am–4pm.

27 December 2025—1 February SUMMER 2026 Shirley Purdie (Birrmarriya), Amanda Gabori and 6 Ernabella artists Solo exhibitions by senior Warmun artist Shirley Purdie and next gen Mornington Island artist Amanda Gabori, plus 6 senior and next gen artists from Ernabella Arts.

All shows running concurrently through January.

7 February—1 March Bulwutja & Gunga (Water Yams & Pandanus) Muluymuluy Wirrpanda In partnership with Buku-Larrnggay Mulka.Featuring botanical barks by artist, ranger and cultural leader Muluyulu Wirrpanda. Sister to the late Mrs Mulkun Wirrpanda, Muluymuluy shares the same concerns as those of her late sister - to

An important Federation University Arts Academy exhibition in Ballarat, SCOPE showcases highly skilled work created by Visual Art lecturers who sustain an ongoing rigorous artistic practice across a broad range of disciplines, whilst maintaining their important contribution and professional commitment to art education.

Mulumuluy Wirrpanda, Bulwutja, ochres on bark, 93 x 85.5 cm. Courtesy of the artist and Buku-Larrnggay Mulka. document through art, the botanical characteristics, traditional usage and creation histories of the unique and often threatened plants of their region and to inform younger generations of the health-giving qualities of these plants.

Her lace like ochres on bark represent two important food and plant sources the Buḻwutja (water yam) and Gunga (Pandanas), both of which also have strong cultural significance.

Federation University Post Office Gallery www.federation.edu.au/pogallery Wadawurrung and Dja Dja Wurrung Country, Post Office Gallery, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 See our website for latest information.

Wurundjeri Woi-wurrung Country, Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm.

Free admission.

Five Walls Gallery & Projects www.fivewalls.com.au Level 1 / 119 Hopkins Street, Footscray, VIC 3011 [Map 4] 03 904 36704 Wed to Sat 12pm–5pm, or by appointment.

Melbourne Convention and Exhibition Centre, 2a Clarendon Street, South Wharf, Melbourne:

19 February—22 February Melbourne Art Fair Sean Hogan and Keisuke Matsuura

Sean Hogan and Keisuke Matsuura each use minimal abstraction to explore the tension between structure and flux. Hogan draws on systems theory, geometry, and music, while Matsuura engages magnetic force and the Japanese concept of ku (emptiness, impermanence). Hogan often begins with a poetic spark — a word, image, or gesture — and develops frameworks 15 5

artguide.com.au Five Walls Gallery continued...

pressure on form. Together, Hogan and Matsuura offer a dialogue between visible form and invisible structure. Using restrained means — limited colour and pared-back geometry — they create shifting experiences that highlight how perception is shaped by unseen forces and systems.

Main Gallery:

6 February—28 February Daniel Hollier 6 February—28 February All That Returns Joanna Buckley, Laura Dubsky, Rebecca Jones, Jacinta Maude and Elif Sezen

Sean Hogan, Sky fader, 2025, synthetic polymer aerosol on acrylic sheet, aluminium frame, 60.9 x 43.2 cm. that balance order and contingency.

His new Disconnect Paintings, created in reverse with aerosol on acrylic sheeting, recall both cave painting and digital noise. Guided by invisible grids and dual colour fields, the works evoke moments of clarity and disorientation, probing how poetic impulse and systematic structure can coexist.

Matsuura similarly positions geometry within conditions of change. In his ongoing Jiba-Pek series, monochrome canvases are subtly deformed by hidden magnets, revealing geometric clarity as inherently unstable. He also presents a new floor-standing sculpture that uses magnetic fields to activate space threedimensionally, exerting visible and invisible

All That Returns brings together five Naarm (Melbourne)-based artists whose practices connect through abstraction and a shared sensitivity to the poetic nature of things. Working across sculpture, assemblage, drawing and digital media, the artists explore the intersections of material, memory and emotion. Presented together, their works create a multidimensional dialogue shaped by subtle correspondences and recurring gestures.

6 February—28 February 2026 Graduate Award Exhibition

Frankston Arts Centre www.thefac.com.au Bunurong Country, 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm.

Flinders Lane Gallery www.flg.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm.

Closing 3pm on the final Saturday of the exhibition.

20 January—7 February Summer Stockroom Works from Warlukulurlangu and Ernabella Communities and contemporary Australian artists.

10 February—5 March in-Coherence Yehonatan Koenig

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Agneta Ekholm, Michael Gromm, Jacob Leary, Dónal Molloy-Drum, Peter Syndicas and Leah Thiessen.

Presenting outstanding graduating artists from the Victorian College of the Arts, RMIT University, and Monash University.

Theo (Faye) Nangala Hudson, Warlukrlangu Jukurrpa, 2024, acrylic on canvas, 183 x 152 cm.

Elif Sezen, Presence #15 , 2025, archival print on Hahnemühle photo rag metallic (framed), 105 x 67 cm, edition of 5 + 2 AP.

Yehonatan Koenig, Untitled, 2025, ink, graphite, thread, acrylic and code on paper, 150 x 200 cm.

10 February—5 March Organic Abstractions Featuring recent works by Melissa Boughey, Jo Davenport,

Hongli Li, Poplar Tree, watercolour on paper.

13 November 2025—31 January Life in Tranquillity Hongli Li Hongli Li, FAC Open Exhibition Winner 2024, invites viewers into a quiet world shaped by his enduring connection with trees which are seen as symbols of resilience, patience, and inner peace.

Through meticulous sketches and paintings, he pays tribute to the quiet strength of nature and the pursuit of a tranquil, artistic life. This exhibition is not just about trees, it is about standing tall in the face of discouragement and finding serenity in one’s true calling.

VICTORIA

16 October 2025—14 February Yamadji Spirit Uncle Beamo

Gallerysmith www.gallerysmith.com.au

Yamadji artist Uncle Beamo (Kunda) presents Indigenous contemporary works.

Self-taught, his art blends ancestral spirits, animals, and traditional symbolism, celebrating his journey of reclaiming cultural identity. Represented by Baluk Arts.

40 Porter Street, Prahran, VIC 3181 [Map 5] 03 9008 4592 Tue to Sat 11am–5pm.

See our website for latest information.

With more than 600 artworks on-site in our state-of-the-art Prahran gallery at any time, our team can assist you to find the perfect artwork that meets your aesthetic preferences, aligns with your interests and satisfies your art collecting goals.

29 January—21 February Evening Neville French

Micca, Good Girl ¿, 2024, oil on wood panel, 105 x 76 cm.

29 January—21 February The Wholeness In-between Gosia Wlodarczak

20 January—31 January Going Where You Take Me Micca Patrick Rychner, Screw Top, giclee print on Canson Rag.

30 October 2025—14 February Bloomastics Patrick Rychner A photographic exhibition showcasing still-life floral compositions with a twist.

Each interwoven with found plastic debris collected from the shores of the Mornington Peninsula.

3 February—14 February Memories; Vivid, False and Lost Alison Russell 17 February—28 February Whispers Woven in Water, Wings and Wildflowers Pam Davison

Cube 37 – Glass Cube, Dawn to Dusk:

11 December 2025—21 February Somewhereville: Home is where the art is…

Tina Strafford

Somewhereville is a suburb of uniqueness, imagination, and vibrant present energy. It’s a place where what was once discarded is transformed into homes— living sculptures built from reclaimed materials, standing as joyful proof of community spirit.

Cube 37 – Cube Gallery:

29 January—21 February Breath of Nature Brigid Burke and Steven Broughton

Marion Harper, The Fetch of Space, 2025, 72 x 60 cm, oil on oak panel.

Celia Bridle, Independently Combining, 2025, framed digital print on archival paper, 29.7 x 42 cm.

17 February—28 February Independently Combining Celia Bridle

26 February—21 March Acts of Incline Marion Harper 26 February—21 March Renegade Women Eva Fernandez

Mixed media and oil paintings, reflecting abstract and contemporary perspectives on landscape and environment. Through layering, colour, and the use of natural materials, the works inspire reflection on ecological beauty and human impact on nature. Live audiovisual performance and exhibition opening event: Saturday 7 February, 2pm–4.30pm. Online Registration Essential or 03 9784 1060.

fortyfive downstairs www.fortyfivedownstairs.com 45 Flinders Lane, Woiwurung Country, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–7pm, Sat 12pm–4pm.

See our website for latest information.

Gallerysmith → Gosia Wlodarczak, Frost and Shadow Drawing Performance with the Modus Operandi for Contagion, 2021.

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Gallery Unbound

Geelong Gallery

www.galleryunbound.com.au

www.geelonggallery.org.au

497 High Street, Northcote, VIC 3070 0409 362 052 Wed to Sat 10am–4pm, Sun 12noon–4pm.

See our website for latest information.

Wadawurrung Country, 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Open daily 10am–5pm.

See our website for latest information.

screenprinting, Abstraction and political art that aligned with the feminist and social justice activism of their time. This exhibition, which is drawn from prints held in the Geelong Gallery and Colin Holden collections, celebrates the 50th anniversaries of the United Nations International Women’s Year and Australia’s Women’s Art Register.

You Exhibition.

7 January—25 January You Exhibition A group exhibition; the year ahead starts with you. Opening celebrations Friday 9 January, 6pm–8pm.

28 January—15 February Print 2 Metal A group exhibition; where metal meets imagination. Opening celebrations Friday 20 January, 6pm–8pm.

Preksha Uppal.

28 January—15 February Preksha Uppal A solo exhibition. Opening celebrations Friday 20 January, 6pm–8pm.

18 February—15 March Wild Sovereign Untamed, unleashed, unshakeable.

An international women’s day exhibition.

Opening celebrations Friday 20 February, 6pm–8pm.

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David Rosetzky, Composite portrait 4, 2015, silver gelatin photograph; edition 2 of 6 (+ 2 A/Ps). Geelong Gallery, purchased with funds generously provided by Geelong Contemporary, 2017.

Until 15 February A Moment in Time— Collecting Contemporary A Moment in Time—Collecting Contemporary celebrates works acquired over the last decade through the fundraising efforts of Geelong Contemporary, one of the Gallery’s key support groups. Since its establishment in 2016, Geelong Contemporary has focussed on acquiring works by Australian artists working across diverse media, whose works reflect the issues of our times. The exhibition includes sculptures

by Louise Paramor and Nicholas Mangan, photographs by David Rosetzky, Christian Thompson, Rone, Hoda Afshar, and Pat Brassington, moving image works by Charlie Sofo, Gabriella Mangano & Silvana Mangano, and Kaylene Whiskey, textiles

by Rachel Hine and Kait James and multimedia works by Rose Nolan, Maree Clarke, and Tammy Gilson.

Until 22 February New Directions—Prints by Australian Women Artists 1960s–2000s New Directions explores the creative responses of Australian women artists to the cultural and socio-political shifts that impacted their lives in the second half of the twentieth century. Several of the artists included in this exhibition were central to the revival of printmaking during the 1960s, which saw the broader participation and acknowledgment of women artists in the production, teaching and promotion of Australian printmaking. These women were also at the forefront of new printing techniques and art movements that included

Richard Lewer, The Last Supper at the back of the Geelong Gallery 2025, synthetic polymer paint on unprimed canvas.

Photograph: Christian Capurro. © The artist, Hugo Michell Gallery, Jan Murphy Gallery, Suite Gallery.

Until 1 March Richard Lewer—I Only Talk to God When I Want Something Multi-disciplinary artist Richard Lewer works across painting, drawing and animation to explore the human condition. Through his highly autobiographical practice, Lewer illuminates universal and challenging subjects, such as crime, religion, health, and grief. This exhibition brings together key series that reflect Lewer’s lived experience of Catholicism and the rituals and moral framework that underpin it.

Extending on the exhibition’s themes, a new series of paintings commissioned by Geelong Gallery and inspired by the Last Judgement will be premiered.

Gertrude www.gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tue to Sun 11am–5pm.

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12noon–5pm.

See our website for latest information.

Gertrude Contemporary:

7 February—21 March Tracing a gilded trail Cindy Huang

VICTORIA Kastellorizo’s merchant maritime economy saw the establishment and expansion of long distance trade routes which brought wealth and prosperity, subsequently publicly displayed through the lavish fabrics, and gold and silver jewellery the women would wear. As the centuries and decades passed, the availability of these luxuries fluctuated with shifting fortunes and political tides.

Augusta Vinall Richardson, sketch for Temporary Configurations, 2025. Image courtesy the artist and The Commercial, Sydney © the artist.

Gertrude Contemporary:

7 February—21 March Temporary Configurations Augusta Vinall Richardson

Kenny Pittock, The World’s Gone Pear Shaped, 2022, durable PVS coated vinyl, fan, internal lighting. Courtesy tof he artist, Sydney Contemporary and [MARS] Gallery, Melbourne. © The artist.

6 December 2025—22 February Synchron City 6 December 2025—22 February Olive Cotton and her contemporaries (NGA Touring Exhibition) Jordan Dymke, All Sides of Me, 2025.

Courtesy of the artist and Arts Project Australia, Naarm Melbourne, © the artist.

Gertrude Glasshouse:

25 January—24 February Arts Project Australia x Gertrude: Who am I? Jordan Dymke

Glen Eira City Council Gallery

Ongoing The Art of Annemieke Mein

Hellenic Museum www.hellenic.org.au Wurundjeri Woi-Wurrung Country, 280 William Street, Melbourne VIC 3000 [Map 2] 03 8615 9016 Open daily 10am–4pm.

See our website for latest information.

www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm.

See our website for latest information.

www.gippslandartgallery.com Gunaikurnai Country, Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm.

See our website for latest information.

www.heide.com.au 7 Templestowe Road, Wurundjeri Country Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm.

See our website for latest information.

10 October 2025—1 March Nell: Face Everything 26 November 2025—9 March John Nixon: Song of the Earth 1968–2020 The first major survey to trace Nixon’s career from his beginnings in the late 1960s and 1970s as a minimal and conceptual artist, through to his striking 1980s installations combining paintings with readymade objects, and into the final decades of his life, marked by continued experimentation and the expansion of his painting practice.

www.thehiveoceangrove.com.au Wadawurrung Country 41 Smithton Grove, Ocean Grove, VIC 3226 [Map 1] 0417 116 216 Fri to Sun, 10am–4pm, or by appointment.

See our website for latest information.

12 February—8 March International Baccalaureate Visual Arts Exhibition

Gippsland Art Gallery

Heide Museum of Modern Art

The Hive Gallery

19 January—23 January Kids and Families Takeover

12 February—8 March Together in Harmony Jenny Zhe Chang

Kastellorizo: 100 Years Adorned explores the history and enduring cultural significance of the iconic apparel of Kastellorizian women, for both the island and its diaspora communities, through a selection of clothing and jewellery generously loaned from members of the Kastellorizian community of Melbourne.

Now showing Rituals: Gifts for the Gods Unveil the mysteries of ancient Greece at this new international exhibition, presented in partnership with the Hellenic Ministry of Culture. Featuring 119 remarkable objects on loan from fifteen of Greece’s most renowned state collections, Rituals is an exploration of powerful traditions, treasured objects, and humanity’s enduring desire to commune with the divine.

From 11 October, 2025 Kastellorizo: 100 Years Adorned On the island of Kastellorizo, the iconic and opulent adornment of its women has, for generations, vividly reflected the island’s history, economy, geography and culture.

Kaz Shirley, Hiding in Plain Sight, acrylic on linen, 80 x 80 cm.

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9 January—1 February Dreaming in Colour Kaz Shirley

bridges concrete reality with an awareness of the mystery of spirit which resides in all living beings. Her work explores her environment and our connectedness to it through her fascination with textural surfaces - feathers, skin, leaves, hair and petals - defined by the ever-changing enigma of atmosphere.

Hyphen—Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm.

Jane Millington, Envisage, oil on linen, 100 x 100 cm.

6 February—1 March Sanctuary Jane Millington and Kirsty Manger

21 November 2025—22 February Place In Between Nina Machielse Hunt

Horsham Regional Art Gallery www.horshamtownhall.com.au Wotjobaluk, Jaadwa, Jadawadjali, Wergaia (Were-guy-ya) and Jupagulk Country, 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

See our website for latest information.

29 November 2025—18 January Ako ay may kaibigan, kasama ko kahit saan (I have a friend; where I go, they go) Celline Mercado, Jermaine Ibarra and Jus­t yne Allen In this exhibition, the concept of the shadow symbolises the lingering spectres of colonial history that follow the Filipino diaspora—Australia’s fifth-largest migrant community. Artists Celline Mercado, Jermaine Ibarra, and Justyne Allen engage with familiar symbols of domesticity and architecture—the bed, the window, the TV—to explore Filipino identity, cultural visibility, and ancestral legacy.

29 November 2025—18 January Brown Pillars II Aida Azin Brown Pillars is an ongoing body of work by artist Aida Azin that interrogates colonial hierarchies within the arts. First presented in 2017 at Firstdraft Gallery, Sydney, where it critiqued institutional racism in the art world, the project now returns to Incinerator Gallery in 2025 to examine cultural production and labour relations shaped by the Global South. Drawing on her experiences as a ‘third culture kid’ of Filipino-Iranian heritage on Aboriginal lands, Aida’s practice develops through studio painting, journal writing, and community conversations.

Vicki Luke, Our Backyard.

12 December 2025—8 March Our Backyard Vicki Luke

Incinerator Gallery www.incineratorgallery.com.au

Anne Middleton, Guy, 2018, oil on linen, 192 x 192 cm. Collection: Slow Burn.

Courtesy of the artist.

180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Wed to Sat 11am–4pm.

See our website for latest information.

18 October 2025—1 February Beyond feeling; the texture of time Anne Middleton

29 November 2025—18 January …and there’s no one around to hear it dylan marelić

Beyond feeling; the texture of time surveys the deeply personal and poetic aesthetic of Australian artist Anne Middleton over a period of thirty-five years. This exhibition encompasses oil paintings from the past, informed by her studies of European painting techniques. Alongside recent innovations in her chosen media, this exhibition explores the macrocosm in sublime detail. Living on a volcano in South West Victoria, Middleton describes her work as teetering on that mercurial edge that

...and there’s no one around to hear it is an exhibition exploring power structures and ways nature is shaped through human systems. Artist dylan marelić approaches organic materials as living records— archives of environmental pressure, disruption, and resilience. The exhibition combines sculpture and sound to animate these arboreal narratives. Metal armatures are shaped to follow the natural curves of fallen branches, preserving their form as enduring traces.

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Priyageetha Dia, Blood Sun II, 2024, 9:16 video, colour, 30 sec loop.

31 January—28 March Molten Tongues Ali Tahayori, Ara Dolatian, Dr Bon Mott _/\_, Cheng Ran, Dr Christian Thompson AO, Claybia (Cassandra Chilton and Molly O’Shaughnessy), Diego Ramírez, Diogo Evangelista, Emily Parsons-Lord, Felix Saturn, Glynn Urquhart, Hannah HallamEames, Iluka Sax-Williams, Ioanna Sakellaraki, Joshua Serafin, Jenna Lee, Makiko Ryujin, Michael Jalaru Torres, Moorina Bonini, Morehshin Allahyari, Naomi Blacklock, Nicholas Burridge, Priyageetha Dia, Sha Sarwari, Shireen Taweel, Yhonnie Scarce, and Yumemi Hiraki.

VICTORIA Molten Tongues speaks in the primal, alchemical language of fire—a force that warms, consumes, ignites, transforms.

Fire is at once origin and omen, a source of life and an agent of destruction. This exhibition brings together local and international artists who engage fire as material, metaphor, and memory—tracing its roles across ritual and industry, ceremony and combustion, technology and ecology.

Across cultures and temporalities, fire has shaped worlds: from firestick farming to funerary burning of ‘hell banknotes’ to the industrial architectures of waste and energy, Molten Tongues explores the many tongues through which fire speaks— molten, flickering, fierce. This exhibition is participating in Midsumma Festival’s keynote program.

Ivanhoe Library & Cultural Hub www.banyule.vic.gov.au/ILCH Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Tue to Sun, 10am–5pm.

Art Gallery 275:

26 August 2025—18 January Early Impressions – Painters of the Heidelberg School from the National Collection Banyule Council is proud to present an exhibition of paintings by the Heidelberg School of artists. These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. #artacrossaustralia.

This curated selection of artworks from the National Gallery Collection has been hand-picked for their portrayal of scenes in and around Banyule. For the first time

Ivanhoe Library → Jill Orr, Same Place Different Time – Making Waves, 2025.

Photographer: Christina Simons for Jill Orr ©. since they were painted here over a century ago, we are pleased to display these paintings by Arthur Streeton, Clara Southern, Louis Buvelot, Charles Conder and Tom Roberts in Banyule.

With thanks to the Sharing the National Collection, we are bringing the Heidelberg School back to Heidelberg, sharing these treasures of local history with our community. Following this initial exhibition, the artworks will remain on display until August 2027.

Indigo Gordon, and Josie Sullivan.

In celebration of Midsumma Festival.

Loft 275:

5 February—1 March Still, We Bloom Isabella Wang This exhibition presents Isabella Wang’s practice across multiple media, including Chinese ink paintings on Xuan paper, ceramics, architectural line drawings, and watercolour with charcoal. Opening night Saturday 7 February, 6pm–8pm.

Islamic Museum of Australia www.islamicmuseum.org.au Art Gallery 275:

15 Anderson Road, Thornbury 3071 [Map 5] 1300 915 171 Monday to Saturday 10am–4pm.

The colonial occupation gave opportunities to millions in the hope of a Promised Land, however by contrast First Nation Peoples and Place continue to experience the consequences. The photographs in Whose Paradise? are a meditation on the idea of progress in relation to selected Heidelberg School paintings on display concurrently in the gallery. Opening night Saturday 7 February, 6pm–8pm.

Through contemporary and traditional works, the Museum celebrates Islamic contributions to art, science, and civilisation while amplifying the voices of Australian Muslim artists.

6 February—12 April Whose Paradise?

Jill Orr

Loft 275:

11 December 2025—11 January New Hope New Hope Collective New Hope is a long-running and well-loved street & graffiti art program for young people in Banyule, provided by Banyule Youth Services. This exhibition is an annual showcase of works made across the year, and can be seen as echoes and moments in the continuous artistic journeys of the New Hope crew.

Loft 275: Arthur Streeton, The selector’s hut (Whelan on the log), 1890, National Gallery of Australia, Kamberi/Canberra, purchased 1961.

15 January—1 February Top 10 Small Dogs This exhibition is of the testament of 10 small dogs by artists Molly Barczak,

2024 FAMA Award recipient, Almaz Lebdeh, Study of the draped women.

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12 December 2025—21 February Future Australian Muslim Artists 2025 This annual exhibition showcasing shortlisted works by emerging Muslim-Australian creatives in Years 10–12. Celebrating the next generation of artistic talent, FAMA highlights diverse interpretations of visual and Islamic art forms, offering a vibrant glimpse into the cultural heritage, creative curiosity, and evolving identities of young Muslim artists today.

Jump Left www.jumpleft.com.au Ground Floor, 673 Bourke Street, Melbourne VIC 3000 [Map 2] 0437 448 758 Tue to Fri 11am–4pm, Sat 11am–3pm.

See our website for latest information.

Transforming the arts by building sustainable pathways for diverse artists to engage in and shape contemporary art.

Chris Siu, Untitled, Hong Kong, 2021, from the series Then We Keep Living.

Jewish Museum of Australia: Gandel Centre of Judaica

G1 & G2 Gallery:

6 November 2025—10 January Then We Keep Living Chris Siu Dream and Health, Women’s Knowledge of Plants Sofie Dieu and collaborators

www.jewishmuseum.com.au Boonwurrung Country, 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri & Sun 10am—5pm.

Closed on Jewish & public holidays.

See our website for latest information.

16 January—14 March Ex Libris (from the collection of) Christina Lowry My Elder Sister Abhijit Pal Outdoor Lightbox Gallery:

16 October 2025—15 January Salt / Water / Rock Josephine Cole, Matt Harvey, Andrew Paranavitana, and Gigi and Robin Williams

Tania Babic, Mindscape, 2025, ballpoint pen on paper, 29.7 x 21 cm.

Courtesy the artist. Image credit: Tania Babic.

Until 24 January MULTIPLICITY

Tammy Kanat, Circle of Her, installation view of Tamar, Miriam and Lilith at the Jewish Museum of Australia Photograph: Dazey Studio.

18 September 2025—22 March Tammy Kanat: Circle of Her Come into the Circle of Her this Spring & Summer with Tammy Kanat. The acclaimed fibre artist’s most ambitious body of work to date, Circle of Her explores female archetypes through large-scale woven installations. Immersive, sculptural and deeply personal, it’s a meditation on material storytelling, connection and renewal – and the latest Eva and Marc Besen Contemporary Artist Commission to be presented at the Museum. Along with archetypes like Lilith, Miriam, Sarah & Ruth, the sculptures pay tribute to the women in the artist’s own life – her mother, daughters, sister, friends and fellow artists – all part of a circle that holds, nurtures and binds. For at its heart, Circle of Her is about honouring the threads that shape us, the women we come from, those beside us and the ones we carry within.

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Jump Left at Donkey Wheel House.

Celebrating creativity and diversity of artists with disabilities through an inclusive platform. Jump Left’s MULTIPLICITY open call exhibition features submissions from Australian artists, fostering connections with broader audiences.

Supported by Creative Victoria and venue partner Impact Neighbourhoods.

Katie Paine, A Circular Exchange 1, 2025, archival inkjet print. Image courtesy of the artist.

16 January—14 March A Circular Exchange Katie Paine The Bridge:

Kingston Arts www.kingstonarts.com.au G1 & G2 Gallery, The Bridge (Visible 5pm to 5am) Outdoor Gallery (Open 24/7) Kingston Arts Centre, 979-985 Nepean Highway Moorabbin, VIC 3189 [Map 4] 03 9556 4440 Wed to Sat 11am–4pm, Free admission.

G3 Gallery, Shirley Burke Theatre, 64 Parkers Road, Parkdale, VIC 3195 Wed to Sat 11am–4pm, Free admission.

6 November 2025—10 January How Far the Light Reaches Jack Lee 16 January—14 March Sublime Light Shaun Wilson G3 Artspace:

28 November 2025—31 January Here//There Michelle Merrifield

Koorie Heritage Trust www.kht.org.au Birrarung Building, Fed Square, Cnr Swanston & Flinders Streets, Melbourne, VIC 3000 [Map 2] 03 8662 6300 Open daily 10am–5pm.

VICTORIA

Latrobe Regional Gallery www.latroberegionalgallery.com

Installation view, Koorie Art Show 12, 7 December 2024–23 February 2025, Koorie Heritage Trust (KHT), Birrarung Building, Fed Square. Photograph: Christian Capurro, 2024.

6 December 2025—22 February 13th Koorie Art Show

La Trobe Art Institute www.latrobe.edu.au/art-institute 121 View Street, Djadjawurung Country, Bendigo, VIC 3550 [Map 8] 03 5444 7272 Tue to Fri, 10am–5pm, Sat and Sun 12noon–5pm, Mon by appointment.

See our website for latest information.

24 July 2025—25 January ‫ سفر نصیب‬/ Safar Naseeb / Fated to journey Elyas Alavi and Fazil Mousavi.

Curated by Jacqui Shelton.

Gunaikurnai Nation, 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm.

A Gallery for everyone with an exciting, seasonal program of free exhibitions showcasing local and national artists. As the home of one of regional Victoria’s largest art collections, we delight in finding new ways to share it with locals and visitors to our region. We also host workshops, artist talks, events, and creative programs for all ages.

We’re especially passionate about fostering the next generation of creative talent. We welcome families to explore our exhibitions and bring the kids to the Lane our dedicated space for kids under 10.

24 January—24 May Homeground: Continuing Connections The Kurec Family Katarina Kurec, Lisa Kurec, Erica Kurec, Kiera Brew Kurec, Frank Kurec, Casey Brew Kurec, Steve Kurec, Anne Kurec, Jessica Duffy, Olivia Kurec, Mary Buchanan, Ashley Buchanan, James Buchanan, Emil Toonen, Melanie Kurec, Tessa Bodman, Ruben Benn, Calef Benn 24 January—24 May Janina Green: A Country Practice 7 February—7 June Lucy Hersey: Earthsong 7 February—7 June The Land as Witness

Latrobe Regional Gallery Collection Exhibition

4 October 2025—11 January Between Waves Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Hayley Millar Baker, Jazz Money, Mandy Quadrio, Cassie Sullivan, this mob 18 October 2025—26 January Bloom Ros Forster, David Preston, Utagawa Hiroshige, Helen Ogilvie, John Murray, Ilma Duncan, Isabel Huntington, Arthur Boyd, John Mutsaers, Christian Thompson, Barbara Hanrahan, Rosalind Atkins, Louiseann King, Susan Purdy, Tony Hanning, Bruce Nuske, Victoria Howelett, Dr. Aunty Eileen Harrison, and Tiffinie-Jane Gerritsen 25 October 2025—18 January Reflections on Inversion Karen Zipkas 25 October 2025—18 January Still Breathing Liam Maree Rogers

Juli Haas, Ritual, 1991, watercolour.

Latrobe Regional Gallery Collection, purchased 1994.

24 January—17 May Unpacking Home

Latrobe Regional Gallery Collection Exhibition

Brigid press image, courtesy Alice Heyward and Oisín Ó Manacháin/Monaghan.

Photograph: Agustín Farias.

19 November 2025—15 February Le Ceol Dr Lou Bennett AM, Harley Dunolly-Lee, Mirdidingkingathi Juwarnda Sally Gabori, Alice Heyward and Oisín Ó Manacháin/ Oisín Monaghan, Susan Hiller, Tamsen Hopkinson, Mary Lloyd Jones and Ciwas Tahos.

Curated by Jacqui Shelton.

29 January—26 July Raf McDonald Biannual Façade Commission

Latrobe Regional → Katarina Kurec, Yellow Daises with Purple Salvias, texta on paper, dimensions variable. Documentation by Kiera Brew Kurec.

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artguide.com.au We'll be home by daybreak | 1995 - 2025, a significant survey exhibition by the esteemed artist Wayne Magrin.

This comprehensive exhibition spans thirty years of Magrin's remarkable career, offering an in-depth look at his artistic evolution and enduring themes.

Curated by James Drinkwater.

Linden New Art www.lindenarts.org Bunurong Boon Wurrung Country, 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tue to Sun 11am–4pm.

See our website for latest information.

Lennox St. Gallery → Wayne Magrin, We'll be home by daybreak.

Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm.

Other times by appointment.

Gallery closed January, Reopening 3 February.

contemporary and Aboriginal painting, sculpture, works on paper and decorative arts. Sourcing major European masterworks upon request.

Lennox St. Gallery www.lennoxst.gallery Wurundjeri Woiwurrung Country, 322–324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm.

Lennox St. Gallery has become a pivotal space for contemporary art, showcasing a dynamic array of established, mid-career, and emerging artists from Australia and Internationally.

Marian Tubbs, The lotus eaters (wellness), 2025, Lenticular photograph, 82 x 62 cm, (framed). Courtesy of the artist and STATION, Melbourne + Sydney.

15 November 2025—1 February Coral Futures Erub Arts, Helga Groves, Laresa Kosloff, Nicholas Mangan, Rachel O’Reilly, Marian Tubbs

3 December 2025—31 January Summer Salon | Little Treasures Group Show This summer, the gallery presents Summer Salon | Little Treasures, an exhibition that turns its attention to the quiet strength of small-scale artworks. These pieces show how limited dimensions can focus an artist’s vision, allowing detail, mood and intention to come through with clarity and purpose. Featuring both represented and invited artists, Little Treasures showcases works that prove power is not dependent on size. Instead, these artists employ intimate dimensions to amplify atmosphere, detail and immediacy.

Carolyn Craig, DIRT – soiled, remediation – my mothers broom, 2022. Courtesy of the artist.

Helen S. Tiernan, Sea - Saving Nemo, 2025, oil on canvas, 152 x 102 cm.

4 February—28 February We’ll be home by daybreak | 1995–2025 Wayne Magrin

4 December 2025—11 January speaking to you - proximal relations Carolyn Craig

Lauraine Diggins Fine Art specialises in Australian colonial, impressionist, modern,

We are delighted to announce that Lennox St Gallery is pleased to present

5 February—8 February Melbourne Art Print Fair 2026

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VICTORIA

19 February—29 March Recent collages and paintings Andrée van Schaik 26 February—24 May Linden New Art Façade Commission Maree Clarke 26 February—24 May Time Moves Through These Walls: 40 years of Linden New Art

Liminal Gallery + Lab

Manningham Art Gallery

Mailbox Art Space

www.manningham.vic.gov.au/gallery

141-143 Flinders Lane, Melbourne/Naarm VIC 3000 [Map 2] Mon to Fri 10am–5.30pm, Sat 11am–5pm, Sun 11am–4pm.

Visit our socials for latest information.

Wurundjeri Country, Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm.

Mildura Arts Centre

www.liminalgalleryandlab.com

www.milduraartscentre.com.au

Djilang, 64-66 Ryrie Street, Geelong VIC 3220 [Map 1] Wed to Fri 10am–3pm, Sat 11am–2pm.

Latji Latji Country, 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open daily 10am–4pm.

See our website for latest information.

Liminal Gallery is a Geelong-based, commercial gallery which nurtures artists’ dreams. We are a destination for creative excellence aiming to push the boundaries of contemporary art. ​Liminal Lab is a premium photographic laboratory providing competitive, value-for-money film processing. We process colour, and black and white 35mm and 120 format film.

McClelland Sculpture Park + Gallery www.mcclelland.org.au Bunurong Country, 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm.

Image courtesy of the artist and Manningham Art Gallery.

4 February—2 May Cosmic Rainbows

A light and sound journey through the surreal. In this immersive multi-sensory exhibition visitors will be transported into a surreal, shifting world, where the lines between human, animal, time, and nature dissolves. Through a large-scale projection, a spatial soundscape, and mindful meditative activities, visitors are invited to sit back and be transported to another world somewhere between sleep and waking, inviting a moment of stillness or inward exploration. The projection work is created

by Illuiminart, Stories in Light with artwork by visual artist and musician Ben Street and accompanying soundscape by electronic music producer Christobel Elliott.

Mary Cherry Gallery www.marycherry.com.au

Meagan Streader, untitled (after eileen), 2025, polylactic acid, textured glass, LED bulbs, electric components, 48 x 38 x 13 cm. Courtesy of the artist.

126 Rupert Steet, Collingwood, VIC 3066 [Map 3] Thurs to Sat 12noon–5pm, or by appointment.

22 November 2025—22 March Maquette: Sculpture Award The inaugural Maquette: Sculpture Award brings together 62 sculptures by contemporary Australian artists. One entry will be awarded $20,000 and will become part of McClelland’s renowned permanent collection, which is focussed on modern and contemporary Australian sculpture. The title of this new sculpture prize refers to the scale of the entries— no more than 50 centimetres in any dimension. Finalists were selected by artist Lisa Roet and McClelland’s Artistic and Executive Director Lisa Byrne, with the winning work to be chosen by acclaimed sculptor John Meade.

www.@mailboxartspace

Ruth O'Leary.

19 February—22 February Melbourne Art Fair Ruth O'Leary

George W Lambert, Hera, 1924, oil on canvas. National Gallery of Victoria, Melbourne Felton Bequest, 1925.

26 October 2025—1 February Extraordinary Women: Works from the NGV Collection Extraordinary Women: Works from the NGV Collection celebrates the brilliance, defiance and creativity of women across centuries. Drawn exclusively from the NGV Collection, the exhibition offers a compelling reflection on how female identity has been shaped by artistic representations of women. Organised into four thematic sections, the exhibition traces the ways women have navigated and reshaped their public and private identities over time. ‘Best Foot Forward’ examines the carefully curated personas and the public-facing images created by women appearing at court or onstage from the seventeenth to the nineteenth centuries. ‘Celebrity’ presents paintings, photographs and fashion commemorating notable Australian women working in music, cinema, literature, sport, chemistry, design and theatre. ‘Independence and Empowerment’ focuses on artists who use their work to reclaim power and autonomy, challenging societal expectations of gender. ‘Embodied Histories’ foregrounds First Nations and culturally diverse artists whose works challenge colonial portrayals of identity. Extraordinary Women: Works 16 5

artguide.com.au Mildura Arts Centre continued...

from the NGV Collection is presented by Mildura Arts Centre in partnership with the National Gallery of Victoria.

10 October 2025—1 February Portraits: Past Until Present Mildura Arts Centre Collection Presented alongside Extraordinary Women: Works from the NGV Collection, this exhibition brings together a rich selection of portraiture from the Mildura Arts Centre Collection, spanning centuries and styles. Portraits: Past to Present explores how artists have captured identity, character, and culture through the human face. This exhibition creates a dynamic dialogue between international, national, and local perspectives — inviting viewers to reflect on how portraiture continues to tell powerful stories across generations.

Melbourne Holocaust Museum www.mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tues, Wed, Thurs, Fri & Sun 10am–5pm.

Yin-Ju Chen, Mel Deerson, David Egan, Gail Mabo (Meriam), Naminapu Maymuru-White (Maŋgalili), Clare Milledge, Tracy Moffatt, Vali Myers, Rosaleen Norton, Leyla Stevens, Heather B. Swann, Suzanne Treister, Karina Utomo

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Bunurong Country Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm.

See our website for latest information.

Visitors interacting with multimedia displays throughout the exhibition.

Photograph: Mel Desa.

Hidden: Seven Children Saved Permanent Facilitated Exhibition.

Mornington Peninsula Regional Gallery (MPRG) is the largest public gallery in the South East region of Melbourne. We strive to make art accessible to everyone in our community. Our Gallery shop features a range of carefully curated items including showcasing the talents of our local makers as well as MPRG publications and products. Entry to the Gallery is free.

Monash University Museum of Art | MUMA www.monash.edu/muma Boonwurrung/Bunurong Country, Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4360 Tue to Fri 10am–5pm, Sat 12noon–5pm. Closed Sun, Mon by appointment. Free entry.

See our website for latest information.

Djakaŋu Yunupiŋu, Gurmilili - Tears of the Djulpan, 2024, earth pigments on paper.

Purchased from National Works on Paper with funds provided by the Friends of MPRG, 2024.

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji), Forever I Live, 2015, digital print on aluminium. Private Collection, Narrm.

29 November 2025—15 February Unfolding: First Nations Works on Paper

13 February—3 May JXSH MVIR: Forever I Live Josh Muir JXSH MVIR: Forever I Live is a touring retrospective honouring the late Gunditjmara, Yorta Yorta and Barkindji artist Josh Muir. Presented by the Koorie Heritage Trust and proudly co-curated with Josh’s mother, Justine Berg, and partner, Shanaya Sheridan, the exhibition showcases Josh’s vibrant legacy and powerful voice. Through bold, expressive works, it explores cultural identity, colonisation, mental health, resilience, and love of family and community. Supported

by Creative Victoria, this moving exhibition celebrates Josh’s enduring impact on First Peoples art and contemporary practice, both nationally and internationally.

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Vali Myers, Lamia, 1997. Pen, black ink, burnt sienna and watercolour, 17 x 12 cm.

Pictures Collection, State Library Victoria, Narrm/Melbourne.

7 February—2 April Knowing Otherwise Paola Balla (Wemba Wemba, Gunditjmara), Carla Cescon,

Unfolding is a major exhibition celebrating the diversity and dynamism of works on paper by First Nations artists. Featuring prints, drawings, paintings on paper and sculptural works from the Mornington Peninsula Regional Gallery (MPRG) permanent collection, located on Bunurong Country, the exhibition unfolds to reveal the many ways First Nations artists engage with paper as a medium. Curated in collaboration with Gulumerridjin (Larrakia), Wardaman, and KarraJarri artist and curator Jenna Mayilema Lee, Unfolding recognises the significance of paper as a powerful tool for the transfer of knowledge, stories, and contemporary artistic expression. Featuring Nici Cumpston, D Harding, Robert Fielding, Fiona Foley, Brian Martin, Danie Mellor, Queenie McKenzie, Sally Morgan, Gloria Petyarre, Brian Robinson, Teho Ropeyarn, Lisa Waup, Dominic White and many more.

VICTORIA

Museum of Australian Photography (MAPh) www.maph.org.au Wurundjeri Woi Wurrung and Bunurong Country, 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Free entry.

National Gallery of Victoria → Barbara Morgan, Martha Graham: Letter to the world, 1940, gelatin silver photograph, 48.3 x 39.4 cm. Bowness Family Fund for Photography, 2024. © The Estate of Barbara Morgan.

Jacqueline Mitelman, Stanley, 2023, pigment ink-jet print, 39.8 x 30.5 cm.

Museum of Australian Photography, City of Monash Collection, donated by Matisse Mitelman in memory of Allan Mitelman 2025. Courtesy of the artist.

22 November 2025—22 February Young Young begins with MAPh’s collection: its recent acquisitions and new commissions.

See 28 artists, with close to 80 artworks, from across four decades. As caretaker of Australia’s only public collection solely dedicated to photography, MAPh holds an extraordinary and ever-evolving record of how we see ourselves and each other.

This exhibition draws on this rich resource

to explore the idea of youth and how it has been captured, constructed, celebrated and questioned in Australian photography, from the 1980s to now. With Bill Henson, Julie Rrap, Rod McNicol, Naomi Hobson, Darren Sylvester, Katrin Koenning, Samuel Hodge, Jacqueline Mitelman and many more.

22 November 2025—22 February Us Daniel Temesgen Daniel Temesgen creates portraits that are intimate, luminous and grounded in community. Focusing on friends and peers, he celebrates youth, friendship and the vibrancy of Black life in contemporary Australia, exploring layered identities and cultural richness through a personal lens.

National Gallery of Victoria— NGV International www.ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm.

7 December 2025—19 April Westwood | Kawakubo

Daniel Temesgen, Patience, 2025.

Courtesy of the artist.

This major international exhibition pairs the work of two of the most influential fashion designers in recent history, Vivienne Westwood and Rei Kawakubo of Comme des Garçons. Bringing together works from the NGV Collection with selected important loans from international museums and private collections, the exhibition highlights key collections and concerns, showcasing over 140 designs that explore the convergences and divergences between the two designers’ work.

Comme des Garçons, Look 1, from the Blue Witch collection, spring–summer 2016. Paris, October 2015. Image © Comme des Garçons. Model: Maja Brodin.

28 November 2025—3 May Let’s Party! NGV Fashion of Kids Designed by Danielle Brustman Showcasing vibrant and imaginative items selected from the NGV’s Fashion & Textiles Collection, the exhibition introduces children to creative accessories, spectacular evening dresses and innovative outfits from some of the world’s leading contemporary designers, milliners and creatives.

28 November 2025—3 May Women Photographers 1900–1975: A Legacy of Light 25 September 2025—1 April MECCA X NGV Women in Design Commission 2025: Nipa Doshi 167

artguide.com.au

National Gallery of Victoria—The Ian Potter Centre: NGV Australia www.ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm.

See our website for latest information.

One Star Gallery www.instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm.

29 January—8 February REALM Group show.

28 March 2025—26 January Martin Grant Internationally. Collections include Museum Victoria, Artbank, Geelong Art Gallery, MAR Ravenna in Italy.

A constantly changing body of works including works on paper, sculpture and paintings. The Gallery will be closed from 1 January to 23 January as Pamela Irving is exhibiting in the USA. Please email or call to view works after this date.

Parallel Projects

Installation image of the Making Good: Redesigning the Everyday exhibition.

Photograph: Eugene Hyland.

29 August 2025—1 February Making Good: Redesigning the Everyday Exploring how designers are reshaping the products and systems that shape our daily lives – transforming them into solutions that are better for people and the planet.

www.instagram.com/parallelprojects.au

Abe Dunovits, Zephyr, 2025.

12 February—22 February Self Portraits and Other Disasters Abe Dunovits

138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.

See our website for latest information.

Jo Lauritz, 100 days, mixed media.

31 January—6 March Expanded Practice 2025 Alumni Exhibition Hugo Race, A5 SLO, 2009.

28 February—29 February Road Series Hugo Race Photographic exhibition..

Pamela Irving Studio + Gallery Installation view of Rigg Design Prize 2025. Photograph: Madeleine Burke.

19 September 2025—1 February Rigg Design Prize 2025, Next in Design: 35 Under 35 Now open Wurrdha Marra Now open Bark Salon

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www.pamelairving.com.au 68 Patterson Road, Bentleigh, VIC 3204 [Map 4] 0402 946 940 Open daily by appointment.

See our website for latest information.

Pamela Irving is an award winning Australian painter and sculptor. She has exhibited her paintings, sculpture and mosaics consistently since 1982.

Pamela’s artworks can be found in public and private collections in Australia and

Join The Art Room in celebrating their 2025 Expanded Practice alumni! This exhibition showcases a vibrant collection of works created over a year of exploration, dialogue, and growth. The program encourages artists to take bold creative steps, experiment with new ideas, and strengthen their artistic direction.

Opening 1pm Saturday 7 February, share in this celebration of emerging voices and evolving practices.

PG Gallery www.pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 0480 624 663 Tue to Fri 10am–5.30pm, Sat 11am–5pm.

Since 1975, PG Gallery has been a vibrant destination for contemporary Australian printmaking, showcasing works by both

VICTORIA celebrated and emerging artists. Our stockroom now extends beyond prints to include paintings and works on paper. Visit us to explore a curated selection of original artworks to suit every taste and occasion.

Choose from framed pieces ready to take straight off the wall, or unframed works, flat packed and perfect for travel. Our diverse range is available in-gallery and online.

Project 8 Gallery → Jen Valender, (It is Necessary to) Learn to Swim, (video still), 2025, single-channel film.

Lis Lacey, Ode to Di Chirico, 2025, edition of 11, linocut on 200gsm Somerset textured paper, 30 x 30 cm.

3 February—14 February Contingency: a timeless universal?

Lis Lacey Chance encounters direct this body of reduction lino prints: printed realities, demonstrating a precarious balance between contingency and intention.

Issuing from the centre using minimal technology, these works acknowledge encounters with ancient country, cultures and technologies. Opening night reception 5 February 5.30pm–7.30pm.

17 February—28 February Noteworthy Zo Damage NoteWorthy explores Melbourne’s live music culture through abstract copperplate prints. Working in collaboration with Melbourne musicians, Zo Damage uses broken and discarded musical equipment as etching tools to create intricate, interweaving marks that reflect the endurance, resilience, and interconnectedness of musicians and their communities. Opening night reception 19 February 5.30–7.30pm.

Platform Arts www.platformarts.org.au Wadawurrung Country, 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9.30am–4.30pm.

See our website for current weekend hours and for latest information.

Irene Torres, Light study, 2025, oil on canvas, 30 x 25 cm.

17 February—28 February All That the River Keeps Irene Torres All That the River Keeps presents Irene Torres’s latest body of oil paintings which explore the intersections of memory, emotion, and environment. Through immersive compositions, Torres transforms the natural world into a site of psychological reflection, engaging with themes of grief, healing, terror, awe and transcendence. Irene Torres is a Naarm (Melbourne)-based artist and curator whose landscape painting practice spans over two decades. Her work has been recognised in significant Australian landscape art prizes, including the John Glover Art Prize and Hadley’s Art Prize. Opening night reception 19 February 5.30–7.30pm.

20 February—18 April What It Means to Remember গল্পের সেতু Story Bridge Anindita Banerjee I will be the waves and you will be a strange shore Shivanjani Lal What It Means to Remember presents new major commissions by artists Anindita Banerjee and Shivanjani Lal, exploring the shared histories between Djilang (Australia) and Kolkata (India)—two post-industrial port cities shaped by migration, trade, and colonisation. Using these parallels, Banerjee and Lal investigate personal and collective histories of movement and displacement. Banerjee’s গল্পের সেতু Story Bridge draws on the mirrored architecture of Brisbane’s Story Bridge and Kolkata’s Howrah Bridge to explore both longing and belonging through the lens of a migrant on unceded lands. Lal’s I will be the waves and you will be a strange shore is a lamentation that traces sound and image across India, Australia, and Fiji, evoking histories of Indenture, grief, and the slippages caused by holding onto histories that are slipping away. Platform Arts is supported by the City of Greater Geelong, Creative Australia, and the Victorian Government through Creative Victoria.

Project8 Gallery www.project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.

See our website for latest information.

28 February—11 April (It is Necessary to) Learn to Swim Jen Valender

Shivanjani Lal, Hooghly River, West Bengal.

(It is Necessary to) Learn to Swim traces the porous boundary between memory, myth and the quiet dread of a world reshaping itself. The exhibition takes its title from a boatbuilding text, folding together 169

artguide.com.au Project 8 Gallery continued...

Noah’s Ark, a story long used to steady children, and the psychological and physical projections we place on vessels of rescue. Sculptural offerings, cast monkey appendages, moving-image works and installation form a constellation of gestures that drift between the imagined and the material.

28 February—11 April Eighteen Generations Chaohui Xie Chaohui Xie’s Eighteen Generations continues her ongoing fascination with boundaries and borders, using layers of paint and drawn ink to create new fields of possibility that mark the transitions where the past meets the present.

Potter Museum of Art www.potter-museum.unimelb.edu.au

Quadrant Gallery + Art Advisory www.quadrantgallery.com.au 72 Barkers Road, Hawthorn, Victoria 3122 03 9079 0943 Wed to Fri 10am–5pm, Sat 11am–3pm.

See our website for latest information.

RACV Goldfields Resort www.racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

Cnr Swanston Street and Masson Road, Parkville, VIC 3052 [Map 5] Tues to Sat, 11am–5pm.

See our website for latest information.

John Young Zerunge, Native and Sentimental Painting XXXVII, 2025, oil on Belgian linen, 160 x 200 cm. Courtesy the artist and ArcOne Gallery.

China. They examine the fluid relationship between memory, identity, and belonging.

Across painting, watercolour, and nstallation, each artist navigates the intersections of personal and collective histories, tracing cultural inheritances and moments of transformation.

Open to the public by appointment, contact: art@racv.com.au.

RACV Inverloch Resort www.racv.com.au/art Bunurong Country, 70 Cape Paterson-Inverloch Rd, Inverloch, VIC 3996 03 5674 0000 Daily 9am–5pm.

See our website for latest information.

Fiona Burns, Grass Weave Basket, 2023, grasses. Courtesy of Perridak Arts and the artist.

Naomi Hobson, Rare, 2025. Courtesy the artist and Vivien Anderson Gallery, Melbourne.

19 February—6 June A velvet ant, a flower, and a bird This exhibition evokes a garden of knowledge anchored by three familiar figures from nature — a velvet ant, a flower and a bird. These figures represent a parliament of beings, each carrying symbolic and metaphorical weight that encourage us to reimagine what intelligence means.

Each museum floor is presided over by one of these natural entities, creating a kind of garden where there is no pre-established order, but rather an ecosystem in which the analogue and the digital interrelate to give rise to a fantastic mental realm.

Drawing from the University of Melbourne’s Classics, Biology, and Art collections, alongside new commissions and performances; historic and contemporary art co-mingle to envision intelligence as living, continually evolving, interconnected and interdependent.

Guest curated by Chus Martínez, director of the Institute of Art Gender Nature at the FHNW Academy of Arts and Design, Basel, Switzerland.

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22 November 2025—1 March Perridak: Nikki Bell, Fiona Burns, Janine Green, Adrian Rigney, and Timothy Walkerden Showcasing a selection of artists and practices supported by Ballarat’s First Nations owned and operated Perridak Arts.

A gallery dedicated to the presentation of works by First Nations peoples from the 39 different Aboriginal nations that find their current home in and around Ballarat.

Explore weaving, painting and printmaking that represent the art practices that can be explored and purchased at Ballarat’s Perridak Arts.

RACV City Club www.racv.com.au/art Wurrundjeri Country, 501 Bourke Street, Melbourne, VIC 3000 03 9944 8888 Daily 9am–5pm.

14 November 2025—22 February

Where Memory Transforms

Where Memory Transforms features artists Kate Beynon, Melissa Nguyen, Lindy Lee, Guan Wei, and John Young, who draw on their experiences as Australians with heritage from Hong Kong, Vietnam or

Ember Fairbairn, Gestures towards a quiet mind 1, 2025, 100 x 80 cm, oil on birchwood, Courtesy the artist and Sophie Gannon Gallery.

6 December 2025—10 March

Ember Fairbairn: Tender Ground Ember Fairbairn’s paintings inhabit the space between abstraction and figuration, where emotion and gesture become intwined. Influenced by time spent in nature, her work draws on a metaphysical connection to ecology and the body, where each painting unfolds as a meditation on presence, process, and renewal. In these works, tenderness is a way of belonging to the world through care, curiosity, and connection.

VICTORIA

Leila Jeffreys, Superb Fruit Dove, from the series, Ornithurae, 2017.

Nature~ista: Leila Jeffreys and Maria Fernanda Cardoso Nature~ista celebrates the flamboyant flair of the animal kingdom through the lens of two contemporary artists, Leila Jeffreys and Maria Fernanda Cardoso.

They both explore the natural world’s most stylish inhabitants: birds and spiders, through studio photography. Together, their works transform the outdoor gallery into a catwalk of nature’s most extraordinary designs.

RMIT Design Hub Gallery www.rmit.edu.au/design-hub-gallery Wurundjeri Country, Level 2, Building 100, RMIT University, Corner Victoria and Swanston Streets,Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt.

Gallery located below street level.

Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

RMIT Gallery → Keith Jack, Mt Erebus Ross Is., 1914.

20 February—2 May Creative Antarctica: Australian Artists and Writers in the Far South Creative Antarctica is a multifaceted exhibition featuring Australian artists and writers who have been influenced by their observations and experiences of the Far South. The exhibition seeks to foster new encounters and perspectives, highlighting the transformative power of art and literature in unveiling the complexities of the South Polar region. The exhibition is produced as part of an Australia Research Council Discovery Project examining the role artists and writers play in expanding the Antarctic narrative to afford new understandings and access to one of the world’s most remote and fragile wilderness zones. Creative Antarctica features both site specific and historically significant works of art, supported by a rich assortment of talks, panels and workshops that offer a variety of engagement opportunities, and modes of encounter with the Far South.

Creative Antarctica demonstrates how artists and writers play an increasingly vital role in observing and recording the tension between climate, landscape, technology and humans.

Lead Curator: Philip Samartzis. This exhibition is presented across both RMIT Gallery and Design Hub Gallery.

RMIT Gallery www.rmit.edu.au/rmit-gallery

David Neilson, Cartographer Noel Ward inspecting dog line in blizzard, Mawson Station, East Antarctica, December 1990, 1990. Image courtesy of the artist.

Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

See our website for latest information.

20 February—2 May Creative Antarctica: Australian Artists and Writers in the Far South

Creative Antarctica is a multifaceted exhibition featuring Australian artists and writers who have been influenced by their observations and experiences of the Far South. The exhibition seeks to foster new encounters and perspectives, highlighting the transformative power of art and literature in unveiling the complexities of the South Polar region. The exhibition is produced as part of an Australia Research Council Discovery Project examining the role artists and writers play in expanding the Antarctic narrative to afford new understandings and access to one of the world’s most remote and fragile wilderness zones. Creative Antarctica features both site specific and historically significant works of art, supported by a rich assortment of talks, panels and workshops that offer a variety of engagement opportunities, and modes of encounter with the Far South. Creative Antarctica demonstrates how artists and writers play an increasingly vital role in observing and recording the tension between climate, landscape, technology and humans.

Lead Curator: Philip Samartzis. This exhibition is presented across both RMIT Gallery and Design Hub Gallery.

RMIT First Site Gallery www.rmit.edu.au/first-site-gallery Wurundjeri Country, Storey Hall Basement, 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm. Free admission.

First Site is RMIT's student gallery, focused on presenting art practices from emerging and mid-career artists. First Site provides students with a space where they can experiment, take risks and learn about presenting their work publicly, often for the first time.

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Shepparton Art Museum www.sheppartonartmuseum.com.au

Pratyay Raha, Mangroves in the Sundarbans, Satjelia Island, 2024. Image courtesy of Pratyay Raha.

Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days, 10am–4pm, closed Tuesdays.

Closed Christmas and New Year’s Day. See our website for latest information.

From 18 October 2025 Sempre Prue Venables From 18 October 2025 Patterned Luminescence Philip Hickingbotam Ongoing Stories from the SAM Collection

Stockroom Kyneton www.stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm.

29 November 2025—11 January Familiars Kate Rohde Asian Style with a Western Rhyme David Ray

Pratyay Raha, Situated listening on the Sundarbans waterways, 2025. Image courtesy of Dipanjan Mishra

Adorned and Unbound: Objects of Ornament and Utility Rachael Rose

23 February—20 March Future Sonic Ecologies: Re-making Mangrove Worlds through Posthuman Soundscape(s) Pratyay Raha

Roberson Art Gallery www.robersonartgallery.com.au 43 Bridge Road, Richmond VIC 3121 [Map 6] 0417 863 147 Mon and Tues by appointment, Wed to Fri 10am–4pm, Sat and Sun by appointment.

See our website for latest information.

The gallery invites art lovers and collectors to immerse in a vibrant and dynamic display of abstract art.

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji), Forever I live, 2015. Digital print on aluminium. Private Collection, Narrm.

25 October 2025—26 January JXSH MVIR: Forever I Live From 29 August 2025 Mai Nguyễn-Long and Casey Chen Until May 2026 Swamp Drawing Kerrie Poliness Betty Mula, Punu tjuta (many trees), 2025, synthetic polymer paint on linen, 152 cm x 122 cm. Courtesy of Mimili Maky Art.

Kat Parker, Discarded (Lesser Bilby or Yallara), 2023, installation view, Shepparton Art Museum, 2025. Photograph: Leon Schoots. © The artist.

Robyn Roberson, Deeply Serene, 2024, acrylic on canvas, 80 x 80 cm.

Continuing Art in Motion. Colours in Harmony.

Exhibition features over 50 framed acrylic on canvas abstract artworks. Curated by David Disher.

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From 15 November 2025 Lament – A memorial of Australian extinction Kat Parker From 18 October 2025 The Blue Garden Yuria Okamura From 28 June 2025 Repetition Gosia Wlodarczak

24 January—1 March Plant Life Sofi Basseghi, Stephen Bellosgardo, Kris Coad, Amber Cronin, Rhett D’Costa, Beverly Downs, William Eicholtz, Peter Ellis, Gracia Haby & Louise Jennison, Clare McCracken & Heather Hesterman, Anthea Kemp, Sara Lindsay , Sally Mannall, Julie Millowick, Betty Mula’ Laetitia Olivier-Gargano’ Petra Rodgers, Sarah Rudledge, Jason Waterhouse, Lisa Waup, Rosie Weiss

Shivers Gallery www.864shivers.com Wurundjeri Woi-wurrung Country, 864 Sydney Road, Brunswick VIC 3056 [Map 3] 0474 010 207 Closed for renovations.

See our website for latest information.

VICTORIA

Stockroom Kyneton → Gracia Haby & Louise Jennison, Bilateral Symmetry, 2024, 24 page barn fold, pamphlet stitched, artists’ book, with pop up components and narrative (by Gracia Haby), Indigo Digital CMYK on 160gsm ecoStar + 100% recycled uncoated, with cover, Indigo Digital CMYK on 300gsm ecoStar + 100% recycled uncoated, printed

by Bambra, bound by Gracia Haby & Louise Jennison, with hand-cut elements, edition of 100.

Sullivan+Strumpf Naarm/Melbourne

Nadine Christensen, Untitled (Connect4), 2018, acrylic on board with cedar stretcher, 95 x 80 cm. Image courtesy of the artist and Sarah Scout Presents, Melbourne.

This bold new exhibition challenges traditional concepts of still life, showcasing a diverse range of artists who push the boundaries of the genre. With a focus on contemporary expression, the exhibition offers an exciting departure from the conventional, using painting, video, sculpture, and installation to explore everyday objects and scenes in unexpected ways.

www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

Until 24 January Boroondara Summer Salon Howard Arkley, The Bay Window, 1988, TarraWarra Museum of Art collection.

Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2008, © the Estate of Howard Arkley and courtesy of Kalli Rolfe Contemporary Art.

Town Hall Gallery is delighted to present the annual Boroondara Summer Salon, a curated group exhibition celebrating the creativity and diversity of the Boroondara community.

The City Wakes, the City Sleeps curated by Dr Victoria Lynn and James Lynch draws from the TarraWarra Museum of Art Collection to present a selection of rarely seen artwork treasures, exploring how artists across different eras have captured the architecture and social dynamics of life in the city and revealing the distinctive character of our urban experience and built environments.

Wayilkpa Maymuru, Mangalili Origins, Bark painting, 110 x 87 cm.

5 February—28 February Hidden in the Stars Wayilkpa Maymuru

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

See our website for latest information.

29 November 2025—1 March The City Wakes, the City Sleeps

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 9am–5pm, Sat 12pm–4pm, Closed Sun and public holidays.

See our website for latest information.

Town Hall Gallery features a range of contemporary and innovative exhibitions displayed over 3 unique spaces.

Until 24 January OBJECTIVE Tony Albert, Sally Anderson, Nadine Christensen, Adam John Cullen, James McGrath and Louise Paramor

Chelsey Liu, Cradle, 2025, oil and mixed media on board, 109 x 110 cm. Image courtesy of the artist.

4 February—14 March Echo and Resonance Chelsey Liu Chelsey Liu’s artistic practice explores the creative possibilities of Abstract Expressionism in a vibrant world of colour, texture and form. This community exhibition explores cultural identity, memory and connection, offering a contemplative space shaped by Liu’s experiences and observations of life in Boroondara.

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The Torch www.thetorch.org.au Wurundjeri Country, 146 Elgin Street, Carlton VIC 3053 Tue to Fri 11am–4pm.

artistic practices and mediums that are taught and practiced in the VAS Studio, encompassing oil, watercolour, drawing, and acrylic. Also on display are artworks that have been created during our weekly Portrait and Life Group sessions.

Ibrahim Ahmed, The things I hope to bury, 2016, Metal sculpture with leather straps (mask) 41 x 17.5 x 20.8 cm, installation view, Walker Street Gallery and Arts Centre, Dandenong, October 2025. Image courtesy of the artist and City of Greater Dandenong. Photograph: Carla Gottgens.

Until 16 January Ibrahim Ahmed: Amidst the Absence, a Present is Felt

Ray Wilson, Life’s a Beach.

Trevor (Barkindji people), Parka Waterways Dreaming #3, acrylic on canvas, 195 x 189 cm.

Ongoing Paintings, ceramics and hand-crafted objects by First Peoples artists with lived experience of incarceration. Every purchase makes a meaningful impact as 100% of the artwork price goes directly to the artists.

28 January—8 February VAS Summer Exhibition

Uncover the spaces where silence speaks.

Through cut-out silhouettes, miniatures and hand-crafted interventions, Cairo-based artist Ibrahim Ahmed explores absence as a form of presence—felt, remembered and embodied.

The Victorian Artist Society’s first member exhibition of the year showcasing diverse submissions from our exhibiting artists.

28 January—15 February Angus Wishart Angus Wishart returns home with an extensive collection of works from 14 months painting in Paris, Berlin and Northern Italy.

Tolarno Galleries www.tolarnogalleries.com Community members working on The Maze project, circa 1991. Image courtesy City of Greater Dandenong.

Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

11 February—18 April The Maze

14 February—14 March Tennant Creek Brio

VAS Gallery – Victorian Artists Society www.vasgallery.org.au Wurundjeri Woi-wurrung Country, 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat & Sun 11am–4pm.

17 December 2025—18 January The Hansen Little Coterie Exhibition Jemma Cakebread, Madaline HarrisSchober, Jennifer Huang, Caterina Leone, Andrew Li, and Swathi Madike This exhibition showcases the work of the six Hansen Little Coterie artists during their 2025 residency. The Coterie program is generously supported by the Hansen Little Foundation.

17 December 2025—18 January VAS Studio Exhibition An annual exhibition of the range of 174

Alan Howell, Greyscale 7, First Prize Winner 2025.

11 February—22 February VAS George Hicks Contemporary Exhibition A highlight of the annual VAS calendar, the George Hicks Contemporary Exhibition challenges VAS artists to reimagine classic subjects and techniques through a contemporary lens, blending time honoured practices with modern creativity.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Bunurong Country, Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 8571 5320 [Map 4] Wed to Sat 11am–3pm.

See our website for latest information.

Crafted in 1991, by over a hundred young people from migrant and refugee backgrounds under the guidance of artist Sue Circosta, The Maze was a large-scale immersive papier-mâché installation.

More than thirty years later, it returns reimagined through contemporary activations by artists Fayen d’Evie and Jon Tjhia, reconnecting cultures and generations while exploring feelings, dreams, nature, and the idea of conflict resolution.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

Until 11 January Pleats of Matter Kate V M Sylvester Melbourne based artist Kate V M Sylvester’s process-driven, meditative practice exposes the often-overlooked materiality of everyday garments.

VICTORIA

Matthew Harris, With a Warm Embrace, 2023, recycled industrial felt, Wangaratta Woolen Mills acrylic yarn, gesso, acrylic paint, river stones, polyester filling, 2 objects, 95 x 80 x 75 cm each. Wangaratta Art Gallery Collection. Donated through the Australian Government’s Cultural Gifts Program by the artist.

Until 18 January Overland Matthew Harris Wangaratta-born, Melbourne-based artist Matthew Harris explores power structures and historical narratives through a socially critical and conceptual practice in painting and sculpture. In Overland, Harris turns his focus to the lasting impact of colonisation on the Wangaratta region and its First Peoples, presenting a new series of paintings informed by historical documents.

Using natural ochres and charcoal on hessian - a material chosen for its colonial associations and textile history - Harris weaves together personal and ancestral stories with broader material and cultural legacies. Alongside this new body of work, Overland features With a Warm Embrace, 2023, a major textile sculpture held in the Wangaratta Art Gallery collection. Created in tribute to Harris’ grandmother, who spent her working life at the Wangaratta Woollen Mills, the sculpture reimagines her original design, honouring both personal memory and local industry.

the commercial art industry. Two artists will be selected at the exhibition opening to receive a 12-month representation with West End Art Space, providing opportunities to expandtheir exposure and develop valuable industry connections.

Kait James, Faboriginal 2024, acrylic yarn, cotton, digital printed cotton, mirror tiles, felt, 150 x 140 x 10 cm. Courtesy of the artist and Neon Parc. Photograph: Christian Capurro. received development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

West Space www.westspace.org.au Wurundjeri Country, 102/30 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

West End Art Space www.westendartspace.com.au 112 Adderley Street, West Melbourne, VIC 3003 [Map 5] 0415 243 917 Weds to Sat 11am–4pm.

Online or by appointment.

12 December 2025—11 March Drawn with Paint Pamela Florance Drawn with Paint brings together a selection of work by Wangaratta based artist Pamela Florance made over the past two decades of her 50-year practice.

Ayman Kaake, Testing the Water, 2025, commissioned as part of rūḥ al-rūḥ – jan-e janān, 2025, West Space.

24 January—22 March Red Flags Kait James Kait James: Red Flags is Wadawurrung artist Kait James’ most ambitious solo exhibition to date. Since 2018, James has been carving out a unique visual language based in the reappropriation of racialised products. Colloquially identified as ‘Aboriginalia’, these mass-produced, commercial objects range from souvenir tea towels and pennant flags to children’s dolls and ceramic figurines. Primarily created from the 1950s through to the 1980s for consumption by non-Indigenous tourists, they depict culturally insensitive and racially stereotyped imagery, designs and motifs. Kait James: Red Flags is a Warrnambool Art Gallery exhibition, curated

by Aaron Bradbrook and touring nationally with NETS Victoria. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body, and the Visions of Australia program, and has

15 November 2025—31 January rūḥ al-rūḥ – jan-e janān Elyas Alavi, Ayman Kaake, Ali Tahayori, and Kia Zand Studio Onyx.

21 January—25 February Studio Onyx Studio Onyx is a collaborative group of West End artists interested in the play of matter andabstraction. Working primarily with plaster and experimental materials, they blur the lines between form and concept. With an object-based practice, each artwork plays in the liminal space of substance and perception.

6 February—24 February Bloom 2026: West End Art Space Grad Show West End Art Space’s inaugural graduate exhibition. Presenting the work of 15 artists from the 2025 graduating cohorts of VCA, RMIT & Monash University, this showcase aims to give emerging artists a platform, and to provide an entry point into

rūḥ al-rūḥ – jan-e janān brings together artists Elyas Alavi, Ayman Kaake, Ali Tahayori, and Kia Zand, each with anchors to West and Central Asia, to assemble their queer identities as testimony. In this collective presentation the artists convene to share what has been inherited, imposed, spoken and unspoken, offering a dialogue for queer liberties that have existed long before the western gaze.

This is the first occasion Alavi, Kaake, Tahayori and Zand have exhibited together, a collaboration unfolding over months of conversation, listening and bearing witness to genocides and despotic regimes across homelands and to hamwaṭani (kin). rūḥ al-rūḥ – jan-e janān is an enquiry into borderless solidarity, survival inscribed between the folds of concealment and visibility, speaking to cosmologies of love that extend beyond the self.

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Tina Stefanou, Dance the War of Proximity, Adelaide Biennial of Australian Art: Inner Sanctum, 2024, Art Gallery of South Australia. Photography by Andrew Kaineder and Wil Normyle.

14 February—11 April West Space Commission Tina Stefanou West Space presents a major new work

by Greek-Australian artist Tina Stefanou as part of the West Space Commission program. With a focus on relationality, knowledge sharing and impactful collaboration and innovation around questions of access, Stefanou works with an array of collaborators with different art and non-art backgrounds, across rural and urban Australia. Stefanou contemplates how neoliberal-humanism and social class dynamics infiltrate our day-to-day lives as well as our sense of self, bodies, and relationships — affecting how we connect, communicate, and create liberation for one another and the planet.

Her expansive practice holds the potential for other forms of sharing, making, and contributing to the cultural commons beyond the rat race.

Whitehorse Artspace www.creativewhitehorse.vic.gov.au/ venues/artspace Wurundjeri Woi-wurrung Country, Whitehorse Artspace, Box Hill Town Hall, 1022 Whitehorse Road,

Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

See our website for latest information.

Whitehorse Artspace first opened in 1998 at Box Hill Town Hall. Major renovations extended the size of the gallery in 2007. It is a thoughtfully designed, contemporary gallery space used to display a diverse program of exhibitors as well as thoughtful curations of our significant collection.

This collection includes remarkable works from early Australian impressionist pieces through to modern and contemporary works of all mediums.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 10am–4pm, Sat and Sun 10am–3pm.

See our website for latest information.

Wyndham City Arts & Culture creates and supports exceptional arts experiences and opportunities for its diverse community.

Through our arts and culture programs we contribute to developing creative people, creative cities and vibrant places for people. It also supports the development of a rapidly developing and emerging creative and arts community for Wyndham and to provide points of access, participation and connection for the broader community by providing relevant and diverse arts experiences.

31 January—22 March Wyndham Art Prize 2026

Emily Ferretti, After it rained, oil on linen, 2025 © the artist. Photograph: Matthew Stanton.

31 January—14 March Breaking Ground: Women Artists in the Whitehorse Art Collection Breaking Ground celebrates the work of innovative women artists, past and present, whose art is represented in the Whitehorse Art Collection. Women artists have long made significant, yet often under-recognised contributions to Australia’s cultural life. From pioneering

Wyndham Art Gallery → Arrayah Loynd, Dissociated #1, 2023 winning work.

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painters of the early twentieth century such as Norah Gurdon and Sybil Craig, to contemporary artists whose diverse approaches reflect the vibrancy and breadth of women’s artistic practice today.

Finalists: George Alamidis, Matthew Asling, Bobby Bowers, Daniel Butterworth, Kevin Chin, Jasmine Miikaka Craciun, Ellen Dahl, Avni Dauti & Rebecca Dauti, Penelope Davis, Josh Deane, Chelle Destefano, Andrea Draper AKA I Dream In RGB, Mark Dustin, Safa El Samad, Diego Faivre, Carly Fischer, FOOT, Natasha France, Genevieve Ginty, Tim Gregory, Louise Gresswell, Amala Groom, Brad Gunn, Robert Hague, Jody Haines, Stephen Haley, Gail Harradine, Lee Harrop, Orson Heidrich, Petrina Hicks, MeiMei Hodgkinson, Franky Howell, Karenne Ann & Heather Horrocks, Marcia Collette Hrchan, Linda Judge, Gina Kalabishis, Duain Kelaart, Soyoun Kim, Shivanjani Lal, Amalia Lindo, Linda Loh, Arrayah Loynd, Jarryd Lynagh, Rachel Mackay, Donna Marcus, Jarrad Martyn, Dennis McCart, Aylsa McHugh, E McIntosh, Sharon McKenzie, Jonathan Méndez Baute, Nunzio Miano, Julie Millowick, Chris Morgan, Kent Morris, Lisa Murray, Jessica Murtagh, Britt Neech, Catherine O’Donnell, Marcie O’Neill, Amanda Page, Raihan, Christina May Carey & Aaron Christopher Rees, Anna Louise Richardson, Jenny Rütsch, Lee Salomone, Kate Shaw, Damien Shen, Todd Simpson, Nicole Smede, Paul Snell, Noah Spivak, Meagan Streader, Autumn Tansey, Michael Vale, Carmel Wallace, Moreen Wellington Lyons, Dianna Wells, Amanda Western, Belinda Yee.

New South Wales

Exhibitions

JANUARY/FEBRUARY 2026

KEN DONE

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail: Tuesday reef, 2025, oil and acrylic on linen, 152 x 122cm

Exhibitions at Cowra Regional Art Gallery 12 December 2025 to 1 February 2026

Sally Simpson, An Uncertain Moment #2 (detail), 2024, charcoal on drafting film.

Fiona Davies, The Night Passes (detail) 2024, installation of video, found objects, textile, and aluminum. Photograph: Naomi Oliver.

A Poem of the Sea Sally Simpson

The Night Passes Fiona Davies

An exploration, through the metaphor of water, of humanity’s relationship with the natural world.

An exhibition that parallels walking in the emptiness of the hospital corridor at night with driving to and from the hospital on a dark country road.

Curated by Peter Haynes.

77 Darling Street, Cowra NSW 2794 Open Tuesday to Saturday 10am-4pm, Sunday 10am-2pm, Mondays closed.

Wheelchair access. Admission is free. www.cowraartgallery.com.au

A Gallery Lane Cove touring exhibition.

Yona Lee

February—March

Fine Arts, Sydney 23 Hampden Street Paddington, NSW 2021 Sydney, Australia +61 (0) 2 9361 6200 email@finearts.sydney www.finearts.sydney

Cowra Regional Art Gallery 6 February to 8 March 2026

Elisabeth Cummings, By the River, 2025, gouache on paper.

LAND - Artists on the Land of Three Rivers Elisabeth Cummings, Sophie Cape, Ana Young, David Collins, Leah Thiessen, Sally Stokes, Belinda Street, Kate Dorrough and Charmaine Pike Nine celebrated Australian artists examine their response to atmosphere of place.

77 Darling Street, Cowra NSW 2794 Open Tuesday to Saturday 10am-4pm, Sunday 10am-2pm, Mondays closed.

Wheelchair access. Admission is free. www.cowraartgallery.com.au

13.02.26–03.05.26 UNSW.TO/GALLERIES

13.02.26–03.05.26

UNSW GALLERIES

UNSW GALLERIES

J DAVIES ‘PINK WIG’ 2024

13.02.26–03.05.26

UNSW.TO/GALLERIES

the empty nest

tasha button

20 January- 1 February 2026

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Wallarobba Arts and Cultural Centre 25 Edgeworth David Avenue Hornsby NSW 10am-4pm mon-sun

Image: the artHITects (Gary Carsley & Renjie Teoh), Torn/Tears – Wiradyuri Countryside (detail), 2025, 2 layered ink jet print, 112 A4 80gsm photocopies, IKEA Vallstena Doors, 200 x 240 cm.

Courtesy the artists and Bathurst Regional Art Gallery.

22 November 25 January 2026

Works by: B. Whiteley, M. Woodward, V. Rubin, J. Coburn, N. Harding, D. Boyd, Y. Bergner, M. Winch, Maclean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, S. Nolan, J. Olsen, C. Campbell, P. Griffith, C. Canning, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack, Y. Souvatzoglou and many others.

Brett Whiteley, Towards Sculpture 4, 1977, lithograph on paper, paper size 90 x 63 cm, ed: 50 + 5AP’s.

2 Moncur Street, Woollahra NSW, 2025.

Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only.

(02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

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PLAY!

29 November 2025 – 15 February 2026

A Blue Mountains City Art Gallery exhibition curated

by Hayley Zena Poynton.

Exhibition opening Friday 28 November, 6–8pm.

Gallery Talk Saturday 6 December, 11am.

Sanné Mestrom, Lucid Folly, 2022 ,The Whole is Greater than the Sum of Her Parts, 2025, Dedicated interactive space within Cezanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie, National Gallery of Australia. Photo: Kerrie Brewer.

ADRIAN JANGALA ROBERTSON 5 MAR - 4 APR

CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 481 2O2 867 WWW.CHALKHORSE.COM.AU

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Catherine McGuiness, Water fights and flowers, 2024, acrylic on canvas, 312cm x 214cm

Empowering artists.

Enriching culture.

Collect | Collaborate | Commission hello@studioa.org.au | studioa.org.au

BRIAN REID

BRIAN REID

steelreidstudio.com.au 18 8

Image: Lucy Culliton, Bibbenluke Spring, 2025, oil on canvas. 1220 x 1985 mm. Photo by Brenton McGeachie.

Close to Home Lucy Culliton

Exhibition dates 13 December 2025 — 28 February 2026

In Conversation Saturday 28 February, 11am Join artist Lucy Culliton and her neighbour, Monaro regenerative farmer Charlie Maslin, for an insightful conversation facilitated

by Gallery Director Janice Falsone, exploring the intersection of art, agriculture and sustainability. A unique opportunity to hear firsthand perspectives from two passionate voices shaping the future of land care and cultural dialogue in the Monaro region.

Free event, bookings essential via secca.com.au

South East Centre for Contemporary Art / Bega

SECCA is a service of Bega Valley Shire Council

Mon-Fri 10am–5pm, Sat 10am-2pm Zingel Place Bega NSW 2550 secca.com.au

Australia’s Highest Value Art Prize for Women Professional Artist Prize $35,000 acquisitive Emerging Artist Prize $7,500 acquisitive Indigenous Emerging Artist Prize $7,500 acquisitive Highly Commended Awards total $6,000 and Peoples’ Choice Award $2,000 plus $500 art pack

Entries Open 5 November 2025 – 11 February 2026 Midday DST Eastern Australia

Opening Night 15 May 2026

ENTER NOW

Proudly presented by

Exhibition of Finalists 16 May 2026 – 31 May 2026 P R O U D LY S U P P O R T E D B Y

MAJOR PARTNER

GOLD PARTNERS

GOLD MEDIA PARTNERS

Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls P-12 10 Henry Street, Gordon NSW

ravenswoodartprize.com.au

Graham Marchant, Poppies, Blue Silk and Friends, oil on canvas, 92 x 152 cm.

Janet Laurence, excerpt from Moss Water Ice Temperature Rising 2025 Professional Artist Winner

Scieppan Gallery Shop 2/1 Francis St, Darlinghurst, NSW 2010 0420 818 028 scieppan.com.au info@scieppan.com.au Scieppan Gallery is a contemporary art gallery located in the heart of Sydney, next to Hyde Park.

We represent high-calibre and emerging artists in a diverse disciplines of visual art.

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Ode

Margaret Olley and Sally Anderson MARGARET OLLEY ART CENTRE

12 September 2025 – 8 March 2026 Sally Anderson (b.1990) Study of MO’s still life in green 1947 with a banksia for dad, GM orchid and PP Bathers postcard (detail) 2025 acrylic on polycotton, 137 x 153 cm Image courtesy the artist, © The artist

T H E N A N CY FA I R FA X A RT I ST I N R E S I D E N C E ST U D I O

A Tweed Regional Gallery initiative. The Nancy Fairfax Artist in Residence studio is supported by benefactor Mr Tim Fairfax AC via the Tweed Regional Gallery Foundation Ltd.

Tweed Regional Gallery & Margaret Olley Art Centre is supported by the NSW Government through Create NSW.

Open Wed – Sun, 10 am – 4 pm DST | 2 Mistral Road, South Murwillumbah NSW | W: gallery.tweed.nsw.gov.au

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Annandale Galleries www.annandalegalleries.com.au Gadigal Country, 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

See our website for latest information.

Artbank Sydney www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Fri 12–4pm, or by appointment for all leasing requirements.

See our website for latest information.

Window Gallery: 14 November 2025—31 January Tower Dog Red Rattler Curated by Thom Roberts and Studio A Artbank is proud to host Thom Roberts and the Studio A team to curate the Artbank Sydney Window.

Thom Roberts works out of Studio A, an organisation in Sydney that supports and creates professional pathways for artists with intellectual disabilities. A multi-disciplinary artist, his practice spans painting, drawing, installation, performance and photography. Thom is called the “arranger” at Studio A and is constantly moving things around and reframing them. For this exhibition Thom brings his unique analysis of the world to the Artbank collection, arranging artworks and reimagining them in the Artbank Window gallery bringing a little bit of his world to Artbank.

Tower Dog Red Rattler features two new acquisitions to the Artbank Collection by Catherine McGuiness and Emily Crockford as well as the inclusion of Annette Galstaun’s Magical Putt Putt installation.

Featured artists: Eva Baker, Nathan Beard, Robert Bridgewater, Katthy Cavaliere, Jennifer Connelly Ward, Narelle Desmond, Paul Drakeford, Peter Dudding, Rick Everingham, Hayden Fowler, Annette Galstaun, Richard Giblett, Franck Gohier, Petrina Hicks, Alan Jones, Tony Jones, Hazel Kngwarreye, Lucky Kngwarreye, Andrew Lavery, Andre Lipscombe, Catherine McGuiness, Antonio Muratore, Robert Pulie, Thom Roberts, Thom and Angelmouse, Anne Ross, Greg Sindel, June Stephenson, Judith Warne.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Eora Nation, Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

See our website for latest information.

11 October 2025—15 February Dangerously Modern: Australian Women Artists in Europe 1890–1940

Hilda Rix Nicholas, The pink scarf, 1913, oil on canvas, 80.5 x 65 cm. Art Gallery of South Australia, gift of Mrs Roy Edwards through the Art Gallery of South Australia Foundation 1993 © Bronwyn Wright. the 1970s, she re-creates the rebellious Patchwork Girl, also known as Scraps, as a larger-than-life-size doll.

Explore the art and lives of 50 trailblazing women artists who prevailed against social constraints and left Australia to pursue international professional careers.

The exhibition focuses on the vital role of these Australian women in the emergence of international modernism and includes the now-famous, such as Nora Heysen, Margaret Preston and Grace Cossington Smith, as well as the still under-recognised, such as CL Allport, Justine Kong Sing and Stella Marks.

6 September 2025—8 February Raquel Caballero: The Patchwork Portal In this newly commissioned exhibition Caballero invites visitors to contribute to a collaborative patchwork installation.

Taking inspiration from her favourite childhood book, L Frank Baum’s The Patchwork Girl of Oz, and the psychedelic textiles of

Janet Dawson, St George and the dragon, 1964, oil on canvas, 166 x 197 cm. National Gallery of Australia, Canberra, gift of Ann Lewis AO 2011 © Janet Dawson.

19 July 2025—18 January Janet Dawson: Far Away, So Close The first state art museum retrospective of one of Australia’s great artistic visionaries. Janet Dawson (born 1935) is one of Australia’s pre-eminent artists. The exhibition highlights her distinguished career spanning over six decades of practice, illustrating that Dawson remains an artist who has refused to be bound by rules.

6 December 2025—12 April Ron Mueck: Encounter Enter the extraordinary world of Ron Mueck, the internationally celebrated Australian artist known for his astonishingly lifelike sculptures. Ranging from the minute to the monumental, Mueck’s hyperreal human figures offer a powerful and intimate reflection on the human condition. This deeply moving exhibition explores universal themes of birth and death, isolation and connection - tenderly inviting us to pause and reflect. Exclusive to Sydney.

30 August 2025—11 January Kaldor Public Art Project 38 Thomas Demand: The Object Lesson Artbank Sydney → Installation view, Tower Dog Red Rattler, Artbank Sydney 2025.

Photograph: Jessica Maurer.

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German artist Thomas Demand has created an extraordinary exhibition space

N E W S O U T H WA L E S specifically designed to display the John Kaldor Family Collection in a whole new light.

The exhibition features works Francis Alÿs, Christo, Gilbert & George, Andreas Gursky, Sol LeWitt, Robert Rauschenberg, Ugo R ondinone, Saskia Olde Wolbers and more.

From 4 October Mike Hewson: The Key’s Under the Mat Australia’s most dramatic exhibition space is completely transformed into an underground art park, as artist Mike Hewson brings his unique and boundary-testing brand of social sculpture to the Nelson Packer Tank.

31 May 2025—9 August High Colour High Colour is an immersive exploration of local and global Indigenous perspectives on colour. Inspired by Richard Bell’s 2012 work Colour theory, the exhibition considers the role of colour in creating contemporary interpretations of Indigeneity, as well as the use of colour as a form of categorisation.

Cindy Chen, The Birth of Thunder 19:48:50, 2015, acrylic ink on Wenzhou paper. bang of firecrackers, the hum of a family gathering, the rhythm of lion dances, temple bells, and the quiet flicker of incense.

These sounds become emotional markers of identity, absence, and adaptation. The exhibition becomes a meditation on how we carry ritual across time and place, and what gets lost, adapted, or reimagined along the way.

www.willoughby.nsw.gov.au/arts

Inspired by Confucian and Daoist ideas of ritual (禮) and harmony (和), the exhibition considers how rhythm and repetition shape memory, community, and perception. It reflects on how sound influences the way we experience belonging, and what it means to recall or reconstruct a sound that no longer exists.

Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm.

Art Leven (formerly Cooee Art)

Art Space Gallery – The Concourse

Kininjku and Beyond.

7 February—28 February Kininjku and Beyond Works from Maningrida.

Bankstown Arts Centre www.bankstownartscentre.com.au Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

www.artleven.com Gadigal Land, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

13 December 2025—17 January Unbreakable Spirits Artists form Spninifex Hill Studios, WA.

Image: Cindy Yuen-Zhe Chen.

6 December 2025—14 February Bamboo Entwine as they Grow Tiyan Baker, Dr. Cindy Yuen-Zhe Chen and Sarah Ong

Ren Yano, Fan 03, 2024, paper, wood & ink.

13 January—25 January Renclub Members’ Exhibition 2026 Local artist group RENCLUB presents an exhibition of Japanese calligraphy.

RENCLUB Members’ Exhibition 2026 offers many styles of writing from traditional to modern. Japanese calligraphy, or ‘Sho’ in Japanese, attempts to bring words to life and endow them with character.

The exhibition features ink calligraphy on paper and silk scrolls.

29 January—1 March Echoes of the Firecracker The firecracker is a sonic symbol of the New Year, designed to scare away evil spirits and awaken luck. In diaspora, however, that sound is often absent. This absence becomes metaphor: what happens to tradition when it is silenced, banned, or remembered only as echo?

Echoes of the Firecracker explores the sensory memory of celebration—the sharp

Warrane | Konstantina.

7 February—28 February Warrane | Konstantina A study of Gadigal salt water places.

Bamboo Entwine as they Grow has been developed in collaboration by Bankstown Arts Centre (Western Sydney) and the Museum of Art and Culture, yapang (Lake Macquarie). This two-part exhibition focusses on the practices of three artists Tiyan Baker, Dr. Cindy Yuen-Zhe Chen and Sarah Ong, presenting new and loaned artwork across both sites. The three artists have used bamboo to explore themes of labour, love, resilience and life transplanted, each through their own contemporary bamboo practice. Baker, Chen and Ong show how remarkable the humble bamboo grove is. Despite its faraway origins, and its ‘primitive’ reputation, they recognise that bamboo plays a vital role in the lives of many people across Australia with spiritual and emotional significance. With mutual admiration for each other’s artistic practices, the three artists had hoped to one day work together 195

artguide.com.au

Bathurst Regional Art Gallery

Bankstown Arts Centre continued... in a collaborative way. As this project has grown over both locations, the artists have shared skills, laughs, labour, research and memories born from having East and Southeast Asian backgrounds and mixed cultural upbringings in Australia. Bamboo Entwine as they Grow plays on bamboo’s role in our contemporary world and speaks to the need for all of us to connect and share knowledge so we can grow and thrive together. Bamboo Entwine as They Grow is a two-part exhibition across two locations.

21 February—18 April Bankstown Niu Mana Pasifika Greg Semu and emerging Pasifika artists Lead Curator: Leo Tanoi Co-Curator: Rachael Kiang The exhibition reflects on new ways and possibilities at the intersection of arts, sports, creative technology and community engagement in Pasifika culture. Centred on Greg Semu’s photographic and moving image practice, emerging Pasifika artists respond to the theme employing various artistic approaches.

Barometer Gallery www.barometer.net.au

www.bathurstart.com.au Wiradyuri Country, 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, weekends and public holidays 10am–2pm, closed Mon.

B. Rogers, Cushions. this period and contact us with any questions or for private viewing.

Bank Art Museum Moree (BAMM) www.bamm.org.au Kamilaroi Country, 25 Frome Street, Moree NSW [Map 11] 02 5764 0955 Tue to Fri 10am–5pm, Sat 10am–1pm, Sun closed.

31 October 2025—24 January The ballad of sexual dependency Nan Goldin

13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 Wed to Sat, 12noon–5pm, and by appointment.

22 November 2025—25 January West of Central 2 Bathurst Regional Art Gallery (BRAG) presents West of Central 2, the second iteration of this chaptered exhibition celebrating regional practice. Conceived as an exhibition responding to place, West of Central 2 embraces artists who live and work across Wiradjuri Country in Central West NSW. This Earth-centric exhibition honours artists’ care, concern, and respect for Country. Home to an increasing cohort of contemporary artists seeking connection, respite and balance, regional Australia is a place where artists have space to create, experiment and challenge. West of Central 2 celebrates those who live and work regionally, positioning the regional as central to their practice.

First realised in 2023 at BRAG, this second chapter, West of Central 2, invited artists from LGAs of Lachlan, Parkes, Forbes, Weddin, Cabonne, Cowra, Blayney, Orange, Mid-Western, Bathurst, Oberon and Lithgow to respond to the ecologies, histories, and communities of these places.

Barometer Gallery is an artist run exhibition space. With an emphasis on fibre arts, as well as showcasing photography and jewellery. Apart from its role as an exhibition space for hire to textile and craft artists, Barometer also initiates exhibitions from time to time in an effort to address ideas and create dialogue about craft and art and the object making processes.

10 December 2025—end January Annual end of year group exhibition

Harold James, Garage Barber, 2016/2017, Blacktown NSW.

Featuring textiles, works on paper and ceramics. View through our window during

31 October 2025—24 January Garage Barbershop

Timothy W. Martin, TORRENT, 2025, digital image. Photographed by Ebony Wightman. Courtesy the artist and We Are Studios.

Bank Art Museum → Nan Goldin, Nan and Brian in bed, NYC, 1983, National Gallery of Australia, Kamberri/Canberra, purchased 1994. © Nan Goldin.

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7 February—3 May Acts of Inheritance Aili Brenton, Virginia Bucknell, Ria Cirera-Cruz, Taylah Devlin, Holly-lee Dickson, Georgina Evans, Nina Frankie, Leanne Larwood, Timothy W, Martin, Shannon Nakayama, Grazia Napoletano, Adrienne Proud, Rebecca Sciroli, Kiri Smith, Jane Thatcher, Miah Tito-Barratt, Jordan Valageorgiou, Eden Young. Curated by Liam Benson.

N E W S O U T H WA L E S Bathurst Regional Art Gallery (BRAG) in partnership with We Are Studios presents Acts of Inheritance. Acts of Inheritance presents new work from eighteen Disabled artists who explore identity as something lived, layered and continually remade. We come to know ourselves through small, everyday acts and performances - our own and those of others, families, cultures and communities as they leave their mark upon us. Some artists revisit family stories or inherited acts; others reflect on Disability, mental health, and shifting perceptions of self and how we perform it.

Here, inheritance is not fixed or predetermined, but enacted through the choices we make, the stories we tell and the ways we show up for one another. Through these works, Acts of Inheritance invites us to imagine identity as something performed in ongoing dialogue between who we have been, who we are becoming and the worlds that shape us. We Are Studios is a 100% Disability-led, artist-run initiative empowering Disabled Western Sydney artists to thrive. The project is supported by the New South Wales Government through Create NSW and by the Australian Government through Creative Australia, its principal arts investment and advisory body.

the place followed by artist Edith Amituanai’s special performance where she works with the local community to create a cacophony of sound and lights.

There will also be hands-on making activities led by Sione Monu and Powerhouse Parramatta’s WE’VE program.

Although distinctly Pasifika flavoured, this garage party is for everyone. Come along and pull up a milk crate.

Blue Mountains City Art Gallery Dharug and Gundungurra Country, Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun. See our website for latest information.

Gianna Christella Hayes, Capsules Of Memory, (detail), 2025, video still.

22 November 2025—1 February Capsules of Memory Gianna Christella Hayes Capsules of Memory explores how seeds, water, and foodways – the shared knowledge, beliefs, and practices around growing, preparing, and eating food – carry ancestral memory. A Blue Mountains Cultural Centre Altitude exhibition.

29 November 2025—15 February PLAY! PLAY! examines the facilitative role of art institutions in encouraging play, community connection and selfexpression. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.

16 January—17 January Sydney Festival: Blacktown Garage Party

Music and karaoke from some of western Sydney’s greatest musicians will activate

Wilyakali Country, 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm.

See our website for latest information.

2024 Open Art Prize Winner: Bilyara Bates, Karnu Tharlta, Sandstone (stone on stone - traditional method), 2024.

7 November 2025—8 February 2025 Maari Ma Indigenous Art Awards

www.blacktownarts.com.au

Blacktown Garage Party invites the public to our backyard! Taking over The Leo Kelly Blacktown Arts Centre for 2 days, artists Sione Monu and Salote Tawale create an installation inspired by the aesthetics of the garage and adorned by community.

Think corrugated iron, lavalava, tarpaulins, Christmas decorations from 2003. For Pasifika Sydneysiders, the garage is much more than a place to park your car – it’s an informal gathering space for generations of families and community to come together and celebrate milestones or to catch up over songs, stories, and laughter.

www.bhartgallery.com.au

www.bluemountainsculturalcentre. com. au

Blacktown Arts Dharug Country, The Leo Kelly Blacktown Arts Centre, 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

See our website for latest information.

Broken Hill City Art Gallery

Presented by the Broken Hill City Art Gallery in partnership with Maari Ma Health Aboriginal Health Corporation and West Darling Arts, the Maari Ma Indigenous Art Awards celebrate the creativity and cultural strength of Aboriginal and Torres Strait Islander artists living across the Maari Ma / West Darling Arts region.

This respected non-acquisitive prize showcases a diverse range of works across painting, sculpture, and mixed media, with categories recognising emerging and established artists, young artists, and schools. The 2025 Awards will be judged

by Rebecca Ray, Curator of Aboriginal and Torres Strait Islander Collections and Exhibitions at the Museum of Contemporary Art Australia.

Bundanon www.bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–4pm.

See our website for latest information.

Tia Madden, Cyphers, 2024, hand-cut black paper, hand-sawed patinated copper, black wall paint, 200 x 400 cm.

Image courtesy the artist.

7 February—29 March The Uncode: Tia Madden The Uncode calls on the science-fictional, magical, and archaeological to probe the ambiguous space where drawing and writing overlap. A Blue Mountains Cultural Centre Altitude exhibition.

Mary Nolan, Tessa, Arles, 1964, black and white photograph. National Library of Australia, courtesy of the Lady Mary Nolan Estate.

22 November 2025—15 February The Hidden Line: Art of the Boyd Women 197

artguide.com.au Bundanon continued...

Boyd Family: Helen a’Beckett Read, Margot Beck, Lucy Boyd Beck, Amanda Boyd, Cassandra Boyd, Charlotte Boyd, Doris Boyd, Ellen Boyd Green, Emma Minnie Boyd, Florence Boyd Williams, Hermia Boyd, Jessica Boyd, Lenore Boyd, Lucinda Boyd, Lucy Boyd, Polly Boyd, Yvonne Boyd, Mary Nolan, Alice Perceval, Celia Perceval, Kitty Perceval, Tessa Perceval, Pip Ryan.

Contemporary Commissions: Pat Brassington, Elizabeth Dunn, Diena Georgetti, Helen Johnson, Narelle Jubelin, Camille Laddawan, Tjunkaya Tapaya OAM, Timna Taylor.

The Hidden Line: Art of the Boyd Women repositions the creative practices of five generations of women from one of Australia’s most prominent artistic dynasties.

Showcasing more than 300 diverse works, this timely exhibition brings the women of the Boyd family into focus. As artists, designers, photographers, and creative collaborators, their contributions—though historically less celebrated than those of their male counterparts—remain deeply influential. Revealing a remarkable matrilineal line of artistic practices, the exhibition is drawn primarily from the Bundanon Collection, with key loans from the National Gallery of Australia, the National Gallery of Victoria, the National Library of Australia, and Heide Museum of Modern Art, the exhibition spans painting, ceramics, sculpture, photography and design, including several never-before-exhibited works from the Bundanon Collection. New commissions and recent work by contemporary Australian women artists are interspersed throughout the exhibition, including Pat Brassington, Elizabeth Dunn, Diena Georgetti, Helen Johnson, Narelle Jubelin, Camille Laddawan, Tjunkaya Tapaya OAM and Timna Taylor.

Campbelltown Arts Centre → Weaving our ways to Country exhibition, Campbelltown Arts Centre, 2025. Photograph: Document Photography.

CBD Gallery proudly presents Tails, a group exhibition celebrating the richness of the animal kingdom.

Here, animals become more than companions or competitors - they serve as expressive voices and spiritual bridges to the natural world.

Campbelltown Arts Centre (CAC) www.campbelltownartscentre.com.au Dharawal Country, 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

See our website for latest information.

CBD Gallery www.cbdgallery.com.au 72 Erskine Street, Sydney, NSW [Map 8] 0450 130 422 Tue to Sat, 11am–5pm.

Martin Claydon, Miles Away, 2025, oil on canvas, 168 x 112 cm.

6 December 2025—20 February Summer Show

Erin Murphy, Gidran, 2025, oil on canvas, 65 x 80 cm.

22 January—21 February Tails Erin Murphy, Jenny van Ratingen, Liam Ross Baker 19 8

As the continent slips into what feels like an endless summer, CBD Gallery embraces the heat with a rotating group exhibition drawn from our vibrant stockroom. This showcase highlights the diverse practices of our extended community over two levels of air-conditioned bliss.

Lynda Draper, Spring, 2019, glazed ceramic. Photo courtesy of the artist.

6 December 2025—22 February Lynda Draper | Glimmer 28 November 2025—27 January Ngarandi Nguradha (Deep Listening to Country) Yirran Miigaydhu weaving group

N E W S O U T H WA L E S

Ceramic Break Sculpture Park www.cbreaksculpturepark.com.au Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Thu to Sun, 10am–5pm and by appointment only until 1 March

the occasional cry of an animal, the sound of the car reflected by the structures on the roadside in a continuous loop of initiation, reflection, hearing and response.

The Night Passes is a Gallery Lane Cove touring exhibition.

Ceramic Break Sculpture Park is the brainchild of award-winning bronze sculptor Kerry Cannon. It features three galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.

arises from direct, embodied experience: tracing geology, weather, memory and cultural histories through abstraction and material experimentation. Landscape functions not as motif but as generative methodology, informing gesture, surface and structure. Collectively, these works advance the discourse of Australian landscape painting through engaged, site-responsive practice. LAND – Artists on the Land of Three Rivers is curated and presented in partnership by Cowra Regional Art Gallery and The Corridor Project.

Cowra Micro Gallery www.cowramicro.weebly.com

Sally Simpson, An Uncertain Moment #2, (detail), 2024, charcoal on drafting film.

12 December 2025—1 February A Poem of the Sea Sally Simpson

Kerry Cannon, The Big Gooney, bronze and concrete, 400 x 270 x 182 cm.

January—February

A collection of regional artists from surrounding districts. Bookings essential.

Cowra Regional Art Gallery

A Poem of the Sea is Sally Simpson’s exploration, through the metaphor of water, of humanity’s relationship with the natural world. It is also a celebration and a demonstration of the expressive power innate in the act of drawing. The artist articulates the metaphor of humanity’s ongoing relationship with suspension or suspense, as evoked by bodies in water. The shoreline, where land and sea continuously act on one another, exemplifies the relationship with timelessness and change. A human can only survive for moments underwater, yet immersed we are suspended between life and death, and we lose connection with the gravity that hinges us to the rest of the world. The expression of the feeling of being within water evokes the loss of the defined boundaries of the self and all the paradoxes it contains. A Poem of the Sea is curated by Peter Haynes.

Group exhibition of local artists.

Paino Pieces Brenda Stace Chat

Wiradjuri Country, 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission free.

Wheelchair access.

The Night Passes parallels walking in the apparent emptiness of the hospital corridor at night with driving to and from the hospital on a small, dark country road.

Both sites of transition. Not somewhere to stay for long. The sounds heard in the nighttime corridor are layers of unattended alarms, the sound of muffled crying, the sounds of muffled conversations, the sounds of sleep, and the sound of footsteps. Driving on a small country road at night—with the car window down—you can hear the sounds of the tyres on the road,

Cowra Micro Gallery, which launched in October 2023, has now been running for two years as a vibrant, community-driven art space at the Cowra Railway Station.

We would like to take the opportunity to celebrate the following previous exhibitions:

The Colleen – salon des refusées

www.cowraartgallery.com.au

12 December 2025—1 February The Night Passes Fiona Davies

Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat & Sun, 10am–2pm, or by appointment.

Piano sculpture solo exhibition, supported by Arts Outwest.

Interconnections Ronda Sharpe

Elisabeth Cummings, By the River, gouache on paper.

6 February—8 March LAND - Artists on the Land of Three Rivers Elisabeth Cummings, Sophie Cape, Ana Young, David Collins, Leah Thiessen, Sally Stokes, Belinda Street, Kate Dorrough and Charmaine Pike An exhibition of nine celebrated Australian artists, who examined their response to the atmosphere of place. Developed following a 2025 residency at The Corridor Project on Wiradjuri Country, the exhibition

Solo exhibition, Wiradjuri environmental artist.

Thin Air Linda Chant Solo exhibition, paintings.

Grounded Christine Lanham Solo exhibition, paintings.

Traveling light, observing nature Terry Everson Solo exhibition, photographer.

Three Amigos Tim Hutchinson, Ken Hutchinson and Brenda Stace Chat Group exhibition.

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artguide.com.au Cowra Micro Gallery continued...

Inoffensive Name Art Show

Group exhibition of local artists.

Holman Place Student Exhibition Group exhibition.

Dish-tinguish Ken Hutchinson paintings on satellite dishes.

Untitled

Group exhibition hosted by Headspace.

Organomics Brenda Stace Chat Electric organ sculptures, next generation on from piano reuse.

Erthwrx 24 & Erthwrx 25

Group exhibitions curated by The Corridor Project during Science week.

Ways Of Giving Cate McCarthy Sculptures.

Take Two Sonia Turner and Danielle Allen Group exhibition featuring Sonia Turner photography and Danielle Allen paintings.

Cowra creates

Community exhibition facilitated by Shani Nottingham, supported by Arts Outwest.

Sawn, Sealed and Delivered Franklin Bridges Wooden creations from local and exotic wood.

Australian nuclear volunteers Ken Hutchinson

common to desert art, his practice quickly evolved into a strikingly singular visual vocabulary. Early collaborations with, and observances of, other painting men encouraged a reductionist approach, devoid of decoration and reliant upon design.

His earlier tendency to fill the space diminished and his painted shapes no longer served as a mere framework upon which the painting could proceed, they became the painting. This remarkable collection of paintings offers a rare, compelling vision of Spinifex Country, and an opportunity to celebrate a master of contemporary desert painting.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney.

02 9699 5353 Tue to Sat 10am–5pm.

Eloise Cato Gallery www.catogallery.com Lower Ground, 67 Fitzroy Street, Surry Hills, NSW 2010 0403 902 498 Tue to Fri, 10am–5pm.

Sat 10am–3pm.

Appointments available by request.

Solo exhibition featuring sculpture.

D’Lan Contemporary www.dlancontemporary.com.au 97-99 Queen Street, Sydney/Gaidigal Country NSW 2025 [Map 10] 02 9199 9646 Tue to Fri 10am–5pm, Sat 11am–4pm.

Fellia Melas Gallery www.fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

See our website for latest information.

Y. Bergner, M. Winch, Maclean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, S. Nolan, J. Olsen, C. Campbell, P. Griffith, C. Canning, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack, Y. Souvatzoglou and many others.

Gallery76 www.embroiderersguildnsw.org.au/ Gallery76 Gadigal Country, 76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm.

Free admission.

13 December 2025—25 January Margaret Oppen and Roma Field Competitions Embroiderers’ Guild NSW The Margaret Oppen and Roma Field Competitions foster excellence in original embroidery design. View the work of the 38 entrants, showcasing a mix of traditional embroidery techniques executed to perfection and contemporary work challenging perceptions of what stitched artworks can achieve.

13 December 2025—25 January Student Showcase Embroiderers’ Guild NSW The ‘Guild’ is a vibrant non-profit community for all stitching enthusiasts, whether a seasoned expert or just starting out.

Teaching and sharing the joy of embroidery is the core of the organisation’s mission, and this exhibition is a celebration of that passion, shown through a stunning display of student work from the past year.

Work by Nettie Sumner and Sally Baldwin.

29 January—25 February Fragility, Resilience, Transformation Sally Baldwin and Nettie Sumner Through delicate materials — blackened copper wire, lace-like paper, silk, and silvery structures — artists Sally Baldwin and Nettie Sumner explore the subject of environmental fragility. Ephemeral installations speak to the delicate equilibrium of our present ecosystems. This exhibition invites contemplation: a recognition of what is at risk, but also a call to action to protect what remains.

Lawrence Pennington, born c. 1934, Mituna, 2015, synthetic polymer paint on linen, 137 x 200 cm.

29 January—28 February Lawrence Mirrinya Pennington D’Lan Contemporary is honoured to present a solo exhibition of paintings by the late Lawrence Mirrinya Pennington (c. 1935-2024), a revered senior painter from the remote community of Tjuntjuntjara in Western Australia. Lawrence began painting in the 1990s, and while his early works shared the formal language 20 0

Brett Whiteley, Towards Sculpture 4, 1977, lithograph on paper, paper size 90 x 63 cm, ed: 50 + 5AP’s.

Works by: B. Whiteley, M. Woodward, V. Rubin, J. Coburn, N. Harding, D. Boyd,

30 January—25 February Let the Shoes Do the Talking Macarthur Textile Network Inc This exhibition presents a collaborative exploration of shoes — from practical to playful, past to imagined. Members of the Macarthur Textile Network crafted

N E W S O U T H WA L E S An Art Gallery of NSW Touring Exhibition.

Shoes by Chris Moore and David Williams. footwear using diverse materials and techniques: moulded, knitted, crocheted, felted, or reinvented from found shoes.

Each piece reflects personal creativity and shared inspiration. Celebrating fifteen years of innovation, the Network unites quilters, weavers, knitters, and felters, continually pushing textile boundaries and redefining what textile art can be.

15 November 2025—8 February Regional Creative Showcase 2025

Todd Fuller, Don’t forget to subscribe, 2025. Courtesy of the artist.

A selection of works from local senior high school and TAFE Creative Industry students.

15 November 2025—1 March Dear Christians Todd Fuller

31 January—26 April Northern Exposure Nine

Commissioned by Gosford Regional Gallery, Dear Christians, invited award-winning artist Todd Fuller to tell the story of a local Gosford identity. The resulting hand-drawn animation explores the radical power of allyship, language, and public witness. Centred on the experiences of The Venerable Canon Rod Bower of Gosford Anglican Church, the work draws from an oral history interview with Father Bower, whose outspoken advocacy for LGBTIQ+ rights has reverberated far beyond the church pews of Gosford.

A Glasshouse Regional Gallery exhibition showcasing Mid North Coast artists.

Gallery LNL www.gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Tue to Sat 10am–6pm.

Gallery LNL has cultivated a singular relationship with the ceramic medium, playing a pivotal role in fostering the careers of Australia's preeminent ceramicists from their early years to international recognition.

Glasshouse Regional Gallery

Truc Truong, I Pray You Eat Cake, 2023, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, toys, found objects, packaged food, synthetic polymer paint, fabric, wood, aluminium, stainless steel, electromechanical components, dried pig trotters, dried chicken feet, tassels, rope, image courtesy and © the artist, photograph: Zan Wimberley.

14 February—19 April Primavera: Young Australian Artists

A touring exhibition by the Museum of Contemporary Art Australia and Museums & Galleries NSW.

Bad Sports The Huxleys

Gosford Regional Gallery www.gosfordregionalgallery.com 36 Webb Street, Darkinjung Country, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm.

Free admission.

22 November 2025—11 January Archibald Prize 2025, an Art Gallery of New South Wales touring exhibition

Wynne Prize 2025 finalist, Vincent Namatjira, King Dingo. © The artist.

29 November 2025—26 January WYNNE PRIZE 2025

17 January—1 March Survey Sally Robinson Opening Friday 16 January, 6pm.

www.glasshouse.org.au Biripi Country, Corner Clarence and Hay Streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat, Sun & Pub Hols 10am–2pm.

See our website for latest information.

Sally Robinson, Atlas Cover, 1993, screenprint, ed. 50. Courtesy of the artist.

The Archibald Prize for portrait painting is Australia’s most celebrated and democratic - sometimes controversial - art award. First awarded in 1921, the Archibald Prize was established following a bequest from former Art Gallery trustee and founder of The Bulletin magazine JF Archibald (1856-1919), whose aim was to foster portraiture, support artists and perpetuate the memory of great Australians. This touring exhibition will display the Archibald Prize 2025 finalist works offering audiences outside Sydney the opportunity to see these notable works.

Opening Friday 16 January, 6pm.

A Museum of Australian Photography (MAPh) touring exhibition.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm.

21 November 2025—31 January Forest Song John R Walker Forest Song is a meditation on trees as enduring lifeforms that hold memory and mark the passage of time. Braidwoodbased artist John R. Walker’s work is informed by decades dedicated to walking, drawing, recording and exploring nature.

Walker has travelled widely, spending time in the forest and gullies in Badja, tracing the banks of the Murray River, and journeying through the expansive Flinders Ranges.

He reads the land as complex and fragmentary, where experience is shaped by who we are and how we encounter places.

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artguide.com.au Goulburn Regional Gallery continued...

Grace Cossington Smith Gallery

experience of visiting the Daintree Rainforest and the Great Barrier Reef in far north Queensland.

www.gcsgallery.com GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm.

Free admission.

Mascha Moje, Ring, 1999. National Gallery of Australia, Kamberri/Canberra, purchased 2003.

John R Walker, Stump, 2025, synthetic polymer on polyester, 263 x 202 cm.

Image courtesy Utopia Gallery and the artist.

Gary Warner, a 3-pendulum harmonograph, 2014, formply, brass, timber, perspex, 120 x 120 x 60 cm.

Jon McCormack and Gary Warner, project discussion online, September 2021.

30 January—28 February lines and lines and lines An exhibition of drawing projects by Jon McCormack and Gary Warner. The exhibition includes a pendulum-driven harmonograph, software-driven drawbots, Tinguely-esque drawing machines, prints and screen-based works. Drawings will be created in the gallery each day.

Kirsten Farrell, Future Ghosts, (work in progress), 2025, found plastic and cotton thread, courtesy of the artist.

21 November 2025—31 January Future Ghosts Kirsten Farrell Kirsten Farrell’s new exhibition Future Ghosts uses found plastic to make textiles that are layered and stitched. In this work, Farrell proposes that plastic should be re-evaluated as precious, honouring the materials aesthetic value through laborious craft-based processes. In abstract compositions, Farrell challenges the ongoing associations of textile as feminine and painting as masculine, creating works that are both familiar and unexpected. Ideas jostle for attention and are channelled into the work, without hierarchy, allowing them to coexist with the materiality of plastics. In this new exhibition, the artist questions the clear limitations of language to explain or emulate ideas and meaning found in art.

Future Ghosts is an exploration of artists and the traces they leave in the world.

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Griffith Regional Art Gallery www.griffithregionalartgallery.com.au 167 Banna Avenue, Griffith, NSW 2680 [Map 12] 02 6962 8338 Wed to Friday 10am–5pm, Sat and Sun 11am–2pm.

See our website for latest information.

8 November 2024—November Sharing the National Collection Over 40 pieces of Australian contemporary jewellery are on display at the Griffith Regional Art Gallery, including brooches, rings, necklaces, pendants, bracelets and more by leading Australian artists from the 1970s to the 2010s. These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. Launched in 2023, Sharing the National Collection supports the National Gallery to work with regional and suburban cultural institutions across Australia to share works of art from the national collection on long-term loan.

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery Dharug and Darkinjung Country, Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm.

Closed Tuesdays and public holidays.

See our website for latest information.

8 November 2025—18 January JamFactory ICON Julie Blyfield: Chasing a Passion JamFactory’s ICON series celebrates the achievements of South Australia’s most influential visual artists working in craft-based media. With a practice spanning 35 years, Julie Blyfield is a jeweller and metalsmith who is renowned for her intricately crafted jewellery and sculptural objects that capture the essence of the Australian landscape.

The major touring exhibition JamFactory ICON Julie Blyfield: Chasing a Passion presents a new collection of meticulously crafted works, inspired by Blyfield’s

Alison Bennett, vegetal/digital (Waratah), 2021, still of photogrammetry point cloud.

6 December 2025—8 March POSTWORLD Alison Bennett (VIC), Neil Binnie (QLD), K.Verell (Blue Screen of Death) (TAS), Gail Mabo (QLD), Ron McBurnie (QLD), Jenny Mulcahy (QLD), Catherine Parker (QLD), David Rowe (QLD), Jason Sims (SA), Stephen Spurrier (QLD), Rhonda Stevens (QLD) POSTWORLD features artists and

N E W S O U T H WA L E S

Ken Done, Tuesday reef, 2025, oil and acrylic on linen, 152 x 122 cm.

Hazelhurst Arts Centre → Julia Boros, Shapeshifter, 2024. collectives who create parallel universes in their creative practice. Audiences are invited into playful, sublime, poetic and cautionary explorations in contemporary works and installations. POSTWORLD is a touring initiative cocurated by Kate O’Hara and Daniel Qualischefski, developed by Umbrella Studio Contemporary Arts (Umbrella), commissioned by NAFA and toured

by Museums & Galleries Queensland (M&G QLD). This project has been assisted by the Australian Government’s Visions of Australia program and by the Queensland Government through Arts Queensland.

Hazelhurst Arts Centre www.hazelhurst.com.au Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm.

Free admission.

Until 25 January Hazelhurst Art on Paper Award 2025 Nicholas Aplin, Olivia Arnold, Karima Baadilla, Tania Babic, Christopher Banks, Hannah Bath, Nicci Bedson, Emily Besser, Lee Bethel, James Birch, Julia Boros, Elyn Brey, Peter Burke, Evie Cahir, August Carpenter, Stephen Clively, Zara Collins, Sal Cooper, Karen Coull, Juanella Donovan, Steven Isaac Durbach, Julie Edgar, Madi Feist, Freyja Fristad, Todd Fuller, Annette Galstaun, Stefanus Gevers, Edwina Green, Amala Groom, Rochelle Haley, Lise Hobcroft, Naomi Hobson, MeiMei Hodgkinson, Gina Jaaskelainen, Naomi Kantjurini, Iluwanti Ken, Belem Lett, Pamela Leung, Brenda Livermore, Mark Merrikin, Elena Misso, Simon Nicholls, Michelle Neal, Anh Nguyen, Jessica Nothdurft; Lauren O’Connor, Ruby Paroissien,

Sabine Pick, Shirley Ploog, Isobel Rayson, Peter Sharp, Mignon Steele, Michael Tawa, Teo Treloar, Zev Tropp, John Vella, Ellen Vince-Moin, Julie Visible, Belinda Yee, Frank Young, Zuza Zochowski.

18 December 2025—16 February Recent Work Ken Done

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, Sydney NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm, Sun and Mon by appointment.

Kayla Puse, Aquinas Catholic College, The things we frame, 2024, painting.

9 February—12 April ARTEXPRESS Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of expressive forms. ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority, presented by Hazelhurst Arts Centre. Part of the HSC Showcase season, this exhibition includes artwork by some of New South Wales most talented young artists.

The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5.30pm.

Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

King Street Gallery represents many of Australia’s senior artists including Elisabeth Cummings, Lucy Culliton, Tom Carment, Ross Laurie, Euan Macleod, Idris Murphy, Paul Selwood, Wendy Sharpe and Guy Warren. We exhibit work in a number of mediums, including painting, sculpture, work on paper and limited edition prints. King Street Gallery on William provides clients with expert advice in all areas of purchasing, conserving and collection management; King Street Gallery is registered to value artworks for the ATO Cultural Gifts Program.

Korean Cultural Centre Australia www.koreanculture.org.au Ground Floor, 255 Elizabeth Street, Eora Nation, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

Free admission.

21 November 2025—16 January KAAF Art Prize 2025 Katka Adams, Tim Allen, Andrew Antoniou, Trevor Armitage, Vilma Bader, Min-Woo Bang, Michael Bell, Robert Bennetts, Stephen Bird, Helen Brancatisano, Grae Burnished, Grant Cain, Tom Carment, Janet Cheetham, Okhee Choi, David Collins, Samuel 20 3

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Lismore Regional Gallery → Clare Milledge, Elatha and Ériu (part I & II), 2021, oil on tempered glass, bronze close-readers, each panel 117 x 117 cm; overall 117 x 234 cm.

Courtesy of the artist and STATION Gallery.

2024 Winner, Petrina Hicks, Mnemosyne IV, 2024, archival pigment print.

Condon, Paul Connor, Ryan Daffurn, Van Dahl, Sinead Davies, Sally Davis, Amanda Doctor, Christine DruittPreston, Dongwang Fan, Jacki Fewtrell Gobert, Emma Fielden, Felicia Finlayson, Mandy Francis, AnneFrance Fulgence, Keith Fyfe, Junko Hagiwara, Craig Handley, Karan Hayman, Beric Henderson, Sunjoo Heo, Eamonn Jackson, Amanda Johnson, Linda Joyce, Minjung Kang, Jennifer Keeler-Milne, Sangmi Kim, Waratah Lahy, John Lascelles, Hyun Hee Lee, Rosemary Lee, Rosemary Lee, Santiago Mals, Kevin McKay, Christopher Mcvinish, Michelle Molinari, Michael Muir, Ro Murray, Ijlal Olguner, Renata Pari-Lewis, Anna Phillips, Julie Poulsen, Michael Ransom, Caitlin Reilly, Colin Rhodes, Dan Riley, Marta Romer, Sandra Routh, John A Rowe, Marina Rukavishnikova, Patrick Shirvington, Sandra Tobias, Matthew Tumbers, Kate Vella, William Versace, Nat Ward, Xinxin Wen, Alice Xu, Ping Lian Yeak, Joon Youn, Michelle Zuccolo.

Finalists’ show of the Korea-Australia Arts Foundation (KAAF) Art Prize 2025. The Korean Cultural Centre (KCC) Australia serves as the venue partner, responsible for showcasing the finalists’ artworks.

Lavender Bay Gallery www.royalart.com.au Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 See our website for latest information.

The Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists.

Lismore Regional Gallery www.lismoregallery.org Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thu until 6pm.

5 December 2025—1 February Memory of motion Sonka Pietrek

Hannah Gartside, Waiting, 2023.

Photograph: Chantel Bann.

Club Ate, Ex Nilalang, episodes 1 – 4, (video still), 2017. Courtesy of the artists and Art Gallery of New South Wales.

Jordan Gogos, Installation garments from Iordanes Spyridon Gogos label, 2021–2025. Photograph: Chantel Bann.

21 November 2025—15 February Ex Nilalang, episodes 1 – 4 Club Ate 29 November 2025—15 March complex notophyll vine forest: ground-proof Clare Milledge

Liverpool Powerhouse www.liverpoolpowerhouse.com.au Dharawal Country 1 Powerhouse Road Casula NSW 2170 [Map 11] 02 8711 7123 Until 10am–5pm Sat 10am–9pm, Sun 10am–4pm.

Until 19 April Revealing Dress: Fashion as portraiture Liverpool Powerhouse’s latest exhibition Revealing Dress: Fashion as portraiture

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celebrates fashion as a visual language with the power to tell stories in ways words cannot. This is an exhibition for our current moment, a moment where we have never been more exposed. We are surveilled through social media and societal expectations. But fashion harnesses this visibility and allows the body to be a site of resistance and reinvention. It invites audiences to consider how we are seen, and what we choose to reveal about ourselves through the garments that adorns our bodies.

New commissions by Benjamin Akuila, Lily Golightly, Megan Hanson, Patrick McDavitt, and Jacquie Meng.

This exhibition also marks the debut of Liverpool Powerhouse’s expanded Kids & Families Gallery, now occupying the east and west sides of the Upper Turbine Gallery. A new commission by Lily Golightly transforms the Upper Turbine Gallery into an immersive installation of sculptural cloaks that embody different emotions.

Designed for intergenerational interaction, the space invites children and adults to explore emotion through costume,

N E W S O U T H WA L E S sound, and play. These cloaks make feelings tangible and wearable, helping younger audiences understand and express their emotional worlds.

that delves into the world of contemporary ceramics, where the boundaries of tradition and innovation are pushed to their limits.

Touring to Yellamundie (Liverpool Library): 6 December 2025—22 March Dear Belly: Food Stories from Liverpool Idil Abdullahi, Yvonne Koolmatrie, Loc Ngyuen, Jason Phu, Keg de Souza, Jayanto Tan, Leanne Tobin, Geoffrey Watson and Justine Youssef

25 October 2025—8 February Summer Holiday Xander Holliday

constructed forms that focus on his own observations of the buildings we inhabit.

Maitland local Xander Holliday continues his abstract series in Summer Holliday.

In a celebration of graphic form and bold colour, Holliday invites the viewer to relive their own cherished summer memories.

Dear Belly: Food Stories from Liverpool is a vibrant exhibition served like a mezze; rich, diverse, and meant to be shared. It is a celebration family, feasts, and the global food cultures that flavour the heart of the city.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm.

Nicole Smede, Yulimba, 2024, (still), single-channel video, sound, colour, duration: 8:49 sec, edition of 3 + 2 AP (production still 1 + 2).

13 December 2025—3 May A soft space to stand Jamie Bastoli, Jasmine Craciun, Alysha Fewster, Fiona Lee, Lovedavid, Ali Noble, April Phillips and Nicole Smede

Maitland Regional Art Gallery

Kerrie Lester, Souvenir of Woop Woop, 1976, mixed media and souvenir teaspoons, 146 x 210 cm. Donated through the Australian Government’s Cultural Gifts Program by Elizabeth Evatt in 2020.

1 November 2025—8 February Shared Jumaadi, Tony Albert, Lionel Bawden, Harriette Bryant, Penny Byrne, Leecee Carmichael, Jonathan Dalton, Troy Emery, Nyarapayi Giles, Shaun Gladwell, Lucas Grogan, Fiona Hall, Li Hongbo, Locust Jones, William Kentridge, Ildiko Kovacs, Lindy Lee, Kerrie Lester, Nell, Sidney Nolan, Margaret Olley, Ben Quilty, Caroline Rothwell, Imants Tillers, Freddie Timms, Tim Leura Tjapaltjarri and John Young.

In 2025 Maitland Regional Art Gallery celebrated its 50th anniversary. To commemorate this milestone, MRAG presents Shared, an exhibition of special works from the Collection that have been Prized, Gifted, Collected and Shared by the Gallery across that time.

8 November 2025—1 March The Wooden City Benjamin Gallagher In The Wooden City, Benjamin Gallagher presents highly laboured, beautifully

Lucy Culliton, Self with Cock III, 2003, oil on canvas, 75 x 60 cm.

15 November 2025—22 February The Show Lucy Culliton Lucy Culliton’s exhibition The Show explores the vibrant culture of regional agricultural shows through her unique lens, celebrating the people, landscapes, and eccentricities of regional life.

21 February—21 June The Places That Shape Us Ray Monde The Places That Shape Us documents queer lived experiences in regional Australia and how it has influenced their creative careers and lives. Through large-scale, immersive paper collages and sound, Monde draws on personal and collective memories, from artists such as Nell, Todd Fuller and Prue Hazelgrove, capturing the nuances of growing up queer in regional Australia.

21 February—19 April Art Express This dynamic and popular exhibition features a selection of exceptional student artworks created for the art-making component of the HSC examination in

www.mrag.org.au Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm.

Café, 8am–2pm. Free entry, donations always welcomed.

See our website for latest information.

25 October 2025—1 February Mud to Masterpiece Tracie Bertram, Penny Evans, Bonnie Hislop, Juz Kitson, Alfred Lowe, Ramesh Mario Nithiyendran, Mark Patterson, Monica Rani Rudhar, Ebony Russell, Gabriella Smart, Vipoo Srivilasa, Gerry Wedd and Kara Wood.

Far from the traditional utilitarian uses of clay, Mud to Masterpiece is an exhibition

The Lock-Up → Ali Noble, Cubbyhouse (Nothing is Certain, said The Curtain), 2024 (still), two-channel video, 7:41 min, videography by Motel Picture Company. Courtesy of the artist.

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Visual Arts in 2025. ARTEXPRESS 2026 celebrates students’ artistic excellence and provides insight into the issues that are important to them. ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority.

Macquarie University Art Gallery www.artgallery.mq.edu.au Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2109 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

See our website for latest information.

Manning Regional Art Gallery → Kate Dorrough, The River is our Mother, 2019, acrylic on linen.

Manning Regional Art Gallery www.manningregionalartgallery.com.au Biripi Country, 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 7955 7074 Tue to Sat 10am–4pm.

5 December 2025—24 January Confluence - Mountains to the Sea Donald Laycock, Rear, 1968, oil on canvas, 152 x 137.5 cm; 156 x 141.2 cm framed.

Photograph: Effy Alexakis, Photowrite.

31 October 2025—13 February Australian Abstraction Sophie Cape, Julia Davis & Lisa Jones in collaboration, Helen Eager, Louise Forthun, Michael Goss, Gary Gregg, Sean Hogan, Dale Frank, Michael Johnson, Kirtika Kain, Donald Laycock, Ian Milliss, Kyle Murrell, NOT, Louise Olsen, Ana Pollak, Jeanette Siebols, Aida Tomescu, Savanhdary Vongpoothorn and Chris Wise. Curated by Rhonda Davis and Kon Gouriotis.

The Australian Abstraction exhibition series continues its exploration of the evolving nature of abstraction within the Australian context. This second stage retraces the diversity, episodic developments, and layered narratives that have shaped abstraction as an enduring force in Australian art. What began as an international movement has been reconfigured and transformed by artists working within the unique socio-political, cultural, and environmental conditions of this country.

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This exhibition presents a richly varied collection of artworks from evocative landscapes to expressive figurative pieces, offering a glimpse of the Manning Regional Art Gallery collection.

5 February—28 March HOUSE OF GOLD Dr Christian Thompson AO traverses and dissolves binary boundaries through an artistic practice that spans photography, performance, sculpture, moving image and sound. HOUSE OF GOLD draws inspiration from a line of Song Dynasty poetry.

Theatre & Threads: The tradition of Indonesian masks, textiles and woven forms

This unique showcase invites visitors to explore the intricate connection between performance and craftsmanship in Indonesia, where each mask tells a story and every thread is woven with meaning.

Angela Beaumont: Diving Deep Many cultures revere rivers and the sea as gods with the power to purify and renew.

Angela has created a body of work depicting people swimming, floating and diving beneath the surface.

Manly Art Gallery & Museum www.magam.com.au Patricia Casey, Swallow the Rain, diptych photograph.

5 December 2025—24 January Swallow the Rain: Patricia Casey Following a diagnosis with a painful chronic illness, Casey was forced to redefine both her life and her art. During this time of loss and adaptation, daily walks in nature became her anchor, offering moments of reflection and connection.

Defined by Less: Beate Brooks Tracy Defined by Less is a personal exploration of how a frugal upbringing in a remote, arid landscape shaped the artist’s understanding of abundance.

Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm.

5 December 2025­—15 February Garden Variety This exhibition presents the work of five contemporary Australian artists, along with works from the MAG&M and AGNSW Collections to create a hanging garden of art within the gallery. Through motifs associated with gardening, horticulture, and landscaping, the artists Natasha Bieniek, Lucy Culliton, Nic Fern, Michael Kempson, and Louise Zhang skilfully

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Martin Browne Contemporary www.martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

See our website for latest information.

Image © Romain Barats.

6 November 2025—3 May Ocean Photographer of the Year

Nic Fern, The joy of life (after Bonheur de vivre by Matisse), 2025. Courtesy the artist and C Gallery, Melbourne. traverse this complex psychological landscape through a range of cultural narratives and media. Part of MAG&M’s Collective for Environmental Art & Design initiative.

Ildiko Kovacs, Penumbra, 2025, oil paint on plywood, 120 x 140 cm.

6 January—31 January Summer Group Show Sam Michelle, Michael McHugh, Alexander McKenzie, Ildiko Kovacs, Bronte Leighton-Dore, Rose Espinosa, Dan Kyle, Peter Cooley, AJ Taylor, Monica Rani Rudhar and Ebony Russell

Guan Wei, Southern Ocean, 2025, acrylic on canvas, 162 x 254 cm.

5 February—28 February Ark of Time Guan Wei Ruth Waller, Garden walk vase, 2024, acrylic on linen and balsa blocks, 88 x 56 cm. Courtesy the artist

5 December 2025­—15 February Counterpoint: Jude Rae, Ruth Waller, and Toni Warburton This exhibition brings together the work of three artists whose practices resonate through material, form, and process.

The interplay of their work suggests a counterpoint of ideas: materiality and illusion, perception and process, intuition and structure. Growing up within a few kilometres of each other on Sydney’s Northern Beaches, the artists also share early experiences of place.

Their experiences and practices remain unique, yet in dialogue, three voices attuned to the resonances of the world around them.

The Maritime Museum www.sea.museum 2 Murray Street, Darling Harbour, NSW 2000 [Map 7] 02 9298 3777 Open daily 10am–4pm, 9:30am–5pm (School Holidays).

The Australian National Maritime Museum is Australia’s museum of the sea. A place to explore our relationship to the oceans, rivers and lakes around us and to dive deeper into the rich maritime heritage that binds us all. Australia’s maritime history abounds with people who lived, worked, and explored our waters. The maritime museum brings a modern perspective to these narratives, exploring topics of migration, commerce, archaeology, ocean science and culture and lifestyle.

Celebrate the wonder and fragility of our blue planet through the world’s leading ocean photography competition, returning to the Australian National Maritime Museum this November. Ocean Photographer of the Year showcases more than 15,000 submissions from around the globe, distilled into a breathtaking gallery of winning and finalist images. From intricate macro shots of tiny amphipods to vast underwater vistas and dramatic drone scenes, these photographs reveal both the beauty of the ocean and the urgent need to protect it.

Mosman Art Gallery www.mosmanartgallery.org.au Cammeraigal and Borogegal Country, 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm.

Closed public holidays.

See our website for latest information.

15 November 2025—15 February Foreshore Will Asthon, Mark Brown, Ethel Carrick Fox, Albert Henry Fullwood, Elioth Gruner, Peter Kingston, Jasper Knight, James R Jackson, Anna May Kirk, Sydney Long, Juanita McLauchlan, Techa Noble, Thea Anamara Perkins, Margaret Preston, Susan Rothwell and Arthur Streeton An exhibition focused on where the land and harbour meet in Mosman and how we have lived on, utilised, and enjoyed it throughout history. Examining the Indigenous, military, industrial and leisure history of Mosman’s foreshore, this exhibition draws together the work of contemporary artists, with historic works from the Mosman Art Collection.

Alex Seton, Everything was Beautiful, and Nothing Hurt, 2022, soda glass, nylon, steel, marble offcuts. Glassblower: Katie Ann-Houghton. Image courtesy of The Lock-Up, Newcastle and the artist. © the artist. Photograph: Mark Pokorny.

15 November 2025—15 February The Cube: Alex Seton 207

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Alex Seton’s artistic practice incorporates sculpture, photography, video, and installation to examine problematic ideas and concepts, giving them form. Always carefully considered, Seton’s artworks playfully sit at the junction of an idea, forcing a choice in the viewer as a litmus test of their own disposition. Whether contemplating notions of nationhood, legacy and privacy or the problematic relationship between individual and society, the personal and cultural collide in his work in a complex relationship between form and substance.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm. Closed Tuesdays.

14 August 2025—15 February A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul In collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid.

5 September 2025—8 March Primavera 2025: Young Australian Artists September 2025—April Neil Balnaves Tallawoladah Lawn Commission 2025 Thomas J Price 3 October 2025—8 June Yasmin Smith

Liam Benson, Dew, 2022, lace, organza, diamantés, glass seed beads, acrylic beads, faux pearls, crystal glass faceted beads, glass bugle beads, cotton, sequins. Image courtesy and © the artist.

Photograph: Jacquie Manning.

8 November 2025—15 February In Profile: Liam Benson and the Mosman Embroiderers’ Guild

12 December 2025—15 March A Nest in the Hills: The Symbiosis of Women and Birds in Contemporary Australian Art This exhibition delves into the complex and multifaceted relationship between women and birds. Exhibiting artists include: Petrina Hicks, Leila Jeffreys, Anna-Wili Highfield, Deborah Kelly, Lucy Culliton, Lorraine Connelly-Northey, Michelle Cawthorne, Dianne Fogwell, Kim Goldsmith, Denise Faulkner, Fleur MacDonald, Aleshia Lonsdale, Kim Harding, Michelle Steven and Pamela Welsh.

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On Awabakal Country, 1 Laman Street, Newcastle NSW 2300 [Map 12] 02 4974 5100 Fri to Sun, 10am–4pm.

Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Open daily 11am–5pm.

Free admission.

Dadang Christanto, Missing 1, 2012.

Newcastle Art Gallery, Australia, purchased through the Les Renfrew Bequest 2020 © the artist.

Opening 28 February Iconic Loved Unexpected

www.mudgeeartsprecinct.com.au

This exhibition is the first in a series of four major exhibitions made possible through the Australian Government’s Sharing the National Collection initiative.

www.newcastleartgallery.nsw.gov.au

www.nas.edu.au

Mudgee Arts Precinct

24 October 2025—15 March Icons of Pop Art: Warhol and Lichtenstein

Newcastle Art Gallery

National Art School NAS Gallery

Textile artist Liam Benson will collaborate with the Mosman Embroiderers’ Guild through a series of workshops, that focus on the exchange between foundational and experimental textile practice.

90 Market Street, Mudgee, NSW 2850 [Map 8] 02 6378 2850 Open daily 9am–5pm.

Closed Christmas and Boxing Day.

– from underground graffiti writers to celebrated contemporary artists – united by one charged medium: spray paint.

Curated by artist and National Art School lecturer Fiona Lowry and National Art School Senior Curator and Gallery Manager Katrina Cashman, SEARCHERS traces spray paint’s passage between subculture and fine art – from Sidney Nolan’s late experiments and Howard Arkley’s suburban scenes to the work of graffiti artists such as TAVEN, SPICE and MACH. Born on the street and reimagined in the gallery, spray remains a material of anonymity, immediacy, and defiance.

MACH, Gold medal graffiti, 2025. Image courtesy and © the artist.

17 January—11 April SEARCHERS: Graffiti and Contemporary Art Opening Night: Thursday 22 January.

Ben Aitken, Howard Arkley, BAGL, Andrew Browne, Daniel Crooks, Adam Cullen, Mikala Dwyer, Dale Frank, Shaun Gladwell, Brendan Huntley, Rhys John Kaye, Luke Kennedy, LAZY, Mim Libro, Fiona Lowry, Eddie Martin, MACH, Tony McGillick, Paul McNeil, TV Moore, Callum Morton, Tresor Murace, Sidney Nolan, Ben Quilty, Reko Rennie, Joan Ross, Khaled Sabsabi, Tim Silver, SPICE, Bridget Stehli, Maya Stocks, Latai Taumoepeau, TAVEN. Curatorium: Fiona Lowry, acclaimed Australian artist and painting lecturer at National Art School. Katrina Cashman, National Art School Gallery Manager and Senior Curator. SEARCHERS: Graffiti and Contemporary Art brings together over thirty of Australia’s most dynamic artists

Experience Newcastle Art Gallery’s icons, loved favourites, and unexpected gems in our inaugural exhibition, Iconic Loved Unexpected. Across every space in the newly expanded Gallery, we celebrate our nationally renowned collection of more than 7,000 works of art by local, national and global artists. This multi-faceted display foregrounds First Nations art, while tracing the development of Australian art over more than 200 years, and showcasing vibrant works by contemporary artists.

Iconic Loved Unexpected exhibition opens with a free street party on Friday 27 February from 5pm–9pm.

Ngununggula www.ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

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Clarice Beckett, Evening landscape, c1925. National Gallery of Australia, Kamberri/Canberra, purchased 1974.

22 November 2025—26 January Clarice Beckett: Paintings from the National Collection

New England Regional Art Museum → Rosie Nampitjinpa, Helen Nampitjinpa, Brenda Napaltjarri, Josephine Napurrula, Tatali Napurrula, Rubilee Napurrula, Clara Napurrula, Aileen Napurrula, Monica Nangala, Untitled, 2021, acrylic on linen.

New England Regional Art Museum www.neram.com.au Anaiwan Country, 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

Mirra Whale, Vincent Street Blood Red Geranium, 2019, Private collection, Sydney.

22 November 2025—26 January Scenes & Silence Clarice Beckett, Mirra Whale 7 February 2025—5 April Wynne Prize 2025 Holly Anderson, Billy Bain, Natasha Bieniek, Seth Birchall, Harriette Bryant, Nyunmiti Burton, Margaret Campbell, Casey Chen, Alec Baker, Eric Barney, George Cooley, Dean Cross, Lucy Culliton, Stephen Evans, Robert Fielding, Joe Frost, Eliza Gosse, HEGO, Armando Chant, Mohammed Waseem, Mohammed Irfan, Mohammed Imran, Mohammed Fahim, Mohammed Tasleem, Charles Jangala Inkamala, Mehwish Iqbal, Sylvia Ken, Elizabeth Kunoth Kngwarray, Alfred Lowe, Tessa MacKay, Juanita McLauchlan, Yalmakany Marawili, Mark Maurangi Carrol, Sanné Mestrom, Nicola Moss, Betty Muffler, Marrnyula Munungurr, Vincent Namatjira, Lorna Napanangka, Ramesh Mario Nithiyendran, Catherine O’Donnell, Kenny Pittock, James Powditch, Jude Rae, Tim SIlver, Michael Snape, Vipoo Srivilasa, Heather B Swann, Robyn Sweaney, Aubrey Tjangala, Angus Tjungurrayi, Sylvester Tjungurrayi, Natasha Walsh, Terry Williams, Kara Wood.

14 November 2025—1 February Echoes of the Earth: Tribal and Desert Art Developed with partners in Australia and India, this exhibition connects First Nations and tribal artists across cultures. Showcasing contemporary practices informed by deep traditions, the exhibition highlights resonating stories and cultural language while reflecting on the countries’ ancient connection as part of the Gondwana supercontinent.

region’s many dams—distinct visual and ecological features—Mathews’ paintings reflect his deep connection to place, capturing the interplay of environment, memory, and identity shaped over three decades living and working in Armidale.

8 November 2025—1 February How to Weather Together 14 November 2025—1 February The Garden: Lae Oldmeadow Gather Around my Table: Kim Bizo 6 February—29 March Intimate Connections

This exhibition reveals the personal and creative connections that bind artists within the NERAM Collections. Highlighting relationships such as those between Douglas Dundas and Dorothy Thornhill, Joshua Smith and William Dobell, and Kenneth Macqueen and Olive Crane, it uncovers the intimate networks—familial, collaborative and deeply personal—that shaped their artistic lives. Through these stories, the exhibition offers a fresh perspective on the intertwined histories that animate Australian art.

Echoes & Silences Unearthed Fibre Artists Traces Eve Chen & Beth Macraild O’Loughlin 6 February—15 March Hinton: Of Brushes and Light Summer Impressions

Orange Regional Gallery Rowen Mathews, Frost, 2025, oil on canvas.

14 November 2025—1 February WATER: Rowen Mathews

Rowen Mathews explores the unique landscapes of the New England highlands through the lens of water. Focusing on the

www.orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

See our website for latest information.

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Outsider Gallery www.outsidergallery.com.au 144 Commonwealth Street, Surry Hills [Map 10] 0422 509 508 Weds to Sat 10am–6pm or by appointment.

Outsider is a contemporary art gallery based in Sydney. The gallery presents an eclectic programme of artists whose practices are fearless, distinctive and outward-looking. Its exhibitions champion urgent and visionary work, creating a platform for artists who reframe how we see and engage with the world.

Outback Arts Gallery www.outbackarts.com.au Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

3 November 2025—16 January Kiln & Canvas Coonamble Ceramics Collective A collective exhibition of works from across the studio, featuring works by Wailwan Artist Sooty Welsh, Prue Cullen and Julia Borowski. Operating for over a decade the Coonamble Ceramics Collective continue to create in the remote outback community volunteer run studio.

The collective strength empowers creative practice, sharing stories, inspiring the next generation, and exploring the grit and grace of country life.

Penrith Regional Gallery → Penrith Olympic Pool, 1965 (detail). Photographs Collection, Penrith City Library. wanted the communities to view and enjoy the pieces that they have gained so much pleasure from. In mid September 2007, Outback Arts received 5 more magnificent pieces of artwork to add to the collection.

Since then Outback Arts has continued to receive many more pieces from their generous donors. In total Outback Arts has more than 40 pieces, in varying mediums from painting through to sculpture and photography and in size, very large to the very small.

Penrith Regional Gallery www.penrithregionalgallery.com.au Darug Country, 86 River Road, Emu Plains, NSW 2750 [Map 11] 02 4735 1100 Mon to Sun 10am–4pm.

See our website for latest information.

8 November 2025—15 February The Pool Show

Alexander McKenzie, Self Portrait with a Group of Fish, 1996.

19 January—27 February The Collectors Outback Arts has been very fortunate to have been approached by two Private Art Collectors, Yvon Gatineau and Peter Jackson in 2005 with their intention to donate some original artworks to Outback Arts.

Their idea, being for the Far West region to gain access to predominately Modern Art pieces that they have painstakingly collected over the years and which are normally, easily accessible to city dwellers.

Due to the remoteness and lack of cultural infrastructure in the Far West region they 210

Featuring new commissions from Marian Abboud & the Seed of Hope Collective, Katerina Asistin, Dennis Golding, Mike Hewson and JD Reforma.

The Pool Show rethinks the mythology and iconography of the pool in the Australian imagination, to visualise new definitions of swimability in the hottest part of Australia’s biggest city.

PIERMARQ* www.piermarq.com.au Eora Nation, 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm.

Tommy Watson, Wipu, 2013, acrylic on linen, 112 x 102 cm.

12 February—7 March First Light Warlimpirrnga Tjapaltjarri, George Hairbrush Tjungurrayi, Tommy Watson

Rex-Livingston Art + Objects www.rex-livingston.com Dharug and Gundungurra Country, 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. 15 January—15 February Where grasses now stand still Nick Stathopoulos Some artists seem content to grow their brand by painting the same thing over and over, but not Nick Stathopoulos, he isn’t that kind of artist. He’s always embraced variety, both in subject and style. Best

N E W S O U T H WA L E S known for his popular hyper-realist Archibald portraits, his work includes landscapes, still-life, and especially paintings of his toy collection. Following the success of his previous landscape exhibition with Rex-Livingston Art + Objects, Katoomba in Jan 2025, this new show features a range of subjects and sizes, many in the classic 9 x 5-inch format, all exquisitely detailed and framed.

Rusten House Art Centre is an 1862 NSW Heritage listed building, that was Queanbeyan’s first hospital. It has been restored for reuse as a regional gallery and workshop facility, opening for the first time to the public from April 2021. It boasts many original architectural features and is accompanied by a heritage listed garden.

Rusten House is owned and operated by Queanbeyan-Palerang Regional Council.

Rusten House Art Centre reopens after its Christmas closure on 14 January 2026 for gallery inspections and Summer workshops. Please note the gallery will be closed on Saturdays throughout January. The regular exhibition program and opening hours will resume from 7 February.

the creativity of artists from across the Queanbeyan–Palerang and ACT regions.

Responding to the theme of ‘Queen’ in diverse and imaginative ways, artists explore ideas of identity, power, history, pop culture and fantasy across a range of mediums. The exhibition nods to Queanbeyan’s alter ego, ‘Dreambeyan’, inviting audiences into a playful and dreamlike realm that reimagines what it means to be a queen.

Digital Design by Monica Shanahan, Self Portrait - Queen Monic (2025), Sources: Portrait of Queen Victoria, 1842-43, Sir Martin Archer Shee PRA (1769-1850).

Jim Lambie, Metal Box (Antofagasta), 2024, polished steel and aluminium sheets, gloss paint, 80 x 80 x 12 cm.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au Cadigal Country, 8 Soudan Lane (off Hampden Street), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

See our website for latest information.

Kjell Everingham, Points of View, (detail), 2025, oil on canvas, 122 x 91 cm.

20 February—15 March New Emerging Art Including Kjell Everingham, Polina Karuso, Fiona Ryan-Clark plus many more Paintings and ceramic sculptures by emerging talent.

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

7 February—28 February Queens of Dreambeyan Group Exhibition – Various Artists Rusten House Art Centre presents Queens of Dreambeyan, an exhibition celebrating

February—March Jim Lambie

Scieppan Gallery www.scieppan.com.au Shop 2/1 Francis Street, Darlinghurst, NSW 2010 [Map 8] 0420 818 028 Contact for opening hours.

See our website for latest information.

Graham Marchant, Poppies, Blue Silk and Friends, oil on canvas, 92 x 152 cm.

Rex-Livingston Art + Objects → Nick Stathopoulos, Where grasses now stand still, 2025, (detail), acrylic & oil glaze on polycotton, 51 x 101 cm.

31 January—21 February Graham Marchant

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S.H. Ervin Gallery www.shervingallery.com.au Gadigal Country, National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.

are deeply rooted in the life she’s built in Bibbenluke. Since moving to the Monaro Plains in 2008, the highly accomplished artist has drawn inspiration from her garden, animals, domestic objects and the rural landscape. This major exhibition at SECCA—the closest to her home— celebrates her joyful, distinctive vision, showcasing the full range of her acclaimed work, from intimate still life compositions to sweeping vistas.

SteelReid Studio www.steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

Mary Tonkin, Coprosma Madonna, Kalorama, 2021–22, oil on linen, three panels 320 x 610 cm.

3 January—1 March Mary Tonkin: Among the Trees Mary Tonkin is one of Australia’s leading landscape painters whose epic, immersive paintings respond to the changing seasons, lights and viewpoints of the bush where she paints en plein air. Based in a secluded corner of the dense damp, ferny bush of Corhanwarrabul/ Dandenong Ranges, Tonkin paints the landscape of her childhood - her ‘enchanted paradise’.

Tonkin’s mastery of the painted landscape creates extraordinarily detailed works which are a sensorial and visceral experience that engages the viewer and conveys her deeply felt emotions to the place that inspires her. This major survey exhibition, the first in Sydney, will examine the artist’s oeuvre from the early 2000s to the present day in works saturated with light, colour and hope.

Darren Bryant, Fold. Volume 2, 2020.

Discover rare and beautiful works by leading contemporary artists, from the Library’s little-known collection of artists’ books. Featuring striking and innovative creations by leading artists including Ed Ruscha, Judy Watson, Bill Henson, Nathalie Gautier-Hartog and more, the exhibition reveals how artists transform the idea of a book into works of art.

Ranging in size from just 5 centimetres to an astonishing 40 metres, and made from a range of materials and techniques, these works reveal intimate, moving and powerful stories beyond the written word.

Studio A www.studioa.org.au Level 11, 601 Pacific Hwy, St Leonards, NSW 2065 Visits by appointment only.

See our website for latest information.

Pennie Steel, Mangosteens on Silver.

South East Centre for Contemporary Art www.secca.com.au Yuin Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm, Sat 10am–2pm.

Closed Sun and public holidays.

Thom Roberts, Mixco City, 2024, acrylic on cardboard, 104 x 83 cm.

Brian Reid, Nude.

Viewings of artworks by Pennie Steel and Brian Reid by appointment.

State Library of NSW Lucy Culliton, Bibbenluke Spring, 2025, oil on canvas. 1220 x 1985 mm.

Photograph: Brenton McGeachie.

13 December—28 February Close to Home Lucy Culliton Lucy Culliton’s vivid, personal paintings 212

www.sl.nsw.gov.au 1 Shakespeare Place, Sydney, NSW 2000 [Map 8] 02 9273 1414 See website for opening times.

11 August 2025—3 May Paper Universe: The book as art

Studio A is a leading Australian supported studio for professional artists with intellectual disability, representing some of the nation’s most acclaimed contemporary artists, including Archibald Prize finalists Thom Roberts, Emily Crockford, Daniel Kim and Catherine McGuiness.

The studio is dedicated to ensuring artists with intellectual disability have a voice in contemporary culture and sustainable careers within the creative industries.

Collecting artwork or design product from Studio A directly supports an artist with intellectual disability and enriches Australia’s cultural life with diverse voices.

Visits to Studio A’s vibrant working space

N E W S O U T H WA L E S are welcome but are by appointment only.

For online sales, current exhibitions, public artworks and creative projects, visit the Studio A website.

Straitjacket www.straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 Open by appointment January, closed February, reopening 7 March.

See our website for latest information.

Tin Sheds Gallery → Juha van’t Zelfde, RoXY, (video still), 2022.

29 January—21 February Alair Pambegan

Studio and a research library, and is a fully accessible space. Tamworth Regional Gallery is the result of over 100 years of sustained support from our community, alongside forward planning and investment by Tamworth Regional Council.

Summer Salon 2024.

6 December 2025—31 January Summer Salon 2025

Sullivan+Strumpf Gadigal/Sydney www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

Alair Pambegan, Untitled #1, 2025, acrylic on canvas, 153 x 183 cm.

Jess Cochrane, Traditional Hungarian Vessel, 2025, oil on canvas, 120 x 99 cm.

26 February—21 March The Middle of the Flower Jess Cochrane 26 February—21 March Support Structures Sanne Mestrom

Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5247 Tue to Fri 10am–5pm, Sat & Sun10am–4pm.

See our website for latest information.

The Gallery offers a rotating program of touring exhibitions of national significance, alongside curated exhibitions of works by regional artists and exhibitions from our permanent collection. Every year, Tamworth Regional Gallery delivers a rich and varied series of workshops, lectures, artist talks, events and engaging public programs. The Gallery houses purpose-built exhibition spaces, conservation collection storage, a retail shop, the Esther Halliday

Melinda Schneider, The Story Of My Life (The Next Chapter), acrylic on ply, 97 x 104 cm.

13 December 2025—1 February Tender Melinda Schneider

Tin Sheds Gallery www.sydney.edu.au/tin-sheds Gadigal Land, 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

27 February—3 April 120 BPM Alyson Sillon, Priyageetha Dia, Juha van’t Zelfde, Justin Talplacido Shoulder x Matthew Stegh. Curated by Manique Hendricks & Sharmila Wood.

In a moment marked by confinement and restriction, 120 BPM reflects on how dance, art and the rave offers a space of openness—an opportunity to rehearse new possibilities, even as those spaces are increasingly under threat with urban renewal and gentrification displacing underground culture, pushing it into more precarious, policed environments.

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Until 6 December Mirror-view: Artists by Artists

Tweed Regional Gallery & Margaret Olley Art Centre

Drawn largely from the Tweed Regional Gallery collection, Mirror-view: Artists by Artists presents a selection of portraits, focussing on artists as both the subject and portraitist. Includes collection works

by Ken Done, Julie Fragar, Ben Quilty, Wendy Sharpe, Greg Weight, Monica Rohan and more, along with commissioned portraits by Jo-Anne Driessens of First Nations artists featured in the Gallery’s collection.

A Tweed Regional Gallery initiative.

www.gallery.tweed.nsw.gov.au Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm.

See our website for latest information.

14 November 2025—8 February Along the Shore and Under the Trees Leah Thiessen Regional artist, Leah Thiessen is constantly aware of nature’s pull as her senses attune to the natural world around her.

14 November 2025—8 February Between Appearance Nat Kafka This exhibition is the outcome of the Tweed Regional Gallery - Byron School of Art (BSA) 3rd Year Graduate Award, 2024. A Tweed Regional Gallery initiative.

15 November 2025—8 February re/JOY: Vipoo Srivilasa re/JOY is a major exhibition by Thai-born Australian artist, Vipoo Srivilasa, that honours and celebrates the multi-layered personal migration stories of people from all over the world who have made Australia home. re/JOY is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program and Creative Australia, its principal arts investment and advisory body.

3 October 2025—15 February Figure and Field Lucia Canuto, Hilary Herrmann, Meg Stoios Figure and Field brings together three artists from Northern New South Wales and the South East Queensland region: Lucia Canuto, Hilary Herrmann and Meg Stoios, each exploring the human figure in their work. Curated by Bradley Vincent.

A Tweed Regional Gallery initiative.

UNSW Galleries Anne Zahalka, Exotic birds, 2017, from the series, Wild Life, 2006-2017, chromogenic print, 80 x 80 cm. Courtesy of the artist, represented by ARC ONE Gallery (Melbourne) and Dominik Mersch Gallery (Sydney). © The artist.

21 February—17 May ZAHALKAWORLD - an artist’s archive Anne Zahalka

13 February—17 May Sensory and the human condition Antoinette Edmunds Sensory by Northern Rivers artist Antoinette Edmunds explores the importance of senses, along with the symbiosis between humans and animals and the salience of our shared environment. A Tweed Regional Gallery initiative. An outcome of the PLATFORM program.

Until 8 March Ode: Margaret Olley and Sally Anderson Ode: Margaret Olley and Sally Anderson is a celebration of important still life paintings by Margaret Olley (1923–2011) together with new work by Gadigal/Sydney-based artist Sally Anderson.

J Davis, Pink Wig, 2024. Courtesy the artist, Naarm/Melbourne.

13 February—3 May All The World’s Memories Ten artists from Australia and Aotearoa engaged with human memory and contemporary image-making.

This exhibition is an outcome of the Tweed Regional Gallery – National Art School Master of Fine Art (Painting) Residency Award. The Partnership between the Gallery and NAS aims to showcase emerging artists in celebration of Margaret Olley’s legacy as a NAS alumna and a supporter of emerging artists.

The University Gallery www.newcastle.edu.au/ universitygallery Awabakal and Worimi Country, The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] 02 4921 5255

21 February—31 May Mīal Archie Moore

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Bidjigal & Gadigal Country, Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Anne Zahalka is one of Australia’s most highly regarded photo-media artists who has exhibited extensively for over 40 years.

A Museum of Australian Photography (MAPh) touring exhibition. Curated by Anouska Phizacklea, MAPh Director.

13 February—28 June Processing: Oliver Abbott

On tour from the National Portrait Gallery’s collection, Mīal is an abstract, conceptual self-portrait by celebrated multidisciplinary artist, Archie Moore (Kamilaroi/Bigambul). A National Portrait Gallery exhibition. This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians.

www.unsw.to/galleries

Greg Weight, Tracey with mirror (Tracey Moffatt), 1995, silver gelatin print, 70 x 58 cm. Donated through the Australian Government's Cultural Gifts Program

by Patrick Corrigan AM, 2005. Tweed Regional Gallery collection. © The artist.

Emma Florence May, Void of layered meanings, 2025, digital drawing.

N E W S O U T H WA L E S

5 November 2025—7 February FRAMED: The Sampson Collection 13 February—27 February Welcome to the Void: Community Voices in Post-Mining Landscapes

Wagga Wagga Art Gallery www.waggaartgallery.com.au

Jordan Benson, Madeline Cardone, Calum Donaldson, Hamish Donaldson, Carman Skeehan and Isobel Waters

7 February—3 May Light Trap: Works from the National Art Glass Collection

Glass Chrysalis II is a triennial exhibition which celebrates exceptional promise in the work of early career Australian glass artists.

Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and JamFactory, Glass Chrysalis II seeks to elevate individual artist practices, and in doing so provide a window into the wider field and direction of contemporary Australian studio glass.

Light Trap adopts a radical approach to presenting works from the National Art Glass Collection. Through an experimental use of harnessed artificial light and AV technologies, selected works are shifted away from their familiar, naturally lit settings and reimagined within darkened spaces. Internally illuminated, these pieces reveal new meanings and invite fresh responses.

24 January—12 April Insubstantial Love Stories Todd Fuller

Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660

Insubstantial Love Stories is an exhibition of work by award-winning artist Todd Fuller, exploring forgotten and overlooked instances of queer love from Australian history.

Main Art Gallery: Tue to Sat 10am–4pm, Sunday 10am–2pm, Closed Mondays.

National Art Glass Gallery: Tue to Sat 10am–4pm, Sun & Mon 10am–2pm.

Watt Space Gallery www.newcastle.edu.au/ wattspacegallery

Kim Mahood, Shimmer, 2025, pastel and oil pastel on paper.

Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 Wed to Fri 10am–5pm, Sat 12noon–4pm.

See our website for latest information.

22 November 2025—1 February Staying with The Trouble Regeneration Wendy Teakel, Linda Dening, Kim Mahood, Sally Simpson Staying with the Trouble is evolving process of exploration by Linda Dening, Kim Mahood, Sally Simpson and Wendy Teakel, four senior practitioners in concert with each other.

29 November 2025—18 January From My Window Jo Davenport

Dr Christian Thompson AO, House of Gold Chapter 11 (Chinese Museum), 2023, c-type print on Moab Slickrock Metallic Pearl paper, courtesy Studio Dr Christian Thompson AO.

8 November 2025—25 January House of Gold Christian Thompson House of Gold by Dr Christian Thompson AO draws inspiration from a line of Song Dynasty poetry 书中 自有黄金屋 [shū zhōng zì yǒu huáng jīn wū], or, ‘a book in the hand holds a house of gold’, and explores the artist’s Chinese heritage, dating back to the 1850s Gold Rush migration boom.

A 4A Centre for Contemporary Asian Art exhibition, in partnership with Golden Dragon Museum Bendigo, supported by The Robert H.N. Ho Family Foundation Global and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

27 September 2025—18 January Glass Chrysalis II

Recent experimental work from acclaimed artist, Jo Davenport. New paintings which feature explosive colour, life, and mark making inspired by masters of calligraphy.

28 February—16 August Look Straight Ahead: Celebrating the Glass Art of Judi Elliott Judi Elliott Look Straight Ahead celebrates the exceptional practice of renowned Australian glass artist Judi Elliott and her lasting influence on a generation of female glass artists.

7 February—3 May Horizons Jason Sims Jason Sims explores perspective and spatial perception through light and reflection, creating immersive illusions that blur the line between inner and outer worlds.

7 February—3 May Fluid Presence Harriett Schwarzrock Exploring emotional processes and their physical expressions, Harriet Schwarzrock focuses on the interplay between the invisible and the visible.

Helen Britton, Junkyard 3, 2025, silver, paint, velvet, wood, copper, and steel.

Helen Britton is represented in Australia

by Gallery Funaki.

7 February—24 April The Story So Far Helen Britton 7 February—24 April Living Treasures: Masters of Australian Craft

An Australian Design Centre, ADC On Tour National Touring Exhibition.

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Wentworth Galleries

22 November 2025—1 February HOSSEI: ESSSENSSSE

www.wentworthgalleries.com.au

ESSSENSSSE is a joyful work about healing and new beginnings by contemporary artist HOSSEI. Featuring otherworldly sea creatures in a playful and multi-sensory aquatic themed ecosystem, this immersive installation creates a dynamic space for all ages and abilities that invites audiences to celebrate their inner creative spirit and explore art through more than just sight.

175 Pitt Street, Sydney NSW 2000 [Map 8] 02 9223 1700 Open 7 Days, 10am–5.30pm.

At Wentworth Galleries, we go to great lengths to make your art buying experience the pleasure that it should be. From the quality of the artwork we carry to our free home trials.

Huang Yongping 黄永砅, Les Consoles de Jeu Souveraines, 2017, steel, aluminium, bronze, wood, plastic, fibreglass, paper, straw, taxidermied horse, 345 x 586 cm diameter. Image courtesy of the artist and the White Rabbit Collection.

ESSSENSSSE is a Verge Gallery exhibition, touring in partnership with Museums & Galleries of NSW, supported by the University of Sydney and proudly funded by the NSW Government. Verge Gallery is supported by the University of Sydney Union.

19 December 2025—17 May The Hooligans Rabble-rousers, riffraff, scoundrels, and criminals. Troublemakers, wanderers, deviants, misfits. They’ve gone by many names—but to the Chinese state, they were once known simply as The Hooligans.

For as long as rules have existed, people have found ways to break them. In the face of relentless restrictions, Chinese artists have learned to think beyond imposed boundaries. Refusing to cooperate, daring to defy, and stirring up trouble, the artists in this exhibition speak for those sacrificed to keep the peace.

Mel Brigg, Into The Unknown, acrylic on canvas, 125 x 105 cm.

15 January—22 January From the Outback to the City and Vice Versa

Yarrila Arts and Museum www.yarrilaartsandmuseum.com.au Gumbaynggirr Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.

YAM boasts five exhibition spaces. The centerpiece is Yaamanga Around here, a permanent exhibition that showcases the museum and gallery collections. The other four exhibition spaces come alive with dynamic rotating exhibitions, many of which proudly feature YAM’s own collections.

Barbara Mbitjana Moore, Ngayuku Ngura (My Country), 2013, acrylic on linen, 121 x 121 cm.

5 February—12 February Contemporary Abstractions

Yaamanga Around here explores the history and identity of the Coffs Coast through a captivating display of objects, artworks and stories. Featuring, Daalga Nginundi Wajaarr Sing Your Country, a creation by ZAKPAGE, award-winning storytellers who work at the convergence of film, sculpture, design and architecture.

White Rabbit Contemporary Chinese Art Collection

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22 November 2025—15 March Deborah Kelly: CREATION CREATION is a multi-dimensional and cross-disciplinary artwork developed by contemporary artist Deborah Kelly. Born from collaboration with communities across Australia, it invites you to explore a queer, climate-conscious belief system that celebrates possibility, and collective dreaming. CREATION is not just an exhibition; it is a living, breathing mythology.

CREATION is supported by the Australian Government through Creative Australia.

22 November 2025—9 February Yearbook ‘25: HSC Visual Arts Students from the Coffs Coast Showcases a curated selection of outstanding HSC Visual Arts Bodies of Work from talented students across the region.

The exhibition celebrates a diverse range of expressive forms and offers unique insights into the ideas and perspectives of young people on the Coffs Coast.

Ongoing Yaamanga (around here) An ongoing exhibition exploring the history and identity of the Coffs Coast through themes of place, community and belonging, with Gumbaynggirr culture at its heart. This interactive exhibition features hundreds of objects, photographs, artworks and films from the Yarrila Arts and Museum collection.

www.whiterabbitcollection.org 30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Deborah Kelly, from the CREATION collage suite, 2019-ongoing. Image courtesy of the artist.

HOSSEI, ESSSENSSSE, 2023.

Performer Lauren Booker. Photography

by Jacquie Manning.

Queensland

Exhibitions

JANUARY/FEBRUARY 2026

GRANDMOTHERS Shirley Yumala Collins 14 NOVEMBER 2025 – 17 JANUARY 2026 In Aboriginal cultures, as in most cultures throughout the world, the role of grandmother holds a reverent place in family groups and is the glue that binds communities together.

Through a series of paintings, prints, textiles, objects, artefacts and jewellery, Shirley, as a grandmother herself, explores the custodianship, cultural knowledge, survival knowledge and storytelling relevance of her generation.

CAL00593

Shirley Yumala Collins, Grounded in culture – the women remembered, 2025, air dried clay, sand, acrylics paints, sealant, wood, gauze, polymers, fabric, string, natural dyes, emu feathers. Courtesy of the artist.

GOOD AS

GOLD 8 NOV 2025 - 1 MAR 2026

www.rmoa.com.au Rockhampton Museum of Art is owned and operated by Rockhampton Regional Council Image: Ben QUILTY (b. 1973) The Evo project, Sheep Wash Road (detail), 2012 oil on canvas, 170.5 x 150.5 cm | Purchased with funds from the Rockhampton Art Gallery Trust the Kele family and public donations 2012 © Courtesy of the artist | Image: Courtesy of the artist and Jan Murphy Gallery, Brisbane

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Image: Joe Furlonger, Off Manly, 2019, Gouache on paper. Courtesy of Redland Art Gallery Collection. Donated through the Australian Government’s Cultural Gifts Program, 2022. Photograph by Carl Warner.

Redland Art Gallery, Cleveland 30 November 2025 – 27 January 2026 3829 8899 | artgallery.redland.qld.gov.au ADMISSION FREE

Redland Art Gallery is an initiative of Redland City Council, dedicated to the late Eddie Santagiuliana.

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Courtesy of the artist and Kierra Thorne.

The Hub Gallery, Caboolture:

2 January—29 January Pixel printed food lab Michelle Le Plastrier

Artspace Mackay → Colleen Heathwood James, 21 TRC, Eungella Dam, 2020, acrylic on canvas, 92 x 122 cm. Image courtesy of the artist. Photograph: Jim Cullen.

Artisan www.artisan.org.au 45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 Wed to Fri 10am–5pm, Sat 10am–4pm.

Artspace Mackay

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

See our website for latest information.

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm.

Free admission.

See our website for latest information.

24 January—2 April Natural Oddity Tom Moore 20 January—2 April Habitat Colleen Heathwood James 20 January—2 April Printbank Mackay: Coastal Imprints 220

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Gubbi Gubbi Country, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Shivanjani Lal, ek story bathao (still), 2020. 5-channel digital video. Winner 15 Artists 2020, City of Moreton Bay Art Collection.

20 September 2025—14 March Yield Kaya Barry, Megan Cope, Fernando do Campo, Joe Furlonger, Libby Harward, Shivanjani Lal, Jason Murphy, Sean Rafferty, Jasmine Togo-Brisby, Judy Watson, Elizabeth Willing and Anne Zahalka.

Glass works by Tom Moore. Photography and compositing by Grant Hancock.

The Hub Gallery has been transformed into a retro-futuristic programming company for the summer school holidays!

Inspired by artist Michelle Le Plastrier’s Food-O-Matic and Pixel Printed Food creations, the Hub Gallery is a playful ‘food-tech lab’ where you take on the role of programmers. Design the creative instructions that tell the Food-O-Matic what to print - invent new foods, hybrid meals, and discover delicious glitches.

This hands-on activation invites you to imagine the future of food production.

You can reflect on how technology might change what we eat, how we eat, and the surprising side effects of prioritising speed and convenience. Exhibition developed by City of Moreton Bay.

Yield is a contemporary unearthing of our cultivated identity. Through artworks from local, national and internationally recognised artists, the exhibition digs deep into this country’s agricultural history.

Branching off from the story of prominent local Dr Joseph Bancroft - leader in experimental agriculture and medicine – Yield considers the legacies of early agricultural practices and how we continue to be impacted by them today. Exhibition developed by City of Moreton Bay.

Judith Laws, Tilt, 2021, mixed media, 101 x 101 cm. Image courtesy of the artist and CoolArt Gallery.

5 December 2025—1 February The Language of Laws A deep insight into the extraordinary making of one of the Sunshine Coast’s favourite Contemporary Australian artists, Judith Laws. With works drawn from private and public collections, this exhibition examines the depth and breadth of Judith’s making from her early works through to her extraordinary and vivid works all drawn

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Caloundra Regional Art Gallery → Tim Gruchy, Dissolving World, (still) 2021, single-channel video, 00:14:30. Image courtesy of the artist. from trips out west, from the top end, visits overseas and her own backyard.

Gladstone Regional Art Gallery & Museum

6 February—22 March The Brothers Gruchy The Brothers Gruchy is new media exhibition featuring 10 key artworks from Tim and Mic Gruchy, focusing on recurring themes of human perception, artificial intelligence, synaesthesia, memory and cultural identity. Nature and our human impact is a strong thread of this exhibition.

The Brothers Gruchy is a touring exhibition curated by Bundaberg Regional Galleries and presented in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program and is supported by the Queensland Government through Arts Queensland.

Court House Gallery, Cairns www.cairns.qld.gov.au/ courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Mon to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

14 November 2025—24 January Rites of Passage Ed Koumans In worldwide cultures, rites of passage are markers of birth, of reaching adulthood, getting married, elderhood, and death.

Cairns artist, Ed Koumans, has been making art for six decades and this exhibition marks his elder status and celebrates his

www.gragm.qld.gov.au Cnr Goondoon & Bramston Sts, Gladstone, QLD 4680 [Map 14] Mon to Fri 10am–4.30pm, Sat, 10am–2pm.

Ed Koumans, Spirit figure, 1997, mixed media on canvas. Courtesy Claudine and Michael Marzik. prolific oeuvre. Human rituals and ceremonies are key subjects of Koumans’ work, his observations interpreted through an artist-as-anthropologist’s eye.

Collectors of Koumans’ art in this region and further afield value the exuberance and wry wit of his themes.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Yuru Country, Townsville, QLD 4810 [Map 14] 07 4724 4898 and 0408 287 203 Wed and Sat 12noon–5pm, or by appointment.

See our website for latest information.

1 January—28 February Stockroom Art On View

The 50th Rio Tinto Yarwun & QAL Martin Hanson Memorial Art Awards on display at Gladstone Regional Art Gallery & Museum.

8 November 2025—24 January The 50th Rio Tinto Yarwun & QAL Martin Hanson Memorial Art Awards Exhibition of entries for the Martin Hanson Memorial Art Awards, showcasing the creativity and talent of established, emerging and amateur artists from across Australia.

20 February—25 April Two Girls from Amoonguna Sally M Nangala Mulda and Marlene Rubuntja 221

artguide.com.au Gladstone Regional Gallery continued...

Two Girls from Amoonguna, 2023 (ACMI installation). Photograph: Mark Ashkanasy.

Two artists recount their intertwining journeys of friendship and resilience in the Central Desert through the medium of animation. An ACMI touring exhibition.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Badtjala Country, Hervey Bay, QLD 4655 [Map 13] 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm.

Closed Monday & public holidays.

29 November 2025—15 February Tyza Hart: Appearing Tyza Hart’s artworks foreground embodied experience through combinations of abstract gesture and figuration. In this exhibition, a new installation of ceramic objects and dyed fabric is contextualised with key self-portraits, oil paintings, sculptures, poems, and videos, drawn from the past ten years of Tyza’s practice.

Hervey Bay Regional Gallery → Tyza Hart, Bellybutton to Bellybutton, 2023, stoneware with porcelain slip, 14 x 26 x 26 cm. Photograph: Louis Lim. Courtesy of the artist and Darren Knight Gallery. of creative expression, this exhibition suggests a new way of regarding weeds —as a resource rather than a nuisance.

Through a process of chopping, cooking and blending, the pest or waste plants are converted into a pulp from which sheets of paper can be extracted using a process called couching. Works in this exhibition use handmade papers to create collage, linocuts and three-dimensional casting.

Together this group of Indigenous and non-Indigenous creatives have developed community of skill-sharing and knowledge exchange, built on a foundation of caring for Country.

identity in a rapidly changing cultural landscape. National Interests includes works on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

29 November 2025—15 February Dion Beasley: Six Dogs Alywarr man Dion Beasley is an award-winning artist and illustrator. Born in Alice Springs, he has spent most of his life in communities throughout the Barkly region of the Northern Territory. Most recently Dion lived in Tennant Creek, before moving to Hervey Bay in 2020. Dion is best-known for his unique observations of everyday life in remote communities— the streetscapes, families and most notably, the camp dogs that rule the streets. His drawings depict the social structures that exist between humans and animals, and the complex relationships between these rag-tag groups of dogs. His evolving style captures the charismatic nature of these animals, demonstrating an astute ability for storytelling while distilling their movements, personalities and quirks into his art. As a Deaf artist with muscular dystrophy, Dion uses drawing to communicate with the world.

29 November 2025—15 February Weeds to Paper Weeds to Paper is a collaborative project initiated by papermaker Zela Bissett with Butchulla Traditional Custodians and volunteers working in forest rehabilitation.

Using plant matter as a sustainable form 222

Margaret Preston, Still life: fruit (Arnhem Land motif), 1941, oil on canvas. National Gallery of Australia, Canberra, purchased 1976. © Margaret Preston.

Until 20 September National Interests: Australian Art in the 20th Century This exhibition explores the cultural legacy of Australian Modernism in the 20th century, pairing artworks from the Hervey Bay Regional Gallery Art Collection with significant works from Australia’s national collection. Featuring works made from 1936 to 1997, each grouping of works of art acts as an entry point into a thread of Australian art history. Considered together, the works in National Interests paint a picture of Australia’s search for a national

Ken Done, Big Black reef, 2015, (detail), oil on linen. Private collection, USA. Courtesy Ken Done Gallery.

13 September 2025—15 February Ken Done: No Rules “There are no rules. And if there are rules, then you may as well break them” - Ken Done. Ken Done: No Rules features artworks from the 1980s to today which are largely drawn from Done’s personal collection.

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Institute of Modern Art

Jan Murphy Gallery

www.ima.org.au

Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Weds to Sat 10am–5pm, or by appointment.

Gallery closed until 27 January.

See our website for latest information.

Turrbal and Yuggera Country, Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm.

Free admission.

Ipswich Art Gallery www.ipswichartgallery.qld.gov.au Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich, QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm.

Free admission.

Christopher Bentley, Skull, 2025, (work in progress). Image courtesy of the artist.

6 December 2025—15 March Machine, Man Christopher Bentley Machine, Man explores the fragility of digital memory and the inevitability of technological obsolescence. Using a blend of obsolete media, interactive digital works and sculptural forms, the exhibition invites audiences to step into the body of a cyborg, part flesh and part machine.

Through this immersive environment, the works interrogate our shifting relationship to memory, ownership and legacy. Once we held physical copies of our photographs, music and films; now, our cultural memory is outsourced to platforms with uncertain futures. Just as the human body fights, mutates and ages, the tools we use to document our lives do too. Machine, Man reflects on how far technology has come in a short time, how quickly it recedes into redundancy, and what it means for the stories and information we wish to pass on.

13 December 2025—15 March Lost in Palm Springs Kate Ballis (AUS), Tom Blachford (AUS),

www.janmurphygallery.com.au

Vicki Stavrou, Late Afternoon Sprinklers, 2021, acrylic on gallery cotton canvas, 63 x 94 cm. Image courtesy of the artist and Anthea Polson Gallery.

Darren Bradley (USA), Anna Carey (AUS), Sam Cranstoun (AUS), Paul Davies (AUS), Rosi Griffin (AUS), Jim Isermann (USA), Troy Kudlac (USA), Lance O’Donnell (USA), Kim Stringfellow (USA), Vicki Stravrou (AUS), Robyn Sweaney (AUS), Gosia Wlodarczak (AUS) Lost in Palm Springs, brings together the creative minds of 14 internationally recognised artists, photographers and thinkers from America and Australia.

Curated by Dr Greer Honeywill, Lost in Palm Springs explores the magical qualities of the landscape and the celebrated mid-century modern architecture found in the desert city of Palm Springs, California. The exhibition features works that respond to, capture, or reimagine the unique characteristics of the city, its surroundings, and its Bauhaus sensibilities. Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland, part of the Department of Communities, Housing and Digital Economy, and proudly sponsored by IAS Fine Art Logistics and o2 Architecture.

17 November 2025—10 November Sharing the National Collection Mark Rothko (1903-1970), Agnes Martin (1912-2004), Gwyn Hanssen-Pigott (1935-2013) The Sharing the National Collection initiative, funded under Australia’s National Cultural Policy Revive, enables major works of art to be exhibited outside the nation’s capital. Ipswich Art Gallery now feature powerhouse American artists Mark Rothko (1903-1970) and Agnes Martin (1912-2004), both exponents of international abstraction. Works by renowned former Ipswich ceramicist, Gwyn Hanssen-Pigott (1935-2013) also complement those held in the Ipswich Art Gallery collection. These important works promise to captivate and delight with their profound beauty and sensitivity.

These work of art are on long-term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

10 February—28 February Water and stone Marina Strocchi

Leighton Contemporary www.leightoncontemporary.com 5/64 Gateway Drive, Noosaville QLD 4566 [Map 13] 0413 477 947 Tue to Fri 10.30am–2pm, or by appointment.

See our website for latest information.

Nastia Gladushchenko, Dácha, acrylic on canvas, 25 x 35 cm.

January—February Ataraxia I Nastia Gladushchenko In Ataraxia I, Gladushchenko celebrates the gentle, unhurried beauty and rhythm of summer — its colours, serenity, and tenderness. Each work carries an expression of gratitude for generous harvests, lingering moments in the garden beneath the shade of trees, and for hands stained with fruit and soil.

January—February Stable Leighton Contemporary Stable Artists A key part of Leighton Contemporary’s yearly exhibition schedule is ongoing attention to and celebration of works in the stockroom, many of which are on display during the gallery’s ever-evolving and recurring Stable exhibition.

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artguide.com.au Dissolve is a multi-media exhibition by Jill Sampson that explores living with cancer and caring for the land. Using natural and found materials, the artworks show how life and nature change over time. The exhibition invites viewers to think about resilience, healing, and the connection between people and the environment.

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, Yuggera Country, West End, QLD 4101 [Map 15] 07 30027100 Mon to Fri 10am–5pm.

Logan Art Gallery → Andrew Quilty, Qala-i Musa, Kabul City, Kabul Province, 24/1/2018, photographic print on Alupanel 31 x 46.5 x 2.4 cm. Courtesy of the artist.

Logan Art Gallery www.loganarts.com.au/artgallery Yugambeh Country, Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm.

14 November 2025—17 January Horizons Joe Furlonger 14 November 2025—17 January Grandmothers Aunty Shirley Yamala Collins 10 December 2025—17 January Ripple Effect: out of Artwaves Sienna Considine 10 December 2025—17 January Little Ghosts of Christmases Bygone Dante Coetzee 31 January—4 April Afghanistan Andrew Quilty Andrew Quilty is an Award-winning photojournalist and author. His work in Afghanistan has been published worldwide and garnered accolades including a World Press Photo award, three Picture of the Year International awards, and nine Walkley Awards, including the Gold Walkley. Curated by Ellie Waterhouse, Afghanistan is a profoundly moving and powerful exhibition of photographs captured during Quilty’s years in the Afghan capital of Kabul from 2013 to 2022. Quilty describes his work from this period as an ‘imperfect portrait of time and place’. His photographs skilfully balance moments of beauty and brutality, humanising the effects of war while inviting reflection on resilience, hope, and the impact of conflict on everyday life. Afghanistan is a Museums & Galleries Queensland (M&G QLD) touring exhibition presented in partnership with photojournalist and author Andrew Quilty, and curator Ellie Waterhouse. This project has been assisted by the Australian Government’s Visions of Australia program 224

and is supported by Human Rights Watch.

M&G QLD is supported by the Queensland Government through Arts Queensland.

31 January—4 April Counter Gaze Tammanna Ali Zada , Razia Ghazal , Amina Qasim Zada. Curated by Sha Sarwari.

Counter Gaze is a curated exhibition

by Logan artist Sha Sarwari featuring Afghan-Australian artists Tammanna Ali Zada, Razia Ghazal, and Amina Qasim Zada.

Presented at Logan Art Gallery in response to Andrew Quilty’s Afghanistan photography series, the exhibition offers a deeply personal counter-narrative shaped by lived experience, memory, and cultural resilience. Through painting, installation, and mixed media, the artists reflect on themes of displacement, identity, and belonging.

Their work reclaims narrative space, shifting the focus from conflict to healing and empowerment. Counter Gaze invites audiences to engage with Afghanistan’s story through the lens of its diaspora.

31 January—4 April Workshop Wonders XXIV Workshop Wonders is Logan Art Gallery’s annual exhibition celebrating the creativity of community members who have participated in artist-led workshops throughout the year.

31 January—28 February The lingering forgotten things Wavey Forest In The lingering forgotten things Bethania artist Wavey Forest explores how death is part of life. Using animal skulls decorated with wire and gemstones, Wavey shows how beauty can be found in endings. This exhibition invites us to look closely and reflect on how life and death are connected.

The exhibition is supported by the Regional Arts Development Fund, a partnership between the Queensland Government and Logan City Council to support local arts and culture in regional Queensland.

31 January—28 February Dissolve Jill Sampson

Mitchell Fine Art www.mitchellfineartgallery.com Turrbal and Yuggera Country, 86 Arthur St, Fortitude Valley, QLD 4006 [Map 15] 07 3254 2297 Mon to Fri 10am–5.30pm, Sat 10am–5pm.

See our website for latest information.

Min-Woo Bang, Silent Sea, oil on linen, 2024, 103 x 103 cm.

13 January—7 February Director’s Choice 10 February—7 March Carlos Barrios

Mulgrave Gallery, Cairns www.cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Mon to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

31 October 2025—29 January The Body Language of Plants Claudine Marzik & Tijn Meulendijks European-born artists Claudine Marzik (Switzerland) and Tijn Meulendijks (Netherlands) have lived in Cairns for over three decades. The Body Language of

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Installation and work on paper, Claudine Marzik and Tijn Meulendijks. Photographed by Michael Marzik.

Plants is their fifth collaborative exhibition, continuing their exploration of the natural world through painting and ephemeral, site-responsive installation. Their work reflects close observation and a deep sensitivity to nature’s underlying structures and organic rhythms.

Museum of Brisbane → Precious, Museum of Brisbane. Photograph: Joe Ruckli.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm.

Free entry.

2 April 2025—April 2027 Precious What makes a collection? Museum of Brisbane is giving you the keys to some of the most awe-inspiring collections across our amazing city. An irresistible array of breathtaking curiosities, Precious brings together thousands of remarkable items from more than 20 public and private collections. From textiles to tin-toys, micro-architectural marvels to marine treasures, this exhibition is a joyful celebration of the art of assemblage. We invite you to immerse yourself into the incredible stories of some of the prolific collectors of Brisbane, and get to know what makes a keepsake and collectible truly Precious.

second-hand or vintage. Each object holds memories, and now you can create your own. Micro Museum is proudly supported

by Major Partner Brisbane Airport.

Micro Museum is generously supported

by Ian and Cass George, and Holly and John Livingstone.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm.

1 December 2025—31 January Jakuzuré 蛇崩: Shaping pathways through time and place Mariana Verdaasdonk and Tetsu Tabata

1 December 2025—7 February Sunshine Noir Hannah Murray Sunshine Noir explores the dynamic tension and interdependence between light and shadow, reflecting the paradoxes of tropical life where beauty and darkness coexist. Influenced by Dutch still life, Ukiyo traditions, and Surrealism, the works blur reality and imagination through layered, unexpected still-life compositions drawn from Far North Queensland.

Jakuzuré 蛇崩 (meaning “splitting snakes”) is an immersive installation inspired by an Edo-period tale and the artists’ reflections on how rupture can create new pathways and possibilities. Through projections,

Jack Wilkie-Jans, Move to Make, 2025, acrylic on canvas, 91 x 91 x 4 cm.

Micro Museum, Museum of Brisbane.

9 February—18 April Cruel Tutelage Jack Wilkie-Jans

Opening 22 March 2025 Micro Museum Welcome to Micro Museum – a space for telling stories through objects. You are invited to explore the fascinating world of collecting, and uncover the memories that objects hold. Inspired by major exhibition Precious, in this space you are the curator. You can select, sort and arrange a wide array of items, many of which are

sculptures, paintings, and paper cuttings, it invites visitors into an environment shaped by the landscapes of Tokyo and Cairns, where transformation and renewal are constantly in motion. Artists Tetsuya Tabata and Mariana Verdaasdonk merge their complementary practices to create a contemplative space that celebrates cycles of change, growth, and rebirth.

Hannah Murray, Pearl Garden, 2025, acrylic on board, 63 x 53 cm.

Jack Wilkie-Jans (Jack Jans) is an emerging multi-disciplinary artist, respected arts writer and worker, and Aboriginal affairs advocate from Mapoon, the Western Cape of Cape York Peninsula, Tropical North Queensland. Artistically, Jack practices contemporary and abstract forms of painting and still and moving 225

artguide.com.au Northsite continued... image portraiture, soundscape and poetry. The works of A Cruel Tutelage speak to the sustained and precarious practice of ‘beauty’—that of the artist and his people, who have been through Hell and back, and have returned to Old Ways in a new age where they stand as masters of their Country, their fears, and their futures, as in the true old days.

9 February—18 April e-Galaxy Suzon Fuks e-Galaxy counters throwaway culture by revealing the beauty in the discarded while raising awareness of recycling, sustainability, and the human and environmental costs of our digital devices. Its walkable spiral labyrinth, video, miniatures, and artist books transform through audience activation to expose the hidden circuitry that underpins modern life and its impact on people and the natural world.

Sebastian Di Mauro, Bound, 2025, watercolour on Arches paper, 40 x 52 cm.

Image: Louis Lim. Courtesy of the artist and Onespace. textiles and detailed watercolours, Sebastian reflects on the arrival of British colonisers and their attempts to overwrite the laws and traditions of First Nations peoples.

www.onespace.com.au

12 December 2025—24 January Middle World: Every change a continuation, every season a story Teho Ropeyarn Carving his love for Country, the exhibition Middle World: Every change a continuation, every season a story sees Teho Ropeyarn illustrate the transient seasons of Cape York.

12 December 2025—24 January Mudang Butbut KONSTANTINA Onespace proudly presents Konstantina’s Mudang Butbut in the Lounge Gallery, beautifully closing our exhibition program for the year. This body of acrylic paintings on linen explores trees as metaphors for the living heart – repositories of memory, connection, and resilience. Through her vibrant mark-making, Konstantina translates the language of tree-growth into a visual meditation on identity, sovereignty, and belonging. Each work becomes a living document, painting traces of the artist’s personal and cultural histories while reflecting universal stories of endurance and renewal for First Nations people.

30 January—28 February Unsettled Ground Sebastian Di Mauro Opening event 31 January, 5pm–7pm.

In Unsettled Ground, Sebastian Di Mauro reflects on the contradictions of Australia as a modern nation that continues to cling onto imperial symbols. Australia’s ongoing allegiance to the British monarchy reveals a lingering colonial mindset that sits at odds with its contemporary multicultural identity. Through hand-embroidered 226

Australian Defence Forces have tattoos, and while their reasons for getting tattooed are as varied as the people themselves, self-expression and belonging play a part. They also share a common purpose in getting inked to remember.

PARKER Contemporary

Onespace Gallery Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Mon: By Appointment Tue to Fri 10am–5pm, Sat 12noon–5pm. By appointment.

Image courtesy of the Australian War Memorial.

www.parkercontemporary.com.au

Zoe Porter in collaboration with Billie Wilson-Coffey (photographer), Rhizomes (Sap), 2025, digital photograph on Rag Aquerelle, ink, embroidery thread, pencil, paint pen, watercolour, synthetic hair and fur, fabric, 84 x 124 cm. Image: Louis Lim. Courtesy of the artist and Onespace.

38 Hope Street, South Brisbane Queensland, 4101 [Map 15] 0438 389 762 Wed 12–4pm, Thu & Sat 11am–4pm, Fri 12noon–5pm, or by appointment.

30 January—28 February Tales from the In-Between Zoe Porter Opening event 31 January, 5–7pm. Tales from the In-Between continues Porter’s long-standing collaborative practice through Rhizomes, a hand-painted photographic series created with Billie Wilson-Coffey and performer Bridie Hooper. These large-scale images merge Wilson-Coffey’s luminous photography with Porter’s assemblage costumes, transforming the female form into an organic, hybrid entity. A new video with Thomas Oliver expands this dream-like world, exploring layered bodies and evolving cross-species forms.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Guwa Country, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

11 November 2025—4 February Ink in the Lines - An Australian War Memorial Touring Exhibition Tattoos are a conversation starter.

Many members and veterans of the

Carolyn Craig, Becoming Penguin 2 - ACT 2 {the homage}, 2025, expired photo etching from a performance by the artist, unframed 39 x 53, framed 52 x 64 cm, edition of 5 + AP. Image courtesy the artist.

31 January—28 February Carolyn Craig Carolyn Craig’s practice examines how power is embedded in bodies, biological relations, and physical architectures.

Working with photography and print as dynamic, inscriptive performances of the body, she interrogates the visual tropes and stereotypes that shape how we are seen, read, and regulated. Craig’s research-driven approach shaped by her PhD from the Queensland College of Art

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Pine Rivers Art Gallery → Lincoln Austin, Imperfect pattern L (field of vision) (detail), 2009. Corflute sculpture. City of Moreton Bay Art Collection. and her position as Head of Printmaking at the National Art School underscores her interest in the printed image as both a material site and a social system. In this exhibition, Craig reconfigures print and photographic processes to expose and unsettle the subtle architectures of power that structure everyday experience.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

Gallery closed until 21 January.

See our website for latest information.

series connecting audiences with artworks from the City of Moreton Bay Art Collection. Exhibition developed by City of Moreton Bay.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Archie Moore, Kamilaroi/Bigambul peoples, Australia b.1970, kith and ki,n (installation view, Australia Pavilion, Venice Biennale) 2024, Presented to Queensland Art Gallery | Gallery of Modern Art and Tate by Creative Australia on behalf of the Australian Government 2024. Collection: Queensland Art Gallery | Gallery of Modern Art, © Archie Moore, Photograph: Andrea Rossetti, Image courtesy: The artist and The Commercial, Sydney.

27 September 2025—18 October Archie Moore: kith and kin

Queensland Museum Kurilpa www.museum.qld.gov.au/kurilpa Turrbal and Yuggera Country, Corner of Grey & Melbourne Streets, South Bank, South Brisbane, QLD 4101 [Map 10] 07 3152 3000 Open Daily 9.30am–5pm.

6 December 2025—12 July Olafur Eliasson: Presence

28 January—1 March The Summer Exhibition Lincoln Austin

Pine Rivers Art Gallery

Alick Tipoti (Zugub), Koedalaw Girer (crocodile dance), 2025.

www.moretonbay.qld.gov.au/ pinerivers-gallery

On display Croc! Lost Giants to Living Legends Experts from Queensland Museum, the Australian National Maritime Museum and Museum and Art Gallery of the Northern Territory have created this world premiere exhibition. Walk alongside one of the planet’s most powerful and fascinating animals, on a journey stretching back over 130 million years. Croc! features bold and beautiful artworks sharing First Nations connections to Sea Country.

Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 3905 Tue to Sat 10am–4pm.

13 December 2025—21 February Imperfect pattern Lincoln Austin This summer, dive into one of City of Moreton Bay’s most loved collection works.

Imperfect pattern L (field of vision) by Lincoln Austin is a monumental sculpture composed of more than 5500 pieces of corflute. The work plays with perception and optics to create an immersive experience. Lincoln Austin is a sculptor and installation artist interested in the systems and patterns that make up our built environment. Be inspired by Austin’s work and get creative in the interactive engagement space. Imperfect pattern is the first in a new immersive exhibition

Raja Ravi Varma, India 1848–1906, Ravi Varma Press, Karla-Lonavla, India, Sheshnarayan early 20th century, printed c.1910–20, Oleograph with bundaki embellishment, before conservation treatment. Purchased 2024 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation, Collection: QAGOMA.

20 September 2025—5 October The God of Small Things: Faith and Popular Culture’

Queensland Museum, Markus Ravik.

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artguide.com.au

Redcliffe Art Gallery → Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023 (video still).

Redcliffe Art Gallery

Queensland Museum continued...

www.moretonbay.qld.gov.au/redcliffeart-gallery

Until 19 July Make a Scene: Fashioning Queer Identity and Club Culture in the 90s

Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 13] 07 3883 5670 Tue to Sat 10am–4pm.

In the 1990s, a vibrant and creative underground nightclub and dance party scene emerged in Brisbane for LGBTQIA+ people and their allies – safe places to wear fabulous fashions that celebrated the community’s diversity and reflected a fearless self-expression of identity.

Until 19 April un/tethered: connections through storytellers from Papua New Guinea un/tethered brings together the stories of six creative women from the Papua New Guinea diaspora community in Queensland as they explore belonging and connection.

QUT Galleries and Museums www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 The QUT Art Museum is currently closed for repairs. In the meantime, please visit our website and take a virtual tour of our recent exhibitions.

From September 2025 William Robinson: Reflections William Robinson: Reflections explores the transformative moment when William Robinson discovered the artistic possibilities of multiple perspectives. After a typical late-afternoon Queensland storm, 228

William Robinson, Landscape with noon reflection, 1985, watercolour. QUT Art Collection. Donated through the Australian Government’s Cultural Gifts Program

by William Robinson, 2009.

Robinson experienced a revelation that would forever change his approach to landscape painting. Standing before a rainwater puddle, he witnessed the night sky and moon perfectly mirrored on its surface. In this singular moment—looking down yet seeing up—Robinson realised landscape could be portrayed through simultaneous, inverted viewpoints rather than fixed linear perspective.

Reflections examines this pivotal artistic breakthrough and traces water as a recurring motif throughout Robinson’s practice.

From glistening creek beds to misty rainforests, the exhibition showcases how this initial moment of clarity evolved into Robinson’s distinctive vision of the Australian landscape—highlighting the vital presence of water throughout his work.

Amanda Ivy Gardner, I used to be a mountain, 2025. Hand-cut photographic print on rice paper. Courtesy of the artist.

22 November 2025—7 March Fresh Eyes 2025 Rachel Bywaters, Zartisha Davis, Amanda Ivy Gardner and Emily McGuire.

Fresh Eyes is a biennial exhibition that invites four artists to respond to the evolving landscape of the Moreton Bay Region.

This region abounds with spaces that evidence growth, transformation, evolution and obsoletion. In 2025, artists unpack the meaning of change and how they witness it in the landscape, the community and within themselves. Rachel Bywaters, Zartisha Davis, Amanda Ivy Gardner and Emily McGuire will present new bodies of work that reflect their relationship with this changing landscape. Exhibition developed by City of Moreton Bay.

QUEENSLAND

29 November 2025—7 February Two Girls From Amoonguna Sally M Nangala Mulda and Marlene Rubuntja Two Girls From Amoonguna is an exhibition featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. Encompassing video, bush-dyed hand-sewn soft sculptures and observationalist paintings, it recounts their intertwining stories of friendship and resilience. Arrkutja Tharra, Kungka Kutjara, Two Girls was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood, and The Strange Chores, and is an Artbank + ACMI co-commission.

An ACMI touring exhibition.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

connection to the sea and fishing on the Queensland coast.

30 November 2025—27 January Some Things Too Bright to See Holly Anderson Holly Anderson invites you into a luminous world where light and water converge.

Inspired by visits to Minjerribah/North Stradbroke Island, her new paintings explore the ‘glitter path’ - dazzling light reflected across a body of water - to evoke the presence of the celestial in the everyday.

Redland Art Gallery, The Mezz www.artgallery.redland.qld.gov.au Redland Performing Arts Centre, 2–16 Middle Street, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8131 Mon to Fri 9am–4pm, and 1 hour prior to all performances.

Admission free.

24 November 2025—16 January In Focus 2025 - Flourish Various

Installation view, Locust Jones: To Bear Witness, Rockhampton Museum of Art, 2025.

In Focus 2025 - Flourish explores artistic growth as a dynamic process, honouring creativity’s evolution, experimentation and grounding. It invites artists from the Redlands Coast to present individually authentic work shaped by place, practice and flourishing as an evolving creative journey.

27 January—13 March Passages The Coochie Art Group

Joe Furlonger, Off Manly, 2019, gouache on paper. Courtesy of Redland Art Gallery Collection. Donated through the Australian Government’s Cultural Gifts Program, 2022. Photograph: Carl Warner.

30 November 2025—27 January Water Works Joe Furlonger Regarded as one of Australia’s most respected landscape painters, Water Works celebrates Joe Furlonger’s relationship with the sea. Drawing inspiration from his early years fishing with his father and working on fishing trawlers, Water Works pays homage to Furlonger’s life-long

Passages celebrates over 50 years of Coochie Art Group’s creative exploration.

Inspired by Redlands Coast’s flora, fauna and marine life, the exhibition reflects on journeys through sea, country and time, evoking transformation, memory and connection to place.

Rockhampton Museum of Art www.rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

11 October 2025—26 April Locust Jones: To Bear Witness For over 20 years, Locust’s practice has woven layers of stories and images that replicate the frenetic pace at which society consumes everyday news and current affairs, in a variety of mediums. To Bear Witness will feature large scale vertical drawings cascading through RMOA’s Atrium Gallery.

Holly Anderson, The door, 2025, oil on panel, 30.5 x 40.7 cm. Photograph courtesy the artist and N.Smith Gallery.

8 November 2025—1 March Danish Quapoor: desolate vessels Danish Quapoor has memorialised suspended moments within the cyclical

Installation view, Danish Quapoor: desolate vessels, Rockhampton Museum of Art, 2025. Photograph: Aaron Symonds. timeline of death, grief and regrowth.

Desolate vessels are devoid of physical contents, yet metaphorically filled with personal lamentations and broader considerations such as the climate crisis.

Danish Quapoor is a visual artist based on Gurambilbarra/Townsville. His multidisciplinary practice is typically unified by repetitive processes and a flat-colour style in which stylised forms float amidst sparse compositions.

8 November 2025—1 March Good as Gold Good as Gold is an expansive selection of paintings from artists featured throughout the Gold Award’s first decade-plus.

Featuring an assortment of winning, donated and purchased works, the exhibition brings together many works that have never been seen together before, or indeed even in the context of the Gold, offering a surprise selection of deep cuts and greatest hits from the popular and much-anticipated biennial prize, as well as non-Gold works from Gold artists. Named for benefactor Moya Gold, the exhibition is a celebration of the rich culture of giving and philanthropy in Rockhampton. Curated by Jonathan McBurnie, Tessa McIntosh and Shanna Muston.

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artguide.com.au Rockhampton Museum of Art continued...

6 September 2025—1 February RMOA Collection: Beyond Abstraction Beyond Abstraction investigates the field of non-representational art, showcasing works from the RMOA Collection that depart from depicting conventional likeness. The works utilise various abstract techniques including the manipulation of colour, form, shape, and expressive mark-making. Beyond Abstraction highlights diverse approaches to abstraction but also critiques established artistic norms. Curated by Robert Connell.

2 August 2025—2028 Sally Smart: The Artists Ballet Sally Smart is one of Australia’s most dynamic and sought after contemporary visual artists. Living and working on Wurundjeri/Boon Wurrung Country, Melbourne, Smart is recognised internationally for her large-scale assemblage installations, collage painting and film performance works. The artist takes collage out of its traditional domain of small-scale paper and scales it up to dramatic effect, applying it to other media, including textiles, sculpture and even metal, creating captivating installations that invite and suggest multiple perspectives and interpretations.

22 November 2025—15 February The Bayton Award 2025 Finalist Exhibition The Bayton Award 2025 is the seventh iteration of this biennial art prize and exhibition, named in recognition of the Right Reverend John Bayton AM for his significant contribution to the development of the Rockhampton Museum of Art Collection.

State Library of Queensland → William Arthur Jones, Jowett Javelin automobile, n.d., W.A. Jones & Co photographs, Image no. 31557-0001-0133, Acc. 31557, John Oxley Library, State Library of Queensland.

Stanthorpe Regional Art Gallery

22 January—15 March $6,000 Local Art Prize 2026

www.srag.org.au

Toowoomba Regional Art Gallery

Weeroona Park, Stanthorpe, QLD 4380 [Map 13] 07 4681 3991 Tues to Fri 10am–4pm, Sat & Sun 10am–1pm.

1 October 2025—4 March $50,000 Stanthorpe Art Prize 2026 Calling entries from all artists.

State Library of Queensland www.slq.qld.gov.au Turrbal and Yuggera Country, Cultural Centre, Stanley Place, South Brisbane, QLD [Map 15] 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm.

See our website for latest information.

27 November 2025—11 January LOOKING OUT LOOKING IN: exploring the self-portrait

www.tr.qld.gov.au/trag Giabal and Jarowair Country, 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & public holidays.

LOOKING OUT LOOKING IN: exploring the self-portrait is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.

6 December 2025—8 February Driven: Every car has a story Take a drive down memory lane at the Driven exhibition, celebrating the milestones we’ve shared with our cars, the adventures across bitumen, sand, and dirt, and the enduring passion driven by our love for them.

J.P. Willis, The flowers of romance (Apache-p), 2009, archival giclée print, 59 x 59 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 1713, © J.P. Willis.

25 October 2025—22 February Billy Missi’n Wakain Thamai Billy Missi’n Wakain Thamai honours the late Torres Strait Islander artist Billy Missi (1970-2012). Featuring 26 of his artworks including rare monoprints, etchings, and linoprints, this retrospective is a tribute to Missi’s artistic legacy and his dedication to maintaining the language and culture of his people.

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22 November 2025—25 January Colour Pop

Local Art Prize 2026.

Colour Pop bursts with vibrancy, showcasing works from the Gallery’s collections and local artists. Through colour, light, and form, this kaleidoscopic exhibition invites viewers to experience emotion, movement, and meaning in bold pigments and luminous installations.

QUEENSLAND

Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm.

See our website for latest information.

Kenneth Macqueen, The Toowoomba Art Society has a field day, c.1950s, watercolour on paper. Toowoomba Regional Art Gallery – Toowoomba City Collection 2224, © Kenneth Macqueen.

29 November 2025—22 February The Art Club that Built a Gallery: Celebrating Toowoomba Art Society For the past 100 years the stories of Toowoomba Regional Art Gallery, its contemporary art collection and the Toowoomba Art Society have been intriguingly entwined. This exhibition unravels and celebrates this relationship through the artworks that founded the City’s Collection.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm.

The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the Art Gallery was redeveloped in 2020 establishing itself as the leading regional university art gallery in Australia.

9 February—18 April Marking Time: 30 Years of the UniSC Art Collection Daniel Qualischefski, Critical Mass, 2025, digital branding.

30 January—1 March Critical Mass: 2026 Umbrella Members’ Exhibition The theme Critical Mass pays tribute to the sheer force of artists and art lovers who have shaped Umbrella over four decades.

It speaks to the energy that builds when creative people gather – the spark that can shift perspectives, create change, and ripple through communities.

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery Kabi Kabi Country, UniSC Sunshine Coast, 90 Sippy Downs Drive,

Over three decades, the UniSC Art Collection has grown alongside the University itself. From early acquisitions reflecting a young institution’s ambitions, to recent works that respond to place, sustainability and contemporary practice, the Collection is more than a catalogue of individual works; it is a living archive that keeps time with the institution and its communities. With more than 1,000 works, the UniSC Art Collection is now the most extensive public art collection on the Sunshine Coast. To mark UniSC’s 30th anniversary, Marking Time presents over 100 works drawn from the Collection.

The exhibition highlights key areas of the Collection, including contemporary Australian Indigenous art, contemporary photography, and Queensland painting.

Together, these works trace how UniSC’s collecting priorities have expanded in response to shifts in contemporary art practice and evolved with the institution’s changing landscape and priorities.

University of the Sunshine Coast Art Gallery → Sam Cranstoun, Albert_Siepert_Points_Out_Highlights_of_Apollo_10_Liftoff_to_Belgium_King _and_Queen_GPN-2002-000010, 2023, pencil on paper. UniSC Contemporaries Commission supported by the De Deyne Family. © Sam Cranstoun.

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Australian Capital Territory

Exhibitions

JANUARY/FEBRUARY 2026

AU S T R A L I A N C A P I TA L T E R R I T O R Y

Aarwun Gallery www.aarwungallery.com.au Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

See our website for latest information.

Aarwun Gallery is a premier destination for Australian art. We present distinguished landscape and portrait artists, dynamic contemporary voices, and celebrated Indigenous practitioners.

Our diverse collection spans painting, printmaking, ceramics, glass, bronze, and sculpture — each work curated for excellence, authenticity, and creative vision.

A private gallery by award-winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school and gallery. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

1 Rosevear Place, (corner Antill street), Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays.

The Australian War Memorial is one of the nation’s most significant cultural institutions, dedicated to promoting understanding of the Australian experience of war, and commemorating the service and sacrifice of Australians who have served in war, conflict and peacekeeping operations.

Combining a world-class museum, extensive archive, and shrine, the Memorial tells the stories of individuals and communities shaped by conflict and explores how those experiences continue to impact contemporary Australian society.

Visitors can encounter a remarkable range of art, objects, personal stories and immersive exhibitions — from large-scale historical paintings and contemporary commissions to intimate sketches created on the front lines. Throughout its galleries, the Memorial houses a nationally significant art collection, preserving works by Australian artists who have interpreted war and its impact.

Artists Shed www.artistshed.com.au

Steve Roper, Sans Titre, 2025, acrylic on linen, 90 x 120 cm.

6 February—1 March Watson Inner Space Project Steve Roper

Australian National University Drill Hall Gallery www.dhg.anu.edu.au 29 Kingsley Street, Acton, ACT 2601 [Map 16] 02 6125 5832 Wed to Sun 10am–5pm, Free admission.

Margaret Hadfield, Of,-Country Road, oil.

Fairbairn Avenue, Campbell, ACT 2612 [Map 16] 02 6243 4211 Daily 10am–4pm.

www.anca.net.au

Until 28 February Land, Air & Sea An Artist's Perspective

Margaret Hadfield, Branching Out Series

www.awm.gov.au

Australian National Capital Artists (ANCA) Gallery

Ken Knight, South Coast Scribbly Gums and Summer Skies, 2022, 105 x 182 cm.

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 11am–4pm.

See our website for latest information.

Australian War Memorial

Situated on the Australian National University campus, the gallery is housed in a historic drill hall built in the 1940s to train soldiers for the Second World War. Today the Drill Hall Gallery is the venue of choice for many of Australia’s leading contemporary artists, curators and collectors, continuing a proud tradition of impeccably presented landmark exhibitions accompanied by scholarly publications.

Explore works from official war artists, including Tony Albert (Girramay/Kuku Yalanji peoples), Rick Amor, Lyndell Brown and Charles Green, Jon Cattapan, Peter Churcher, Shaun Gladwell, Susan Norrie, eX de Medici, Lewis Miller, Ben Quilty, Wendy Sharpe and Alick Tipoti (Kala Lagaw Ya people). Entry to the Memorial is free.

Belco Arts www.belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

5 December 2025—1 February Dialogue with Dissonance Amelia Mollett, Andy Sumner, Diane McWhirter, Helen MacArthur, Jeanette Muirhead, Justin Wasserman, Lesley Andersen, Sallie Saunders An exhibition of works by a group of local artists exploring our human disposition to live with contradiction.

The Art of Celebration: Reflecting 50 years plus of Canberra Art Workshop Members of Canberra Art Workshop (CAW) 233

artguide.com.au Belco Arts continued...

6 February—22 March Meanwhile in Canberra Aviva Kidd Using the distinct visual languages of lino, risograph and mokuhanga (Japanese woodblock) printmaking, this collection of 7 bold and whimsical prints finds the extraordinary in a city too often dismissed by outsiders as boringly ordinary.

Over Seas II An open exhibition exploring migrant and refugee perspectives in our community, from the political to the personal.

On Reimagined Wings Beth Harcourt A new native species of quirky birds, made from recycled and found objects. Peering out from amongst the foliage, this joyful flock of whimsical characters have landed for a cheeky peek at the passers-by.

Canberra Glassworks Helen MacArthur, Dynasty.

The exhibition enables the diverse and talented members of CAW to celebrate their enthusiasm for art making by sharing it with others.

subcultures

www.canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005

Curated by Red Saunders. An open exhibition reflecting on how fashion, music, political ideals, and shared lifestyles converge to create powerful subcultural identities that thrive within and enrich our community.

Disclosed Impressions Migrant Women’s Art Group Disclosed Impressions highlights the diverse artistic contributions of the Migrant Women’s Art Group in Gungahlin. These culturally relevant works explore colour, composition and personal stories using a wide variety of mediums and techniques.

Seasons, Tides, and Lunar Cycles Andrew Totman In this series, Andrew Totman presents a fresh direction developed from memories of the natural world; an awareness of the influence of environment, weather and the unfathomable depth of galaxy.

through light and installation. In this exhibition of new work, he draws on formalist principles, using the language of materials to speak of connection, reliance and resistance between forms. Glass’s inherent instability—its disorganised particles and resistance to fixed form—serves as a powerful metaphor for fluidity and queer embodiment. Through immersive environments, Grant invites audiences into spaces of intimacy and tension, where light and form converge to articulate presence and possibility. Opening event and gallery talk Saturday 21 February, from 2pm.

Canberra Museum and Gallery (CMAG) www.cmag.com.au

6 February—22 March Lines of Landscape Kym Brookes A tactile exploration of place, memory, and transformation. A fibre artist living on the Far South Coast of New South Wales, Kym Brookes draws deeply from the textures, tones, and rhythms of the landscape around her.

Louis Grant, where’s my fucking teenage dream (how does it feel to be adored) ?, 2024. Photograph: Cassie Abraham.

Cnr London Circuit and City Square, Canberra City, ACT [Map 16] 02 6207 3968 Mon to Fri 10am–4pm, Sat to Sun 12noon–4pm.

See our website for latest information.

Gabriella Bisetto, Broken Skin (scars) 2, 2024. Courtesy of the artist.

6 November 2025—25 January Skin Deep Gabriella Bisetto 2024 Tom Malone Glass Art Prize winner, Gabriella Bisetto has developed a sculptural practice that explores organic and visceral objects. Drawing inspiration from the shapes and structures found within the human body, she considers the connection between the human body and the act of blowing glass.

Until 1 February Wearing Joy: Beautiful Brooches Carla Velting (Collector) Until 1 February Australia’s Home Front: 1939–1945 Rohan Goyne (Collector)

5 February—26 April Louis Grant

Aviva Kidd, Leaf Peeper, (detail).

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Louis Grant is an early career glass artist specialising in kiln formed and cold worked glass, with new work in neon. His sculptural practice centres on glass as material and metaphor. Working with neon and glass forms, he explores themes of queer identity, perception, and transformation

Enrico Taglietti in his studio in Griffith Canberra, c1976. Photograph: Ted Richards.

7 June 2025—3 May Taglietti: Life in Design Enrico Taglietti

AU S T R A L I A N C A P I TA L T E R R I T O R Y

6 December 2025—5 April A Loving City: Queerberra Revisited Jane Duong & Victoria Firth-Smith

Not married but willing to be, Nini-Treadwell collection.

6 December 2025—5 April LOVING: Photographs of Men in Love 1850s–1950s Nini-Treadwell Collection Until 8 March A Total Work of Art: Sidney Nolan and the Stage Sidney Nolan Permanent Exhibition Canberra/Kamberri, Place & People

Craft + Design Canberra www.craftanddesigncanberra.org Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

See our website for latest information.

Craft + Design Canberra is a not-for-profit organisation and one of Australia’s longest running membership bodies, now celebrating 54 years. We are deeply committed to our creative community. Our artists, exhibitions, and programs are central to our lives and to celebrating Canberra’s rich design legacy and future.

Craft + Design Canberra operates a vibrant gallery showcasing contemporary craft and design exhibitions year-round, a retail shop featuring locally made handcrafted objects, workshops and public programs, and the biennial Craft + Design Canberra Festival.

Civic Art Bureau www.civicartbureau.com Melbourne Building, Upstairs Smiths Alternative, 76 Alinga Street, Canberra City, ACT 2601.

0488 056 988

Kathe Burkhart, Eat Shit: From the Liz Taylor Series (after Weegee), 2001.

Silkscreen, 53 x 37 cm. 69/80.

6 December 2025—11 January ICONOLOGY: New Faces Various artists including Richard Larter, Lindy Lee, Bea Maddock, Kathie Burkholz, Ruth Waller, Lewis Morley, Tim Price, Peter Maloney.

Curated by Mark Bayly. New Faces was an Australian talent show that ran on television from 1963 to 1985. The program was an energetic, low-brow combination of all-dancing, all singing form of exhibitionism that rated well with peak hour viewers and advertisers alike. The works in this exhibition resonate with aspects of popular culture in a similar manner, from transgressive drag artists, to actors, models, and those who perform and celebrate their identities through gender or sexuality.

19 February—8 March 60/60 Skate Reflections David Pang Photographs from the 80’s onwards by Canberra’s legendary skate photographer.

Also showing artist’s skateboards, cocurated by Civic Art Bureau and Sancho’s Dirty Laundry.

Grainger Gallery www.graingergallery.com.au Grainger Gallery on Geelong Street, Ngunnawal Country, 1/34 Geelong Street, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm.

See our website for latest information.

12 February—8 March Regeneration Glyphs G.W. Bot Grainger Gallery celebrates the inaugural opening of its Geelong St gallery with an extensive exhibition by G.W. Bot - Regeneration Glyphs. “In the darkest moments in life there is still hope for regeneration.

Even after the most severe drought or after the worst bushfire, there will appear the green shoots of rebirth. Even in death,

G.W. Bot, Mother and Child, 2025, engraved wood relief sculpture, 210 x 120 x 2 cm. there is a promise of rebirth and regeneration. Nature in the most acute moments of distress shows the path for regeneration as a display of the ultimate gift of generosity of spirit. My art, in the present series of work, taps into this regenerative spirit.”

M16 Artspace www.m16artspace.com.au Ngunnawal Country, Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm.

See our website for latest information.

National Gallery of Australia www.nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Until 2 February Kulata Tjuta: Tirkilpa Until 8 February Hot tropics Until 15 February Lindy Lee Until 22 February Enjoy this trip: the art of music posters Until 1 March Women Photographers 1853–2018 Until 9 March Heavens above 23 5

artguide.com.au

Kaylene Whiskey Flying over Indulkana 2022. AIATSIS Collection © Kaylene Whiskey.

15 November 2025—9 March Super Kaylene Whiskey Kaylene Whiskey Super Kaylene Whiskey celebrates one of Australia’s leading contemporary artists, proud Yankunytjatjara woman Kaylene Whiskey. This major survey brings together works from across Whiskey’s career, showcasing her dynamic practice that is grounded in stories of First Nations joy and strength. Drawn from public and private collections, the exhibition features over 80 paintings, video work and installation from her early career to now, as well as a newly commissioned portrait.

National Gallery of Australia → Vincent Namatjira, Western Aranda people, Royal Albert, 2025. © Vincent Namatjira, courtesy the artist and Iwantja Arts, Indulkana, and Ames Yavuz, Sydney.

National Gallery of Australia continued...

Until 9 March Yuk Wuy Min Ngantamp – Aurukun’s Artistic Legacy Until 9 March Talking Blak Until 12 April Know My Name: Global Until 19 April Bilong Papua New Guinea: 50 years of Independence Until 26 April 5th National Indigenous Art Triennial: After The Rain Until 12 July Richard Lewer: Steve Until 26 July Know My Name: Kee, Jackson and Delaunay Until 2 August Proofs and processes: the Kenneth Tyler Collection

Until 23 August Hermannsburg Until 6 September Trent Parke: The Christmas Tree Bucket

With irreverent humour, Whiskey playfully combines everyday life, Anangu culture and beloved pop culture icons in her work.

Dolly Parton, Cher and Wonder Woman share centre stage with Whiskey and other strong kungkas (women) as together they hunt and collect bush tucker. Through her rich visual stories, Whiskey joyfully connects cultures, Country and celebrity and invites us along for the ride.

Until 14 February 2027 Body Adorned Until 18 April 2027 New Asian art Until 24 January Nan Goldin

Touring Exhibition Bank Art Museum Moree (BAMM), NSW

Until 25 January Clarice Beckett: Paintings from the National Collection

Touring Exhibition Ngununggula Southern Highlands Regional Gallery, NSW

Until 22 February Olive Cotton and Her Contemporaries Touring Exhibition Gippsland Art Gallery, VIC

Until 28 February Single Channel Touring Exhibition Midpul Art Gallery at CDU, NT

Jesse Lizotte, Jimmy and Jane Barnes, 2020. Purchased 2021. © Jesse Lizotte.

31 May 2025—19 April In Bloom

National Portrait Gallery www.portrait.gov.au

Trent Parke, Christmas Eve, 2007, National Gallery of Australia, Kamberri/Canberra, purchased 2013 © Courtesy of the artist, Hugo Michell Gallery, and Michael Reid Galleries 236

Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

See our website for latest information.

In Bloom explores how flowers have long been used in art to express emotion and convey messages of personal, cultural and religious significance. Featuring over 50 collection works, new acquisitions and selected loans, watch the walls blossom with loved and lesser-known works from the National Portrait Gallery collection.

Tasmania

Exhibitions

JANUARY/FEBRUARY 2026

artguide.com.au

Bett Gallery www.bettgallery.com.au Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

19 December 2025—31 January Summer Exhibition

Handmark Gallery → Jonathan Partridge, Bliss, 2023, oil on linen. skilled photographers. From 1913 Jackie was an outstanding amateur based in Waratah. No golden wedding anniversary, vice-regal visit or patriotic demonstration escaped his shutter. This exhibition is curated by Author and Historian, Nic Haygarth.

7 February—14 March Annual Community Art Exhibition & Awards 2026

Megan Walch, Fantasia, 2025, oil and acrylic on canvas, 168 x 153 cm.

6 February—28 February Megan Walch 6 February—28 February Annika Koops

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 [Map 17] Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

Tim Gruchy, Dissolving World, (still), 2021, single-channel video, 00:14:30. Image courtesy of the artist. curated by Bundaberg Regional Galleries and presented in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program, and is supported by the Queensland Government through Arts Queensland.

22 November 2025—21 February Jackie (JH) Robinson: mining fields reporter For 40 years John Henry (‘Jackie’) Robinson (1883–1953) framed Waratah and the West Coast from a tripod. Robinson and two of his brothers were highly

The North West Art Circle is a well-established group on the North West Coast of Tasmania, with some 60 members sharing a passion for making art and a collective goal to promote and further develop their arts practice.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

See our website for latest information.

9 January—26 January Jonathan Partridge

24 January—16 January 2027 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. 2026 Selected Artists: Deborah Leisser, 24 January 2026—9 March 2026; Jacob O’Shannassy, 14 March 2026—25 April 2026; Cathy Jenner, 2 May 2026—13 June 2026; Keryn Fountain, 8 August 2026— 19 September 2026; Ariel Pascoe, 25 September 2026—6 November 2026; Rebkah Russell 14 November 2026— 16 January 2027.

15 November 2025—26 January The Brothers Gruchy

Faridah Cameron, The evolution of ideas, 2025, acrylic on canvas.

The Brothers Gruchy is an engaging new media exhibition that features 9 key artworks from Tim and Mic Gruchy’s practice that focus on recurring themes of human perception, artificial intelligence, synaesthesia, memory and cultural identity.

The Brothers Gruchy is a touring exhibition

30 January—15 February The coming and dissolving Faridah Cameron

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NWAC 2025 overall winning work, Sue Wignall, Unveiled – As the Mist Rises, 2025, pen on paper.

20 February—2 March

Luke Wagner

TA S M A N I A

Madeline Gordon Gallery

Museum of Old and New Art (Mona)

www.madelinegordongallery.com.au

www.mona.net.au

Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm and by appointment.

See our website for latest information.

655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.

Madeline Gordon Gallery represents a convergence of passion and expression.

It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator alike in celebrating contemporary art in all forms.

15 February 2025—16 February MIRRORSCAPE Théo Mercier

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

We represent, local, national and international artists each with a distinctive approach to creating art, emerging or established.

12 December 2025—9 January Indistinct Chatter Nicole Robson

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 [Map 17] 03 6323 3777 Daily 10am–4pm. Free admission.

23 August 2025—1 February Shapeshifting: Art of Helen Wright

Spanning over four decades of creative inquiry, Shapeshifting explores one of Tasmania’s most enduringly vital and visionary artists and her remarkable capacity for enduring transformation.

Helen Wright’s work responds to a world marked by ecological unease and existential fragility. Working across painting, drawing, printmaking, and sculpture, Wright embodies the archetypal shapeshifter—an artist capable of moving between mediums and meanings, inhabiting different states, and slipping between boundaries both physical and metaphysical.

Revisit.

January Revisit

Group Exhibition.

Michael Muruste, Untitled No. 1, 2025.

16 January—6 February New Works on Paper Michael Muruste

Chris Bell, Rushes and their reflections, 2006. Wild Rivers National Park, Tasmania. 80 x 72 cm.

13 February—6 March New Works Joshua Santospirito

Plimsoll Gallery www.utas.edu.au/creative-artsmedia/events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Tue to Sat, 11am–4pm.

See our website for latest information.

Minami Ivory, Weapon of Choice.

February Minami Ivory

The Plimsoll Gallery is located on Hobart's historic waterfront, a short walk from the Tasmanian Museum and Art Gallery (TMAG), Salamanca Place and the city centre. The Plimsoll showcases touring and curated exhibitions of innovative local, national and international contemporary art and design, in addition to the work of the School of Creative Arts and Media, Research Higher Degree and Honours examinations. students.

Sam Jinks, Unsettled Dogs, 2011, silicone, pigment, resin, human hair, and fur.

Purchased through the RMIT Art Fund, 2012. Image: QVMAG. 239

artguide.com.au Queen Victoria Museum continued...

crowd and writing a defining chapter in Tasmania’s sporting story. Also featured is captain Nathan Ellis match-worn jersey.

The display is presented with the generous support of Cricket Tasmania.

20 September 2025—15 February Traces: Chris Bell A passionate naturalist, Chris Bell has been photographing wild places and wild things for over 30 years. He came to Tasmania from country NSW in 1972 to join the campaign to save Lake Pedder from destruction and has remained here ever since. His work casts a spotlight on vulnerable places and threatened species to bolster conservation efforts. Through the lens of his camera, Bell captures patterns and traces in the landscape and blurs the lines between wilderness photography and art photography.

14 June 2025—9 March Sam Jinks || Mortal Reflections The first major Tasmanian exhibition of renowned hyperrealist sculptor Sam Jinks also marks the largest collection of his works ever shown. Renowned for his painstakingly crafted figures, Jinks’ practice reflects the deeply felt moments of our lived experience. Transforming the entire upper level of QVMAG’s Royal Park site, this intimate presentation invites audiences to reflect on the mysteries of — life || death, and all in-between.

20 December 2025—7 June Anatomy Lessons Michele Beevors Striking and ethereal, Anatomy Lessons features life-sized skeletons meticulously sculpted and hand-knitted to haunting effect, inviting us to reflect on our place within the fragile web of life and death.

Created by artist Michele Beevors, Anatomy Lessons is a quiet, tactile protest – a gentle but powerful call to recognise the violence humans inflict upon other animals, and to reconsider the patterns of behaviour that sustain it.

14 November 2025—26 April Hobart Current: Here

Sara Morawetz, Everest, 2023, Performative Action + Performative Artefact, 848.86 ball of twine, approx 25 x 25 x 25 cm. shape our sense of time, distance, weight, and space. Bringing together new and existing works, Morawetz reimagines familiar instruments of measurement – rulers, clocks, calendars, scales – as sites of poetic and critical inquiry. Through repetition, duration, and performance, she asks what happens when these systems begin to slip, stretch, or fail.

The third iteration of biennial contemporary art program Hobart Current explores the theme ‘Here’. Ten selected artists - Marion Abraham, Jodi Haines, Andy Hutson, Jade Irvine, Jenni Large, Sara Morawetz, Jonny Scholes, Mary Scott, Dylan Sheridan, Peter Waller – have created new works spanning a diverse range of creative practices and media responding to the theme. These works will be presented at the Tasmanian Museum and Art Gallery (TMAG) and public spaces in Hobart. The Creative Directors for Hobart Current: Here are Denise Robinson and Travis Tiddy. Hobart Current is an innovative partnership between TMAG and the City of Hobart. More information on the program is available at hobartcurrent.com.

Playful and precise, The Measure of Things questions the metrics that govern our world and the fragile human perceptions that underpin them.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Free admission.

See website for opening times.

See our website for latest information.

Rosny Farm www.rosnyfarm.com.au 22 Rosny Hill Road, Rosny Park, TAS 7018 03 6217 9607 Wed to Sun, 11am–5pm.

Rosny Farm is a bold, welcoming arts precinct tucked into Nipaluna / Hobart’s sunny east — a place where stories are shared, ideas take shape, and creativity has room to grow. Lots of it.

Our distinctive venues, sprawling parklands, and surprising spaces host a year-round program of exhibitions, gigs, workshops, festivals, artist residencies, and community events.

16 January—8 February The Measure of Things Sara Morawetz Why is a second a second long? Why is an inch an inch, a metre a metre? Who decides what we measure, how we value it, and why?

The Measure of Things is a solo exhibition

by Sara Morawetz exploring the systems we use to define knowledge and experience – the tools, standards, and rituals that 24 0

Image from Restoring the Past featuring Conway Hart, Portrait of Catherine Chapman, oil on canvas, c.1856. AG9181.

Photograph: TMAG. The World of Butterflies, installation view.

Photograph: TMAG.

8 August 2025—26 January The World of Butterflies A vibrant exhibition celebrating the diversity, resilience and beauty of butterflies, featuring hundreds of specimens from around the world. Through stunning themed displays, explore how these remarkable insects use colour, camouflage, and behaviour to survive.

2 December 2025—2 March BBL|14: It Was Our Time BBL|14: It Was Our Time celebrates the unforgettable moment the Hobart Hurricanes claimed their first Big Bash League title. Taking centre stage in the display is the bat Mitchell Owen used to score 108 runs off just 42 balls, securing a thrilling victory in front of a sold-out Hobart

6 February—31 May Restoring the Past Step into the world of art conservation and discover the intricate process of preserving history. Restoring the Past unveils the meticulous treatments of three remarkable 19th-century paintings and their ornate frames, including the portraits of Thomas and Catherine Chapman and a landscape by John Glover.

This captivating exhibition offers a rare behind-the-scenes look at the techniques and stories that bring Tasmania’s artistic heritage back to life. Whether you’re an art enthusiast or simply curious about the hidden layers of history, Restoring the Past invites you to explore the delicate balance of science, artistry, and storytelling behind conservation.

South Australia

Exhibitions

JANUARY/FEBRUARY 2026

South Australian Living Artists Festival 1–31 August 2026

Calling all South Australian visual artists Be part of the biggest open-access visual arts festival in the Southern Hemisphere.

Every August, the work of South Australian visual artists is celebrated through hundreds of exhibitions, workshops, open studios, demonstrations, performances, and special events across South Australia and online.

Find out more about how to participate at salafestival.com.au/participation

Registrations Open 1 March – 6 May 2026

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S O U T H AU S T R A L I A

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Yarta, North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm.

Free entry See our website for latest information.

The Art Gallery of South Australia has one of the largest art museum collections in Australia, comprising almost 47,000 works of art spanning 2000 years. Our collection includes paintings, sculpture, prints and drawings, photographs and videos, textiles and clothing, ceramics, glass, metalwork, jewellery and furniture.

17 October 2025—18 January Too Deadly: Ten Years of Tarnanthi Art Gallery of South Australia→ Installation View: Too Deadly: Ten Years of Tarnanthi, Art Gallery of South Australia, Adelaide. Photograph: Saul Steed.

Adelaide Contemporary Experimental

This exhibition assembles more than 200 diverse works of outstanding contemporary Aboriginal and Torres Strait Islander art in celebration of a decade of Tarnanthi. Alongside the exhibition, AGSA hosts artist and curator talks, guided tours, performances, workshops and creative activities in The Studio as part of the Tarnanthi Festival 2025.

www.ace.gallery Kaurna Yarta, Lion Arts Centre, North Terrace (West End), Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

David Roche Gallery www.rochegallery.com.au

Zaachariaha Fielding and Yaritji Tingila Young, Tjungu (Together), acrylic paint on linen, 2023, 200 x 248 cm. Photograph: Andy Francis, courtesy of the APYACC.

241 Melbourne Street, North Adelaide, SA 5006 08 8267 3677 Tues to Sat 10am–4pm.

See our website for latest information.

1 July 2025—2 February Purkarari: Slow Down

Sandra Saunders, Ngarrindjeri/Boandik people, South Australia, born Millicent, South Australia 1947, Nature’s Justice, 2025, Port Lincoln, South Australia, oil on hardboard, 130 x 75 cm.

Photograph: Nat Rogers.

21 February—4 April Kumarangk Temeika Campbell, Zemiah Campbell, Carly Tarkari Dodd, Tiarnie Edwards, Debra Rankine, Elizabeth Rankine, Sonya Rankine, Bessie Rigney, Stephanie Russell, Sandra Saunders, Betty Sumner, Margi Sumner and Ellen Trevorrow.

Adelaide Town Hall Gallery www.adelaidetownhall.com.au 128 King William Street, Adelaide, SA 5000 08 8203 7590 Mon to Fri 9am–5pm.

See our website for latest information.

Purkarari: Slow down is an exhibition of major new works by Zaachariaha Fielding alongside collaborative paintings created with Senior artists working out of the APY Studio in Adelaide. Rooted in the Pitjantjatjara word Purkarari, meaning a deep calm through work, Fielding explores the meditative act of creation in partnership with celebrated artists Sandra Pumani, Yaritji Tingila Young, Nyunmiti Burton, Jennifer Ingkatji, Yaritji Heffernan, Margaret Richards, and Megan Lyons. Together, their work speaks to the restorative nature of painting—where movement, expression, and shared creativity quiet the mind and strengthen cultural connections.

1 July 2025—2 February South Australian Music Hall of Fame Adelaide is a city with music as its heartbeat - home to thriving independent artists, iconic venues, and a dynamic industry.

Internationally renowned for its festivals and music institutions, music is central to South Australia’s identity and economy.

Presented by the City of Adelaide across two levels of Adelaide Town Hall this exhibition celebrates Adelaide’s 10-year milestone as Australia’s only UNESCO City of Music in 2025.

Rene Lalique, Statuette, Suzanne, 1925.

Closing 31 January Art Deco: A Modern Vision Celebrating 100 Years.

Discover the origins of Art Deco, its global journey, and see how this distinctive style became a part of everyday Australian life.

From its extraordinary debut in 1920s Paris to its lasting influence on Australian art and architecture, explore the timeless legacy of this modern vision.

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Jamfactory → Jake Rollins, SOFA 3744, 2025. Photograph: Connor Patterson.

Flinders University Museum of Art

Murray Bridge Regional Gallery

www.flinders.edu.au/museum-of-art

www.murraybridgegallery.com.au

Kaurna Country, Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt.

Thu until 7pm. Closed weekends and public holidays.

See our website for latest information.

Ngarrindjeri Ruwe, 27 Sixth Street, Murray Bridge, SA 5253[Map 18] 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm.

Closed Mon and public holidays.

See our website for latest information.

Four major collection areas at the gallery include contemporary Aboriginal and Torres Strait Islander art; European prints; Post-object and documentation art; and Australian political prints and posters.

Lottie Emma, Work in progress (detail), 2025, repurposed beads, wool, silk, tulle, teddy bear eye, faux fur and curtain, cotton thread, aerosol, dimensions variable.

7 February—12 April skopos Susie Althorp Immersion in the sublime world of our oceans, skopos investigates through a scientific lens new ways of making the unseen visible. skopos has been commissioned by Country Arts SA through the 2025 Breaking Ground Award, presented in partnership with SALA Festival and Praxis Artspace.

Smaller collections comprise colonial and 20th century Australian art; indigenous works from Papua New Guinea, North America and Africa; and Japanese Ukiyo-e woodblock prints.

JamFactory www.jamfactory.com.au Donna Gordge, Knowing things that can’t be spoken, 2025, mid-fire clay, hand-dyed altered pipe cleaners, 17 x 26 x 29 cm.

Nan Goldin, Nan and Brian in bed, NYC, 1983, National Gallery of Australia, Kamberri/Canberra, purchased 1994. © Nan Goldin.

16 February—10 April

Nan Goldin: The ballad of sexual dependency A National Gallery Touring Exhibition presented as part of the Bowness Family Foundation Photography Touring Program. A defining series of Goldin’s career, the photographic study captures her chosen family and life in the 1970-80s.

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29 November 2025—25 January Hollow Donna Gordge

Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

29 November 2025—25 January ‘Super Mum’ Strikes Back Lottie Emma

JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.

Radically experimental textile works that centre around wrangling emotions, championing compassion, speaking out and keeping it real.

5 December 2025—12 April Make Award: Biennial Prize for Innovation in Australian Craft and Design

Exploring the complex relationship between loss, longing and the continual evolution of our identities.

S O U T H AU S T R A L I A

JamFactory at Seppeltsfield

catering for prominent regional artists and supported by Tarnanthi and Country Arts SA. Featuring work by Josephine Lennon, Marli Macumba, Juanella McKenzie, Deanna Newchurch, Lynette Newchurch, Sandra Saunders and Heather Shearer.

www.jamfactory.com.au Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm.

See our website for latest information.

Jake Yang.

20 February—21 March Embedded Threads Jake Yang

Riddoch Arts & Cultural Centre www.theriddoch.com.au Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm, Most public holidays 10am–2pm.

Belinda Guerin, Untitled, 2025.

Photograph: Connor Patterson.

13 December 2025—22 March Heart of Darkness

Newmarch Gallery www.newmarchgallery.com.au

8 November 2025—27 January Saltbush Country

A Country Arts SA touring exhibition.

In this exhibition seven diverse artists tell stories of their culture, community and connection to Country. Their works, curated by Tarnanthi Regional Curator Marika Davies, are the result of a series of community workshops, mentoring and professional development opportunities

Ian W Abdulla, Way to go, (detail), 1997, synthetic polymer paint on paper.

Collection of Flinders University Museum of Art 3351. © the estate of the artist.

8 November 2025—27 January Big Sky Surveying the artwork of six South Australian First Nations men, Big Sky brings together painting, photography and digital media works by Ian W Abdulla, Kunmanara (Tiger) Yaltangki, James Tylor (in collaboration with Laura Wills), Beaver Lennon, Shaq Carter and Kunmanara (Jimmy) Pompey.

This Riddoch curated exhibition features key works from the collections of the

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 [Map 18] 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm.

See our website for latest information.

5 December 2025—10 January 13th Prospect Portrait Prize The Prospect Portrait Prize is a non-acquisitive juried exhibition of contemporary portraits in any medium.

Annette Bezor, Bound, 1996, acrylic, oil and enamel on linen, 195 x 207 cm.

16 January—14 February Treasured Annette Bezor (1950–2020) Curated by Sarah Northcott.

Riddoch Arts & Cultural Centre → Em Jensen, Thelma Plum, 2024, National Photographic Portrait Prize 2025 Finalist.

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Sauerbier House Culture Exchange www.onkaparingacity.com/ sauerbierhouse Kaurna Country, 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10p See our website for latest information.

Sauerbier House is a vibrant contemporary arts space which champions the practical development of site responsive projects and independent creative outcomes. Located on Kaura Yerta next to the Ngankipari/Onkaparinga River, the heritage listed house, once domestic dwelling, sustains an interactive studiobased artist in residence program alongside a vibrant calendar of exhibitions.

Samstag Museum of Art → Brian Fuata, born Aotearoa New Zealand 1978, Errantucation (mist opportunities), 2021 / Performance improvisations commissioned for ‘The 10th Asia Pacific Triennial of Contemporary Art’ (APT10). QAGOMA, Brisbane, 2021. © the artist courtesy of artist and Sumer. Photograph: C Callistemon, QAGOMA. Riddoch Arts continued...

University of South Australia, Flinders University Museum of Art, Art Gallery South Australia and the Riddoch’s own collection.

7 February—27 April Between Waves Between Waves amplifies concepts related to light, time and vision – and the idea of shining a light on our times – as expressed by the Wurundjeri Woi Wurrung word ‘Yalingwa’. Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria, curated by Jessica Clark. This project has been supported

by Creative Victoria through the Yalingwa Visual Arts Initiative and the NETS Victoria Exhibition Development Fund; and the Australian Government’s Visions of Australia program.

7 February—27 April National Photographic Portrait Prize Now in its 18th year, the National Photographic Portrait Prize supports and celebrates photographic portraiture in Australia. Each year the prize attracts thousands of entrants from emerging and established artistic talent across the country. Featuring famous faces and everyday Australians, the prize celebrates the vitality and diversity of photographic portraiture in Australia. In 2025, 48 finalists were selected by the panel of judges: writer and broadcaster Benjamin Law, Senior Curator at the National Portrait Gallery, Serena Bentley and Leigh Robb, Curator of Contemporary Art at the Art Gallery of South Australia. This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to National collections for all Australians.

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7 February—27 April Bound in Light Maurizio Cigognetti

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

See our website for latest information.

Bound in Light is a portrait exploration

by Italian born photographer Maurizio Cigognetti. Culminating from a collection of in-studio photoshoots from both his homeland in Milano and new residence in Mount Gambier.

Samstag Museum of Art www.unisa.edu.au/connect/samstagmuseum/ Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 [Map 18] Tue to Sat 10am–5pm.

See our website for latest information.

Samstag Museum of Art is South Australia’s largest contemporary art gallery. Its establishment, in 2007, reflects the Adelaide University’s determination to make a dynamic contribution to the intellectual and cultural life of South Australia and to the Australian tertiary education sector.

27 February—8 June 2026 Adelaide Biennial of Australian Art: Yield Strength Yield Strength reveals how materials, selfhood and society are tested – and transformed – under pressure. Twenty-four artists push their media to build visual complexity, or contort them to convey the curious side of existence. Curated by Ellie Buttrose. Co-presented by the Art Gallery of South Australia, Samstag Museum of Art and Adelaide Botanic Garden.

Kavan Chay, Evolution of Stars.

30 August—1 February 2026 Australian Geographic Nature Photographer of the Year exhibition The annual Australian Geographic Nature Photographer of the Year competition calls on photographers from around the world to celebrate the fauna, flora and natural formations of the Australia, New Zealand, The competition, owned and produced by the South Australian Museum, results in a stunning collection of images that provoke us to explore and understand the changing nature of our environment and appreciate the wonder that surrounds us while enriching our knowledge of this extraordinary region.

Western Australia

Exhibitions

JANUARY/FEBRUARY 2026

VANESSA RUSS Melbourne Art Fair 2026 VANESSA 19 February – 22 RUSS February Melbourne Art Fair 2026 19 February – 22 February

2/565 Hay Street, Cathedral Square, Perth +61 8 9325 7237 // art@artcollectivewa.com.au // artcollectivewa.com.au

2/565 Hay Street, Cathedral Square, Perth +61 8 9325 7237 // art@artcollectivewa.com.au // artcollectivewa.com.au

Vanessa Rus Early Rain 2, 2025, Indian ink on paper, 140 x 110cm

Vanessa Russ Early Rain 2, 2025, Indian ink on paper, 140 x 110cm

15 NOV - 15 FEB

BUNBURY REGIONAL ART GALLERY

Artback NT Presents

ceramics from the central desert Touring Nationally

Bunbury Regional Art Gallery WA

6 September 2025 –18 January 2026 Geraldton Regional Art Gallery WA

7 February - 5 April 2026

Devonport Regional Gallery TAS

29 May 2026 - 25 July 2026

Performance Arts Culture Cessnock NSW

15 Au u t - 19 September 2026 Midpul Art Gallery at CDU NT

07 October 2026 - February 2027

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Congratulations Pippin Drysdale on your landmark retrospective!

Pippin Drysdale, 'BKA Series IV: Traces of Time - Kings Canyon’, 2023 porcelain vessel 39 H cm, Acorn Photo.

Pippin Drysdale: Infinite Terrain Until 6 April 2026 Art Gallery of Western Australia

Pippin Drysdale, ‘KS III: Sap Rising Installation’, seven porcelain artworks dimensions variable 24 H - 10 H cm, Acorn Photo.

Linton & Kay Galleries are holding some beautiful works by this extraordinary artist.

Kate Debbo I Canoe Can You Too

Until 31 January 2026 Cherubino Wines Margaret River

Kate Debbo, ‘Balmy Nights’ 2025 [detail], Oil on canvas, 135 x 110 cm, Bianca Kate Photography.

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Kate Debbo, ‘Three Yellow Birds’ 2025, Oil on canvas, 120 x 120 cm, Bianca Kate Photography.

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

W E S T E R N AU S T R A L I A

Art Collective WA www.artcollectivewa.com.au Whadjuk Country, 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

Helen Smith, Arc Drawing #3, 2025, oil on canvas, 100 x 120 cm.

7 February—7 March Arc Drawings Helen Smith Helen Smith’s Arc Drawings explore oscillation and perception through arcs of colour and lines that ripple across the painting’s surface. Optical illusions and visual ambiguities invite active viewing, creating shifting fields of movement.

Rooted in geometric abstraction, the works distill complexity into rhythmic simplicity, where form generates perception.

The Art Gallery of Western Australia → William Yang, Darren + Linden, part 3, 1991, photograph, 27 x 40 cm. Purchased through The Art Gallery of Western Australia Foundation: TomorrowFund, 2013. Photograph: Bo Wong.

The Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Whadjuk Noongar Country, Perth, WA 6000 [Map 19] 08 9492 6601 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

Free admission.

The installation at The Art Gallery of Western Australia (AGWA) features major commissions created especially for AGWA’s unique architectural spaces, as well as other new works and key selected works from across Pivi’s career. Together, these works offer a once-in-a-lifetime experience that reimagines the possibilities of art in public space.

Until 8 February HALE TENGER / BORDERS / BORDERS HALE TENGER / BORDERS / BORDERS is the first museum survey of Hale Tenger, a pioneering Turkish artist whose poetic installations span over three decades.

Through sound, image and language, her work explores power, memory and belonging, offering vital reflections on borders—political, psychological, and environmental—in our turbulent world.

Until 6 April Pippin Drysdale: Infinite Terrain

Lydia Balbal, Martakulu, 2023, acrylic on linen, 90 x 108 cm.

7 February—7 March Martakulu to Walyarta Lydia Balbal & Venetta Yanawana Presented with Short Street Gallery, this exhibition features Lydia Balbal and Venetta Yanawana - two artists whose practices honour ancestral knowledge and personal memory. Balbal’s rhythmic desert landscapes and Yanawana’s layered saltwater paintings reflect deep connections to Country and storytelling.

Their paintings trace journeys of resilience and belonging, shaped by deep cultural strength.

A major retrospective on internationally acclaimed ceramicist Pippin Drysdale.

Featuring works from the State Art Collection as well as significant loans, the exhibition showcases Drysdale’s adventurous spirit, collaborative processes and unique interpretations of the world through porcelain. Surveying forty years of practice, Infinite Terrain reveals how she blends technical mastery with experimentation, drawing inspiration from journeys across Australia and abroad. Drysdale’s vast fields of flowing lines and mesmerising colour evoke landscapes both intimate and expansive, inviting viewers into layered readings that intwine memory, place and imagination.

Until 26 April Paola Pivi – I don’t like it, I love it This expansive and vibrant exhibition marks one of globally celebrated artist Paola Pivi’s biggest and most ambitious projects in her almost 30-year career.

Theo Koning, The Divine Labour The Great Secret, 1985, pen and ink and gouache, 56.5 x 76.5 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased for the Guy Grey-Smith Memorial Collection, 1986.

Photograph: Bo Wong.

Until 10 May Theo Koning: Object Syntax Theo Koning: Object Syntax presents works from the State Art Collection by Theo Koning (1950–2022), a leading Western Australian figure in installation and process-driven art. At its centre is The hot chook shop, a pivotal work from 1974, later realised in its current form in 1991. Retaining a rickety, makeshift character, the installation playfully critiques consumer 251

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30 January—7 March Contact Austin Honour

culture, grounding itself in the familiarity of local working-class communities while opening onto broader global concerns.

Also featured are works from the late 1970s to mid-1980s, reflecting Koning’s rich legacy and his attentive exploration of the nuance and intimacy of objecthood.

Austin Honour's new series of paintings have their origin in photographs taken inside the new wing of Kunsthaus Zürich, where the brass wall panels collect fingerprints from visitors throughout each day.

These traces form an unintended record of movement through the space, showing how a simple physical action becomes part of a larger collective surface.

Until 11 October Attachment Styles This display considers State Art Collection works from the 19th, 20th and 21st centuries through the now ubiquitous lens of ‘attachment styles’. Bridging psychological, self-help and artistic cultures, Attachment Styles offers works depicting subjects who may display signs of possessing avoidant, anxious, or disorganised relational styles.

In doing so, it offers various reflections on how artists have made works that are formed by (and comment on) the tensions underpinning the complex romantic, social and political bonds between people and places. The show’s conceptual framing device also encourages us to playfully consider how we might approach art itself from our own attachment styles.

Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag

29 November 2025—18 January TILT Commission 2025 Jessee Lee Johns 29 November 2025—18 January Dismantle Jess Day 29 November 2025—18 January post 2 post Paul Boye and Ella Valentine

Pascale Giorgi, Worst Hits. Image courtesy the artist and Goolugatup Heathcote.

7 February—26 April Worst Hits Pascale Giorgi

By Appointment South Fremantle, WA 6160 [Map 20] 0418 900 954 See our website for exhibition information.

www.a-v-a.gallery

58 Duncraig Road, Applecross, WA 6153 08 9364 5666 Tue to Sun, 10am–4pm.

6 September 2025—18 January Clay on Country Various artists

www.artitja.com.au

Whadjuk Noongar Boodjar 58 Pier Street, Boorloo, Perth, WA 6000 [Map 19] andrew@a-v-a.gallery Wed to Sat 11am–5pm and by appointment.

See our website for latest information.

www.melvillecity.com.au

64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

See our website for latest information.

Artitja Fine Art Gallery

AVA Gallery

Goolugatup Heathcote

Torso Josef Quinn Remanere Chloe Nolan and Jacob Sturgeon Pmara Nurnakanha Tukutrta IkumaHolding, We hold our country in our hearts and minds, 2022, installation.

15 November 2025—15 February Monument Carla Adams, Emma Buswell, Jacky Cheng, Jennifer Cochrane, Erin Coates, Tarryn Gill, Amy Perejuan-Capone, Jenny Scott, Monique Tippett, and Emily Wilde

What Mothers Carry Emily Rose

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

See our website for latest information.

Tania Ferrier, ANGRY UNDERWEAR NYC. Photograph: Tania Ferrier.

15 November 2025—15 February Angry Underwear Tania Ferrier 15 November 2025—15 February The Good Anna Louise Richardson Photography by Austin Honour.

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Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300 Subiaco:

5 December 2025—11 January Chance Encounters Min Woo Bang & Joshua Cocking

W E S T E R N AU S T R A L I A Min Woo Bang’s imagery explores nature’s transitional moods, often portraying elements of disintegration, loss and renewal in the final moments of daylight, a shifting cloud or a gust of wind. Joshua Cocking draws on years spent living in remote Indigenous communities in the Kimberley region of northern Western Australia to create realist works anchored in the landscape. The ambiguously placed objects juxtapose natural and artificial materials, capturing the cross-cultural tensions involved in the experience of contemporary outback Australia.

vast fields of flowing lines and mesmerising colour evoke landscapes both intimate and expansive, inviting viewers into layered readings that intertwine memory, place and imagination. Drysdale, based in Fremantle, Western Australia, began her ceramics journey in the 1980s and continues to produce new work at the age of 82.

Her pieces are held in some of the most significant art collections across Australia and internationally, and her reputation as one of the country’s most respected ceramic artists is firmly established.

Drysdale’s practice blends technical mastery with fearless experimentation. Her porcelain forms reveal the emotional and expressive power of colour in figurative and landscape interpretations - subtle, intense and always deeply felt. Linton & Kay Galleries have some beautiful works available. Please enquire.

In the 1940s, Aboriginal men at Birrundudu Station created 810 crayon drawings – vivid records of Country, ancestry and ceremony. Now over 100 neverbefore-seen works are revealed in an exhibition marking the 50th anniversary of the Berndt Museum. Part of the Perth Festival 2026. Presented with The Berndt Museum at Lawrence Wilson Art Gallery with support from The Berndt Research Foundation and Warlayirti Artists.

Cherubino Wines Margaret River:

Until 31 January I Canoe Can You Too Kate Debbo

Debbo continues to love the idea of living inside her paintings where fantasy rules, horizons are boundless and everyone is united by magic. These are paintings about love, family, friends and connections and are always inspired by beautiful places and events that are painted by memory and imagination. The horses represent energetic beings that serve as familiar and recognisable points in a new place.

Pippin Drysdale, BKA III: Shepherds’ Delight, 2024, porcelain vessel, 35.5 cm h.

Photograph: Acorn Photo.

Art Gallery of Western Australia:

Until 6 April Pippin Drysdale: Infinite Terrain

This landmark survey exhibition honours the extraordinary career of internationally renowned ceramicist Pippin Drysdale.

Spanning over forty years of practice, the exhibition features work from the State Art Collection alongside significant loans.

It offers a rare opportunity to explore Drysdale’s adventurous spirit, collaborative processes, and her singular ability to interpret the world through porcelain. Her

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 11pm–4pm.

The Lawrence Wilson Art Gallery will be closed to the public reopening Saturday 14 February.

Gracie Green, Liturwarti, 2023, acrylic paint on canvas, 120 x 120 cm.

Courtesy the estate of the artist and Mangkaja Arts.

14 February—4 April Gracie Greene – It’s Time!

The Cruthers Collection of Women’s Art will present a major solo exhibition of Gracie Greene, celebrating a prodigious lifetime of cultural and artistic contribution. Part of the Perth Festival 2026.

Presented with The Berndt Museum and The Cruthers Collection of Women’s Art at Lawrence Wilson Art Gallery with support from Mangkaja Arts.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Whadjuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm, Closed Mon & Public Holidays.

22 November 2025—8 February Revisiting The Mughal Gardens Sultana Shamshi Revisiting the Mughal Gardens is a 15-year retrospective of jewellery and sculptural forms translating identity, history and culture into Western Australian materials while exploring a personal response to injustices around the world.

Kate Debbo, Welcome Home, 2025, oil on canvas, 135 x 110 cm. Photograph: Bianca Kate.

Splinter Dardayi Yani Jangala, Not titled (Gumurlawurru [pied butcherbird] Dreaming at Pingidijarra Hills), 1945, Birrindudu, Northern Territory, wax crayon on brown paper, 45.9 x 61.7 cm. Berndt Museum, The University of Western Australia.

22 November 2025—8 February Djoowak Moordidjabiny (Generations Becoming Stronger) Dawn Alone, Amanda Bell, Sharyn Egan, Lily-Mae Kerley, Janine McAullay Bott, Laurel Nannup, Emily Rose and Beverly Thomson.

Curated by Candice Nannup.

14 February—4 April Birrundudu Drawings

Celebrating fibres as a powerful medium for memory, creativity and cultural 25 3

artguide.com.au Midland Junction Arts Centre continued...

reimagined across three visual terrains— internal, historical and symbolic, revealing what is inherited, what is sacrificed, and what grows in moments of transition.

MOORE CONTEMPORARY www.moorecontemporary.com Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

Tove Kjellmark Blue Horse, 2025, mixed media, 26 x 33 x 10 cm. Courtesy the artist and MOORE CONTEMPORARY. a solo presentation of small sculptures in multiple media and major new drawings by Tove Kjellmark. Kjellmark’s experimental practice creates spaces of critical reflection about techno-scientific acceleration, and artworks ask questions about the nature of human and non-human agency in a highly ‘indoctrinated’ post-human world. Moving freely between different media and materials, Kjellmark’s work often possesses a certain fragmentation that appears to be a visual bridge between ancient relic and digitised art making. In 2022, Kjellmark was the subject of a major survey exhibition, The Horse, the Robot, the Immeasurable at Färgfabriken, Stockholm, followed with another survey exhibition When I Crack I Expand at Borås Konstmuseum, Boras in 2023.

Beverly Thomson, See Which Way the Wind Blows (detail), 2025, marri gum, balga resin, rust and iron water on canvas.

Photograph: MAC Inc. strength across generations, Yamaji and Noongar women artists working with textiles and fibres share their stories of ancestry, resilience and connection to Country.

Mossenson Galleries www.mossensongalleries.com.au 115 Hay Street, Subiaco, Western Australia 6008 0413 803 998 Saturday 12noon–4pm and by appointment.

John Tarry, 2 minutes to Midland, 2025, photograph.

22 February—19 April Transit Sessions Jon Tarry A multi-media installation inviting audiences to explore a world in constant movement. Contrasting observations from the fast-paced environments of Osaka with observations of the Midland rail line, this visual study is an exploration of transitions, technology and a metaphoric journey of the things we transport.

22 February—19 April Sacred Ground Rachelle Dusting Exploring the sacred and shifting terrain of identity, beauty and transformation through the lens of a woman approaching motherhood. Drawing on the artists heritage, new works blend portraiture, landscape and still life, observing the tension and tenderness of becoming. Moments are 25 4

Kate McMillan, Instructions for Another Future III, 2018, digital print on silk chiffon on silk velvet, 233 x 140 cm. Courtesy the artist and MOORE CONTEMPORARY.

26 November 2025—31 January A Soft Gather With cues to fabric, folds, drapes and weaves, a changing selection of works by Gallery artists spans sculpture, painting, works on paper, textile and assemblage.

To gather not only a references a bringing together. It also conjures the drawing in of material and the structure of garments.

A Soft Gather is an exhibition gentle in its intent allowing gallery visitors to view a parade of profound and polished contemporary art. Including works by Abdul Abdullah, Abdul-Rahman Abdullah, David Attwood, Rebecca Baumann, Marion Borgelt, Matthew Hunt, Pilar Mata Dupont, Kate McMillan, and Lisa Wolfgramm.

Booth F2, Melbourne Art Fair:

19 February—22 February Tove Kjellmark

Loongkoonan, Bush Tucker in Nyikina Country, 2007, acrylic on paper, 76 x 56 cm.

MOORE CONTEMPORARY is delighted to return to Melbourne Art Fair in 2026 with

3 January—7 February Kimberley Women

W E S T E R N AU S T R A L I A

National Anzac Centre www.nationalanzaccentre.com.au 67 Forts Rd, Mount Clarence, WA 6331 08 6820 3500 Open daily 9am–5pm.

Evgeny Feldman, Confetti: December 24, 2017, inkjet print on canvas, 84 x 118 cm.

11 February—14 March This is Navalny Evgeny Feldman

Mundaring Arts Centre www.mundaringartscentre.com.au

National Anzac Centre. Base Imagery Photography.

7190 Great Eastern Highway, Whadjuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Closed Mon & Public Holidays.

See our website for latest information.

James Carey and Taylor Knights, pond[er], NGV Architecture Commission 2021. Winner Small Project Architecture, AIA Victorian Architecture Awards, 2022.

Photograph: Tom Ross.

National Anzac Centre. Frances Andrijich Photography.

Ongoing National Anzac Centre Collection

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 12pm–5pm.

Stephanie De Biasi, The Flesh of Things, 2025, paper, nylon, wire. Photograph: Ryan Blair.

25 January—22 March Paper Thin, Skin Deep Emma Craig, Jo Darvall, Stephanie De Biasi, Sharyn Egan, Robyn Jean, Annette Peterson, Emily Rose, Nicole Steenhof and Sarah Thornton-Smith.

Curated by Annette Peterson.

Paper Thin, Skin Deep brings together emerging and established artists who interrogate the material and metaphorical layers of skin through practices of paper and sculpture. Across tactile, fragile, and resilient surfaces, these works explore the interface between the body and environment, interiority and exposure, permanence and decay.

6 February—29 March Painting Itself / 绘画本身 Jon Chan (Singapore), Un Cheng (Hong Kong), Chris Huen Sin Kan (Hong Kong/ London), Noor Mahnun Mohamed (Kuala Lumpur), Tang Dixin (Shanghai) Painting Itself / 绘画本身 premieres the work of five artists from East and Southeast Asia who are reshaping painting traditions through practices that challenge Western art histories and reveal new connections across geography, time and emotion.

6 February—29 March Awakening Histories Abdul-Rahman Abdullah, Aziziah Diah Aprilya, Zaenal Beta, John Bulunbulun (Ganalbingu), Cian Dayrit, Gunybi Ganambarr (Naymil), Guan Wei, Colin Heenan-Purunatameri and Michelle Woody Minnapinni (Tiwi), Karrabing Film Collective, Abdi Karya/ Sara, Jenna Lee (Larrakia, Wardaman and Karajarri), Dhambit Munuŋgurr

Dhambit Munuŋgurr, Gunyaŋara 2025 (detail). Monash University Collection, Naarm/Melbourne. Image courtesy of Roslyn Oxley9 Gallery, Gadigal/Sydney.

Photograph: David Suyasa

(Djapu, Waṉḏawuy, Dhuwa), Ipeh Nur, Wilda Yanti Salam, Darrell Sibosado (Bard), Vickram Sombu, Bulthirrirri Wunuŋmurra (Dhaḻwaŋu), Mr N. Wunuŋmurra (Dhaḻwaŋu), Yumutjin Wunuŋmurra (Dhaḻwaŋu), Ms D. Yunupiŋu (Gumatj, Rrakpala) and others.

Awakening Histories explores pre-colonial connections between First Nations Peoples and Makassan seafarers, reframing Australia’s history through reciprocity, cultural exchange and global south perspectives via art, storytelling and collaboration between Australia and Indonesia.

19 February—29 March Under Waters April Phillips Wiradjuri–Scottish artist April Phillips’ Under Waters immerses audiences in a responsive, oceanic installation merging First Nations knowledge, science and art, exploring deep time, water’s vitality and cultural collaboration through interactive, generative experience. This is the PICA’s inaugural boorda yeyi annual Immersive Arts Commission.

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6 February—20 December Water Works Jen Berean, James Carey Water Works invites visitors to contemplate how institutions mark time and hold memory through the presence of water.

Continuing their collaborative exploration of architecture, infrastructures and embedded systems, the duo aims to reveal the unseen networks that move water through and around PICA’s location in Boorloo (Perth).

6 February—21 December Cement Frogs the Ghost of a Swamp Tyrown Waigana Cement Frogs the Ghost of a Swamp celebrates swamps as abundant places.

Grounding PICA in its location on Whadjuk Noongar boodja, the mural invites visitors to engage with the stories, histories and forces that continue to shape the area.

Stala Contemporary www.stalacontemporary.com.au

Walyalup Fremantle Arts Centre www.wfac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

15 November 2025—26 January Objet d’Art: Theo Koning and his Creative Self The City of Fremantle Art Collection will present a major retrospective exhibition, related public program and substantive illustrated publication about the art practice and creative life of celebrated Fremantle based WA artist Theo Koning (1950-2022). This is the first comprehensive exhibition of Koning’s art in Australia.

With the assistance of his friends and family, and with the unanimous support of leading WA art curators, writers, academics and collectors the exhibition will be a thorough record of Koning’s work and impact on the visual arts of WA.

11 Southport Street, West Leederville, WA 6007 0417 184 638 Wed to Sat 10am–4pm and by appointment.

See our website for latest information.

Danica Zuks, Geraldton Wax, 2025, giclee print. Image supplied by artist.

Growth explores the aesthetic relationship between what should or should not exist, between wattle, milk crates, Geraldton wax, baskets, eucalyptus. All things harm when allowed to proliferate, and Zuks uses commercial aesthetics to re-evaluate our relationship in this balance. When is a plant, or plastic, harmful, and when does beauty cost too much?

Brad Rimmer, North Baandee Hall, from Nowhere Near, 2021.

7 February—19 April Loom of the Land Brad Rimmer

Kay Wood, Talking Heads, 2025, acrylic, oil and oilstick on linen, walnut stained oak frame, 42 x 37 cm.

7 February—7 March 20 – A Stala Contemporary group exhibition Stala Contemporary is proud to present an eclectic and exuberant group exhibition celebrating the 20th anniversary of its passionate gallery director, Sherri Staltari.

This milestone event showcases both represented and invited contemporary artists, reflecting the gallery’s dedication to fostering innovative artistic expressions within the vibrant fabric of the Australian art landscape. The exhibition encapsulates a diverse range of mediums and styles, highlighting the unique voices of established and emerging talents alike, including a number of the foundation artists from her original cohort of 2006.

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Presented with Perth Festival. Loom of the Land brings together a vast body of work created by Western Australian photographer and artist Brad Rimmer.

The exhibition features photography from his Wheatbelt trilogy Nowhere Near (2023), Nature Boy (2019) and Silence (2010).

Brad’s personal response to place articulates what remains of the short European history that has dramatically altered the landscape, and the people that inhabit it.

Zig Zag Gallery www.kalamunda.wa.gov.au 50 Railway Road, Kalamunda WA 6076 08 9257 9998 Mon to Fri 9am–4pm, Sat and Sun and public holidays 10am–4pm.

17 January—8 February Growth Danica Zuks Opening night Friday 16 January, 6pm.

Growth is the debut solo exhibition from Danica Zuks. Consisting of sculpture, photographs, and video of plastic everyday objects and Australian native plants, both endemic and invasive in WA,

Claire B. Bushby, Untitled (Guidance Ritual), 2024, naturally dyed cotton and found objects at Star Swamp Bushland.

Photograph courtesy of the artist.

14 February—8 March What the Birds Told Me Claire B Bushby Opening night Saturday 14 February, 4pm.

What The Birds Told Me is an intimate, multi-sensory exhibition that centres the wisdom and presence of local birds as messengers, teachers, and companions in times of change. Drawing on Bushby’s lived experience as a queer disabled artist living with chronic illness, this body of work reflects on how listening to the more- than-human world offers grounding, connection, and deep relational care. Working across textiles, print, sound, and small interventions with materials such as sticks and leaves, this evolving body of work will also incorporate research and fieldwork in Kalamunda National Park. Accompanying the visual elements are layered audio compositions created from birdsong and environmental recordings that encourage visitors to listen with their whole body and notice the subtle relationships between sound, space, and memory.

Northern Territory

Exhibitions

JANUARY/FEBRUARY 2026

artguide.com.au Springs Town Council in 1990 for the people of Mparntwe/Alice Springs, when it managed the Araluen Arts Centre, and continues to grow with each new winner.

It is permanently housed at Araluen, where it plays an essential role in the Araluen Art Collection and is regularly featured in curated exhibitions. Entries are now open for the 44th Alice Prize, for more information visit www.aliceprize.com. Entries close 30 January 2026.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

Free admission.

See our website for latest information.

Araluen Arts Centre → BM, Wincks, 2025, featured in Greenbush Goes Back 2025 exhibition.

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Tue to Sat 10am–4pm, Sun 10am–2pm.

materials. In this year’s exhibition the artists are focusing on representing station life and farm animals from memory. The Greenbush artists are students or alumni of the Charles Darwin University who have studied or studying Certificate I, Certificate II or Certificate IV in Visual Arts. All artworks are available for sale with profits returning to the artists.

3 July—2026 Deviate Araluen Collection | Albert Namatjira Gallery

Greenbush’s story is one of transformation, using limited resources the work highlights the power of art as a rehabilitative force. Proving that creativity can emerge from the most unlikely materials and circumstances.

“The whole idea of finding something old/ thrown away and turning it into something new (giving it a new life), resonates within myself because in a way I’m trying to let go of the old pieces of me and use the useful parts in reforming the future version giving myself a second shot at life.” — BM The Greenbush Art Group is going Outback in the Araluen Arts Centre for their seventh exhibition. All 8 artists are working within the Alice Springs Correctional Centre creating sculptures using repurposed 25 8

Ongoing Tracy’s Echo: 50 Years of Resilience Created in 2024 to commemorate the 50th anniversary of the cyclone, Tracy’s Echo shares deeply personal memories of survival from local artists and storytellers.

These works were first shared through a series of powerful community displays led

by Joanne and Tanyah Nasir and are now presented at the Museum and Art Gallery of the Northern Territory, alongside a newly commissioned sound work.

This community-led exhibition is a testament to resilience, cultural strength, and connection to Country and offers future generations invaluable insight into survival, wisdom, and enduring spirit.

This exhibition primarily draws from the Araluen Art Collection and considers artists who push the boundaries – depart from an established course – to challenge traditional art-making techniques and enable new outcomes to emerge. The artists captivate us with their diverse processes that lead to artworks that are innovative and original, feature bold colour or mark-making, integrate new materials, or themes.

15 November 2025—8 February Greenbush Goes Outback

MAGNT also operates the historic Fannie Bay Gaol in Darwin, the Museum of Central Australia incorporating the Strehlow Research Centre in Alice Springs, Megafauna Central and the Alcoota Fossil Bed site north east of Alice Springs.

NCCA – Northern Centre for Contemporary Art Sandra Leveson, Series D–2D optics, 1972. Winner of the Alice Prize 1972, featured in Alice Prize Winners’ Retrospective 1970 – 2024 exhibition.

3 November 2025—March Alice Prize Winners’ Retrospective 1970–2024 This exhibition presents a curated selection of winning artworks from the Alice Prize, a celebrated national Prize, established in Mparntwe/Alice Springs.

Spanning the years 1970 to 2024, it highlights the remarkable diversity of artists, mediums, styles, and themes that the Prize has drawn across its history. The Alice Prize is acquisitive which has led to the formation of a significant art collection, comprising 196 artworks, including all past winners and other notable works.

This collection was donated to the Alice

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

See our website for latest information.

Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

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19 Karen Contemporary Artspace Bribie Island Seaside Museum Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Leighton Contemporary Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Art Gallery

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271

L A S T WO R D

In this view, how art gets created— the drafting and false starts that make it what it is—is at best a cute little story to help with marketing, and at worst a waste of time. Artmaking is thus seen as at its best when it is frictionless; when the artist most resembles a production line, as though we live in a world where the art that is made faster and more painlessly is naturally “better.”

— JOSEPH EA R P

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2026 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

Hany Armanious, Mumble 2023, pigmented polyurethane resin, gouache. Courtesy of the artist and Fine Arts, Sydney.

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