Art Guide Australia — July/August 2025

J U LY/AUGUST 2025 $9

C OV ER S T ORY The enduring voices of First Nations women PLUS Australian art across space and time PLUS The Long View: Silent Spring

I NSI DE T H IS IS SU E

EX HIBITION LISTINGS

V IC

NSW

QLD

AC T

TA S

SA

WA

NT

A Note from the Editor

Chloé Wolifson PR EV IEW

F E AT U R E

Scroll Play: Sophie Penkethman-Young

Michelle Wang

North Terrace: worlds in relief

20 Questions: Tara Marynowsky

Walter Marsh

Sally Gearon

Wang Zhiyuan: Dictator Training Centre 独裁者培训中心

Shadow and Light: It’s Always Been Always

Michelle Wang Arwin Hidayat: TERNYATA AKU MASIH BERBAHAS (It Turns Out I’m Still Breathing)

Jo Higgins

Revivification

Rosamund Brennan STUDIO

Monica Rani Rudhar

Jo Higgins F E AT U R E

Setting the Agenda: 65,000 Years: A Short History of Australian Art

Giselle Au-Nhien Nguyen

Giselle Au-Nhien Nguyen

Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie

To the Limit: Arcangelo Sassolino

Boundaries: Transcended

Tyson Frigo

Courtney Kidd

Barnaby Smith

The Playground Project

Briony Downes

Written in the Stars: Yolŋu power: the art of Yirrkala

THE LONG V IEW

Silent Spring

Briony Downes

Dee Jefferson

Danie Mellor: marru | the unseen visible

F E AT U R E

Barnaby Smith

Emma O’Neill

Darwin Aboriginal Art Fair

Only Connect: Jennifer Mills

Courtney Kidd

Electrical Conductor: Cerith Wyn Evans

Camilla Wagstaff

Ramsay Art Prize

Walter Marsh

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

2

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

8

19 & 20

PERTH & FREMANTLE

SYDNEY CIT Y

Aarwun Gallery Annandale Galleries Artback NT

ACAE Gallery

Anna Schwartz Gallery Artbank Melbourne

Art Gallery of Ballarat Artists Shed

Artitja Fine Art Gallery

Australian Galleries Backwoods Gallery

Bett Gallery

Artbank Sydney

Art Leven

Art by Farquhar

Bankstown Arts Centre

Broken Hill CityArt Gallery

Barometer Gallery

Blue MountainsCity Art Gallery

Caboolture Regional Art Gallery

Caelene Nee Glen Gallery

Casula Powerhouse Arts Centre Civic Art Bureau Cowra Micro Gallery

CBD Gallery

Colville Gallery

Belco Arts

Benalla Art Gallery

Bribie Island Seaside Museum

Burrinja

Caloundra Regional Gallery

Ceramic Break Sculpture Park correspondences

Cascade Art Gallery

Charles NodrumGallery

Court House Gallery, Cairns

Craft + Design Canberra

Deakin University Art Gallery

Bundanon

Buxton Contemporary

Canberra Museum and Gallery

Cowra Regional Art Gallery

Darren Knight Gallery

Bathurst RegionalArt Gallery

Bunbury Regional Art Gallery

Bunjil Place Gallery

Canberra Glassworks

Artspace Mackay

Australian Tapestry Workshop

Bundoora Homestead Art Centre

Campbelltown Arts Centre

Artisan

Australian Centre for Contemporary Art

ANCA Gallery

Brunswick Street Gallery

Art Collective WA

ArtSpace at Realm

Beechworth Contemporary Artspace

Blacktown Arts

Ararat Gallery TAMA

Art Gallery of South Australia

Artpuff

Arts Project Australia

Australian Galleries

Bayside Gallery

Alcaston Gallery

Araluen Arts Centre, Mparntwe

Art Gallery of New South Wales

Art Space onThe Concourse

Bayley Arts

Adelaide Contemporary Experimental

Craft Victoria

Devonport Regional Gallery

Djaa Djuwima–First Nations Gallery East Gippsland Art Gallery Fellia Melas Gallery

e.g.etal

Everywhen Art

Fiona and Sidney Myer Gallery

Flinders University Museum of Art Fremantle Arts Centre Gertrude

D’Lan Contemporary

Gallery 48

Gippsland Art Gallery

Goolugatup Heathcote

Hazelhurst Arts Centre

Five Walls Gallery & Projects

fortyfivedownstairs

Gallery76

Grainger Gallery

HOTA

Institute of Modern Art Ivanhoe Library & Cultural Hub Jan Murphy Gallery

Gallery LNL

Gallerysmith

Hawkesbury Regional Gallery Hervey Bay Regional Gallery

Hyphen — Wodonga Library Gallery

Jewish Museum of Australia

Korean Cultural Centre Australia

Glen Eira City Council Gallery

Hellenic Museum

Jacob Hoerner Galleries

Geelong Gallery

Goulburn Regional Art Gallery

Handmark

Ipswich Art Gallery

Flinders Lane Gallery

Frankston Arts Centre

Glasshouse Regional Gallery

Heide Museumof Modern Art

Horsham Regional Art Gallery

Federation University Post Office Gallery

Gosford Regional Gallery

Grace Cossington Smith Gallery

D’Lan Contemporary

Incinerator Gallery

Islamic Museum of Australia JamFactory

JamFactory at Seppeltsfield

Kelli Lundberg Art

La Trobe Art Institute

Kingston Arts

Latrobe Regional Gallery

Lauraine Diggins Fine Art

Lavender Bay Gallery

Lawrence Wilson Art Gallery & Berndt Museum

Lennox St. Gallery

Liminal Gallery + Lab

Linden New Art

Lismore Regional Gallery

Logan Art Gallery

Madeline Gordon Gallery

M16 Artspace

Mailbox Art Space

Linton & Kay Galleries

Macquarie University Art Gallery

Maitland RegionalArt Gallery

Manly Art Gallery & Museum Martin Browne Contemporary

Manningham Art Gallery

Mary Cherry Gallery

Midland Junction Arts Centre

McClelland Sculpture Park + Gallery

Mildura Arts Centre

Monash University Museum of Art | MUMA Mossenson Galleries

Museum of Contemporary Art Australia

Onespace Gallery

PIERMARQ*

Ngununggula

NGV Australia

NorthSite Contemporary Arts

OTOMYS

Penny Contemporary

Outback Arts Gallery Penrith Regional Gallery

Perth Institute of Contemporary Arts

Pine Rivers Art Gallery

Potter Museum of Art

Project8 Gallery

Queensland Art Gallery | Gallery of Modern Art Queen Victoria Museum & Art Gallery

NGV International

Orange Regional Gallery

Parallel Projects

Nasha Gallery

NCCA – Northern Centre for Contemporary Art

Newmarch Gallery

Performance Arts Culture Cessnock Philip Bacon Galleries

Museum of Brisbane

National Gallery of Australia

One Star Gallery

Outback Regional Gallery, Winton

Mundaring Arts Centre

Museum of Old and New Art (Mona)

National Portrait Gallery

New England Regional Art Museum

Mosman Art Gallery

Museum and Art Gallery of the Northern Territory

Museum of Australian Photography (MAPh)

National Library of Australia

Metro Arts

Mitchell Fine Art

MOORE CONTEMPORARY

Mulgrave Gallery, Cairns

Murray Bridge Regional Gallery

National Art School NAS Gallery

Manning Regional Art Gallery

Platform Arts

PG Gallery Plimsoll Gallery

QDOS Fine Arts

Queensland Museum Kurilpa

QUT Galleries and Museums

RACV Goldfields Resort

Redcliffe Art Gallery

Redland Art Gallery, Cleveland

Riddoch Arts & Cultural Centre Roberson Art Gallery

RMIT Design Hub Gallery

Rockhampton Museum of Art

Royal Botanic Gardens

Shivers Gallery

STALA Contemporary Straitjacket

Shepparton Art Museum

SCA Gallery S.H. Ervin Gallery

South East Centre for Contemporary Art

State Library of Queensland

SteelReid Studio

Sullivan+Strumpf Gadigal/Sydney

Tamworth Regional Gallery

RMIT Gallery

Roslyn Oxley9 Gallery

Samstag Museum of Art

Scieppan Gallery

South Australian Museum

RMIT First Site Gallery

Rogue Pop-Up Gallery

Rusten House Art Centre

Schoolhouse Gallery, Rosny Farm

Rex-Livingston Art + Objects

Stockroom Kyneton

Sullivan+Strumpf Naarm/Melbourne

Tanks Arts Centre, Cairns

TarraWarra Museum of Art

Tasmanian Museum and Art Gallery

The Art Gallery ofWestern Australia

The Hive Gallery

The Ken Done Gallery

The Torch

Tin Sheds Gallery

The Lock-Up

Tolarno Galleries

The University Gallery

Toowoomba Regional Art Gallery

Tweed Regional Gallery & Margaret OlleyArt Centre University of the Sunshine Coast Art Gallery VAS Gallery I Victorian Artists Society Wangaratta Art Gallery West Space

Umbrella StudioContemporary Arts UNSW Galleries

Wagga WaggaArt Gallery

Warrnambool Art Gallery

Whitehorse Artspace

Town Hall Gallery

UQ Art Museum

Walker Street Gallery and Arts Centre

Watt Space Gallery

Wentworth Galleries

White Rabbit Contemporary Chinese Art Collection

Wollongong Art Gallery

Yarrila Arts and Museum

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THE ART OF YIRRKALA artgallery.nsw.gov.au

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Roslyn Oxley9 Gallery roslynoxley9.com.au

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STIEG PERSSON BLACK SWANS

Handsome, 2024, Oil on canvas, 122 x 112 cm

12 June – 16 August 2025

ANNA SCHWARTZ GALLERY

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23.8–19.10.25 ballaratfoto.org

Enninful x Mapplethorpe ballaratfoto.org

Robert Mapplethorpe, Embrace (detail), 1982.

Copyright © Robert Mapplethorpe Foundation.

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HIGHLIGHTS FROM MUSEUM BERGGRUEN/ NEUE NATIONALGALERIE 31 May – 21 Sep 2025

Henri Matisse, In the studio in Nice (Intérieur d’Atelier à Nice), 1929, Museum Berggruen, Neue Nationalgalerie—Stiftung Preußischer Kulturbesitz © Succession H. Matisse/ Copyright Agency, 2025, photo: © bpk/ Nationalgalerie, SMB, Museum Berggruen/ Jens Ziehe

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M A D E BY TA I T. C O M . A U

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ART GUIDE BOOKSTORE RECOMMENDS 65000 Years: A Short History of Australian Art

Speech Patterns: Jon Campbell and Nadia Hernández

PUBLISHED BY THE ART GALLERY O F W E S T E R N AU S T R A L I A

PUBLISHED BY THAMES & HUDSON

Nadine Christensen: Around

Michelle Hamer: I’m a Believer

PUBLISHED BY BUX TON CONTEMPOR ARY PUBLISHED BY THE ARTIST

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A Note From the Editor July/August 2025

In this fast-paced world we can feel as if we are stones skimming across the surface, relentlessly propelled. Art has the power to slow us, and this issue explores some ways artists practice, and encourage, deeper looking and listening.

As Michelle Wang writes, artist Sophie Penkethman-Young dives into the internet’s murky depths, sifting through her findings with absurdist humour. Tara Marynowsky trawls second-hand stores for the film reels and postcards destined to become her creative collaborators. And in the studio, artist Monica Rani Rudhar tells writer Jo Higgins that costume jewellery can embody its own kind of authenticity.

As Briony Downes discovers, sculptor Arcangelo Sassolino focuses energy on pushing the limits of materials, while Emma O’Neill explains that the monumental works of Cerith Wyn Evans are drawn from a deep reservoir of knowledge.

And Camilla Wagstaff speaks to artist Jennifer Mills about the 30-year evolution of her practice, and how her watercolours bring hidden stories into the light.

When Professor Marcia Langton AO was invited to curate an exhibition showcasing the University of Melbourne’s Indigenous collection, she found gaps.

As Giselle Au-Nhien Nguyen reports, Langton and her co-curators responded by uncovering works revealing the diversity of Indigenous art. The result is an extraordinary journey through pinnacles and depths of this country’s history.

In Sydney, meanwhile, Yolŋu power: the art of Yirrkala charts the ingenuity and creative spirit of one Indigenous community. As Tyson Frigo discovers, the exhibition focuses on key stylistic changes that evolved in response to shifting cultural contexts.

Also in this issue, Editor-at-large Neha Kale presents The Long View, a new essay series exploring relationships between art and the wider world. Inaugurating the series is a reported essay by Dee Jefferson on the implications of the cancellation of Khaled Sabsabi and Michael Dagostino’s Venice Biennale presentation.

A detail of Yindjibarndi artist and elder Wendy Hubert’s nine-metre painting My Story (2024) graces our cover. This epic work features in It’s always been always at Fremantle Art Centre—an exhibition which, as Rosamund Brennan writes, honours and listens to the enduring voices of Indigenous women artists.

We hope you enjoy this issue and take time to explore some of the exhibition offerings this winter.

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 EDITORS

Sally Gearon 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 #156

Rosamund Brennan, Briony Downes, Tyson Frigo, Jo Higgins, Dee Jefferson, Courtney Kidd, Walter Marsh, Carla McRae, Sally Gearon, Giselle Au-Nhien Nguyen, Emma O’Neill, Barnaby Smith, Hamish Ta-mé, Camilla Wagstaff, Michelle Wang 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.

We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging.

This magazine contains Traditional place names within Australia sourced by AIATSIS Pathways or provided by galleries and museums. Please contact Art Guide at info@ artguide.com.au if you wish to provide feedback.

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Cover artist: Wendy Hubert

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Wendy Hubert, My Story, (detail), 2024, acrylic, charcoal and oil stick on paper, 965 x 114 cm. commissioned by walyalup | fremantle arts centre. juluwarlu group aboriginal corpor ation. photogr aph: a aron claringbold.

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Art Guide Australia is a proudly independent bimonthly publication produced by Print Ideas.

ISSN: 091 091 593

Issue 156 Contributors R O S A M U N D B R E N N A N is a Fremantle-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.

B R I O N Y D OW N E S 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 has spent time studying art history through Oxford University.

T Y S O N A N T O N I O F R I G O works as the curator of

Indigenous Programs at the Australian Maritime Museum. He has a passion for creating space and fostering new ways of ‘acknowledging’ Indigenous materials whether it be artworks, objects or something beyond definition. He received tutelage from many great elders and ‘Blakacademics’ on the south coast during his formative years and considers his role as Murrigal or ‘strange traveller’—connecting with communities, listening, learning and doing what he can to connect them to the resources/institution.

J O H I G G I N S is an arts writer, museum worker

and researcher living on unceded Bidjigal and Gadigal Country in Sydney. She has written for publications including Artlink, ABC Arts, the Sydney Morning Herald and Art Collector.

D E E J E F F E R S O N is an editor, journalist and

critic with two decades’ experience covering culture, previously as national arts editor for the ABC and Time Out, and currently as a culture reporter for Guardian Australia.

C O U R T N E Y K I D D is a writer who lives between

Gadigal/Sydney and Nipaluna/Hobart. She has written for numerous publications including the Sydney Morning Herald, British and Australasian Art Monthly, Artist Profile and VAULT. She is also an art consultant with Artbank, a federal government collection and art leasing organisation.

WA LT E R M A R S H is a journalist and author based

in Tarntanya/Adelaide. His next book is The Butterfly Thief: adventure, empire, and Australia’s greatest museum heist (Scribe 2025).

C A R L A M C R A E is an artist and illustrator based in

Naarm/Melbourne. Her work spans drawing, sculpture, installation, murals, and publications, using playful visual narratives to explore everyday observation and the realm of emotions.

S A L LY G E A R O N is the associate editor at Art Guide

Australia. Based in Naarm/Melbourne, she has a background in art history and book publishing.

G I S E L L E AU - N H I E N N G U Y E N is a

Vietnamese-Australian writer and critic based in Naarm/Melbourne.

E M M A O ’ N E I L L is an arts manager, writer and

curator based on unceded Gadigal land.

B A R N A B Y S M I T H is a writer, editor, critic, poet and

musician based on Darug and Gundungurra Country/the Blue Mountains. His writing about art has appeared in Art Guide Australia, Art Collector, Art + Australia, Art Almanac, Openbook, The Quietus and others, and he has written about music, literature and film for Rolling Stone, the Sydney Morning Herald, Australian Book Review, Metro, The Guardian and more. His book in the 33 1/3 Oceania series on classic pop albums was published in July 2025, and he is a PhD candidate at Sydney Conservatorium of Music.

H A M I S H TA- M É is an established commercial

photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

C A M I L L A WAG S TA F F is a journalist and writer

based in Sydney, Australia. She specialises in arts, culture, interiors and travel writing.

M I C H E L L E WA N G is an arts consultant and writer

based in Gadigal lands. She curates public and digital art projects at Art Pharmacy, and her writing on film, fashion and art can be found in The Saturday Paper, Harper’s Bazaar, The Monthly and The Guardian.

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Previews W R ITERS

Briony Downes, Jo Higgins, Courtney Kidd, Walter Marsh, Giselle Au-Nhien Nguyen, Barnaby Smith, Michelle Wang.

Adelaide/Kaurna Country North Terrace: worlds in relief Samstag Museum of Art Until 26 September

If you walk from one end of North Terrace to the other, you’ll take in modern Adelaide’s most vaunted sites of cultural and political influence; from Parliament House to the Art Gallery of South Australia, they’re all lined up in a row, where they’ve sat for over a century.

“I’ve always been struck by the fact that just within a few blocks there is this configuration of cultural and civic institutions,” explains Jasmin Stephens, a Sydney-based curator and frequent visitor to the city over three decades.

The ArtHitects, (Gary Carsley and Renjie Teoh), Stephens has also learnt that the legacies of Study – FENCE Element 2, 2024. this celebrated ‘cultural boulevard’ are far from straightforward.

In her 2014 poem ‘Cultural Precinct’, Narungga poet and activist Natalie Harkin laid bare those tensions; how “these limestone walls” also serve to impose “symbols of colonialism”, a “racialised hierarchy”, and a “fantasy monolith-archive” on the landscape of unceded Kaurna Yarta.

Harkin’s words are foregrounded in ​North Terrace: worlds in relief, a group exhibition curated by Stephens for Samstag Museum of Art—yet another North Terrace cultural institution. From Adelaide-based sculptor Louise Haselton to Sydney duo the ArtHitects (Gary Carsley and Renjie Teoh), Stephens invited the artists to draw on the collections of the University of South Australia Architecture Museum and spend time with Harkin’s words.

Some works, like that of Cambodian-Australian filmmaker Allison Chhorn, resist the precinct’s ‘monumentality’ entirely by focusing on the nearby Karrawirra Parri—the ancient water source that became an anchor for colonial settlement and the reason for North Terrace’s existence.

“What I’m hoping to do as a curator,” notes Stephens, “is to not only encourage people to spend time and to linger in the exhibition, but also from that vantage point to actually think about North Terrace.”

And, perhaps, take a walk. — WA LT E R M A R S H r ight Allison Chhorn, Karrawirra Parri (River Torrens), (working title), research image, 2024.

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Sydney/Gadigal Country Wang Zhiyuan: Dictator Training Centre 独裁者培训中心 Passage Gallery Until 25 July

“Little dictators” is how artist Wang Zhiyuan sardonically describes today’s society—individuals absorbed in social media echo chambers, mimicking the egotistic puffery of populist politics and news media. Dictator Training Installation photography of Wang Zhiyuan, Teach Centre, presented at Passage Gallery in Haymarket, Lie, 2005, Beijing, brick and spray paint, 110 x 800 x responds to this trend. A large brick wall features a 30 cm. image courtesy of the artist. spray-painted phone number that viewers can call to reach a hotline offering satirical advice.

This work is a new iteration of Wang’s 2005 piece, Teach Lie, first exhibited in Beijing. After moving to Australia post-1989 alongside a wave of Chinese artists engaging with Western democratic ideals, Wang returned to a rapidly shifting China. Unchecked economic growth and opportunism played out visually in the streets, where people spray-painted personal ads and business messages.

Wang mimicked this aesthetic, offering a satirical school for lies via his own phone number.

His practice, shaped by context and experimentation, contrasts with what he calls the at times “self-entertaining, highly niche closed loop of the art world.”

Passage Gallery, a 24/7 exhibition space in a 1980s shopping mall wedged in the middle of bustling Chinatown, clearly shares Wang’s interest in accessibility and disruption. With Passage’s curators Ashleigh Jones-Fernandez, Marco Rinaldi, and Patrick Madden, Wang has developed a site-specific reimagining of the work—with an emphasis that this is not a singular artwork, but a participatory form that could have endless iterations and usages. “It is a platform that you can participate in,” he says. “It is a form of communication that exists because of the reality it is placed in.”

In an era of information excess and manipulation, Dictator Training Centre reminds us of contemporary art’s potential as an open-ended platform for reflection, dialogue, and shared authorship. — M I C H E L L E WA N G

Brisbane/Meanjin Arwin Hidayat: TERNYATA AKU MASIH BERBAHAS (It Turns Out I’m Still Breathing) Mitchell Fine Art 29 July—23 August

Arwin Hidayat, Falling in Love at Dusk, 2024, acrylic on linen, 85.5 x 80 cm. courtesy of mitchell fine art.

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It turns out Arwin Hidayat is still breathing.

The Indonesian artist doesn’t usually give his exhibitions long titles but TERNYATA AKU MASIH BERBAHAS (It Turns Out I’m Still Breathing) felt appropriate for this latest body of works. “I wake up and work, then sleep, then wake up and work again. I realise that as long as I’m still breathing I will always make new works and continue to experiment. My breath is for working and my breath is for my art,” he explains.

The Yogyakarta-based Hidayat’s deep curiosity for materials and making processes is also reflected in the influences that shape his visual storytelling. A lifelong artist who trained at the Indonesian Institute of the Arts,

Hidayat’s work, which includes paintings, drawing, batik, ceramics and sculpture, draws on everything from childhood folk stories and batik prints to contemporary social issues and daily life in Indonesia.

“It’s only through art that I can speak, express my emotions, anger, even dirty talk. For me, there are no rules about good or bad art, or politeness.

Good art means creating a work that is truly honest.”

For Mike Mitchell, director of Mitchell Fine Art, the breadth and dynamism of Hidayat’s work was an immediate draw. “Arwin is such an incredible talent and there was no question I was going to show his work. His use of high colour and combinations of traditional and contemporary motifs and composition is so fresh and exciting.”

Mitchell isn’t the only one excited to be bringing Hidayat’s work to Brisbane again, following a tight but well received show of paintings in January 2024.

“This exhibition is [another] step to really introduce my work as an Indonesian artist in other countries, and I’m very happy to be appreciated in Australia.” — J O H I G G I N S

Perth/Boorloo Revivification

Art Gallery of Western Australia Until 17 August

Alvin Lucier is not alive, but his brain continues to compose music. A “surrogate performer” organoid, made from the blood cells of the late US experimental composer, sends out neural signals to large brass plates and mallets around the gallery where it is currently housed; in turn, those objects create sound.

Revivification was developed by biological artists Guy Ben-Ary, Nathan Thompson and Matt Gingold, in consultation with neuroscientists, ethicists and Lucier himself, before his death in 2021. It is not artificial intelGuy Ben-Ary, Nathan Thompson, Stuart Hodgetts, ligence, but an alternative model: “in vitro intelligence”.

Matthew Gingold in Collaboration with Alvin Lucier, There are scientific elements, of course, but this is chiefly Revivification, 2025, stem cells, cerebral organoid, an artwork. “We are interested in the cultural questions brass, steel, ABS, acrylic, glass, resin, electronics, computer customs PCBs, electrophysiology that this work is proposing,” Ben-Ary says. system, dimensions variable. courtesy of the Those questions are about creativity, mortality revivification team © the revivification team in and art itself. Lucier, with his unorthodox approach to collabor ation with alvin lucier and his estate. music, was an ideal subject—he “realised that, in a really interesting way, [Revivification] could extend his ethos,” Thompson says.

Even though it produces sound, music is not the project’s aim—rather, it focuses on extending Lucier’s ideas about the resonance of sound. “We are letting materials speak for themselves through this phenomena of resonance,” Ben-Ary says.

The surrogate performer has surprised the team with its changing output over time. The complex system is designed this way: “There’s gesture, complication and kinetic entropy, and all of this makes a system that is dynamic and easily susceptible to simple change,” Thompson says.

Curator Robert Cook says, “One of the most exciting things about Revivification for me is how it stages some of the key elements of experimental sound work, as the piece composes and performs in real time in a manner that is both directed and undirected, while extending inquiries into the question of authorship and agency.” — G I S E L L E AU - N H I E N N G U Y E N

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Canberra/Ngambri Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie National Gallery of Australia Until 21 September

In 2023, a serendipitous visit to the National Gallery of Australia (NGA) by the son of a passionate collector sparked the chance to show an extraordinary European collection to Australian audiences.

“My father’s interest lay not only in trophy paintGrace Crowley, Composition - movement, 1951, ings but also in quirky, intimate works,” notes Nicolas National Gallery of Australia, Kamberri/Canberra, Berggruen, son of Heinz Berggruen, whose unique colpurchased 1993. © the estate of gr ace crowley. lection was acquired by the German state in 2000. While the Berlin facility undertakes capital works, over 80 works from the Museum Berggruen collection are presented alongside 75 works from the NGA, allowing viewers to share a journey through the history of modern art, and to witness the ways art harnesses energy, creates ongoing dialogue and propels culture.

Paintings and works on paper from artists who defined modernism in Europe, such as Paul Cézanne, Henri Matisse, Paul Klee and Alberto Giacometti, muscle for space alongside the work of Australian modernists including Anne Dangar, Roland Wakelin, Dorrit Black, Ian Fairweather and Grace Cossington Smith. Visitors can witness the ways Georges Braque and Pablo Picasso deconstructed and reassembled subjects on the canvas, propelling a new visual reality from a multitude of viewpoints.

“The artists from this important Berlin collection found inspiration in one another. We can look at this significant exhibition through the lens of a family tree of influence and see how the European avant-garde artists found their visual language and stimulated each other, which in turn changed the course of Australian art,” says curator David Greenhalgh.

Cézanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie conveys the act of being an artist, and provides an opportunity for audiences to see and acknowledge that art is a conversation, one that here traverses Europe and Australia throughout the 20th century. — C O U R T N E Y K I D D

Moree/Kamilaroi Country Boundaries: Transcended Bank Art Museum Moree 3 August—13 September

image courtesy the artists and bank art museum moree.

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Boundaries: Transcended is a profound collective statement about a universal concept: that of ‘home’. This large-scale installation, made up of 700 tiny houses made out of clay, is the culmination of hundreds of community participants coming together to celebrate, via art making, the widespread resettlement of refugees in the Hunter Valley.

The sheer number of artists involved has resulted in wide-ranging interpretations of what a home or dwelling might be. “Many of the participants have created works that appear representational, and the power of those works lie within their personal stories of home,” says director of Bank Art Museum Moree (BAMM), Rosie Dennis.

Henri Matisse, Vegetal elements (Éléments végétaux), 1947. museum berggruen, neue nationalgalerie—stiftung preussischer kulturbesitz © succession h. matisse/copyright agency, 2025, photogr aph: © bpk/ nationalgalerie, smb, museum berggruen/jens ziehe.

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Among those works are clay representations of Ghanaian traditional huts, Indian apartments and Australian humpies alongside an array of tents, huts and caravans. As the exhibition’s title suggests, the definition of home is flexible, with some artists choosing to create religious buildings such as mosques, churches or temples to express a sense of belonging. And, significantly, the artwork is not yet finished: a key part of the exhibition is a series of public workshops that will allow community members to make their own ceramic works to add to the collection.

This sense of abundance and volume is vital. While the exhibition features hundreds of individual expressions, each with their own character and resonance, overall it is undoubtedly the quantity of works on show, presented as a single entity, that gives Boundaries: Transcended its impact, and its poetry.

“Whilst there is strength in individual works—and many with powerful, emotional stories, some representational, others more abstract—the strength of Boundaries: Transcended is the assembly of all the works to create a richer, deeper narrative about home, with a collective voice,” says Dennis.

“It is a testament to the power of art in building and reflecting community bonds.” — B A R N A B Y S M I T H

Melbourne/Naarm The Playground Project Incinerator Gallery 28 June—12 October

A playground is not what you would expect to see in an art gallery. Swiss urban planner and curator, Gabriela Burkhalter, wants to change that.

Developed as an internationally touring exhibition, Burkhalter created The Playground Project to encourage viewers to think more deeply about the importance of play and its role in fostering independence. “For children, a playground is an invitation to see they are no longer under the influence and control of adults but within their own realm,” explains Burkhalter. “Children are often bored in a gallery, so play is an invitation to approach Joseph Brown, Whale, c.1955. photogr aph: anon. art from a new point of view.” courtesy the playground project.

Yvan Pestalozzi’s Lozziwurm (1972/2025), a huge serpentine pipe bedecked with orange and yellow stripes, has remained a central feature throughout the exhibition tour, while photographs, video and archival materials from Burkhalter’s decades-long research are also included. “There are many images of outstanding play sculptures, some by well-known artists such as Niki de Saint Phalle and Isamu Noguchi,” she says.

The inclusion of local content is important to Burkhalter. The exhibition includes visual references to The Cubbies, the adventure playground first brought to Australia from London by Melbourne woman Joan Healy, and The Venny, a communal backyard in JJ Holland Park in Melbourne’s Kensington. Artist Emily Floyd and interior designer Mary Featherston are also producing work for the Melbourne iteration of the project.

Speaking about the connection between art and playgrounds, Jade Niklai, head of visual and public art at Incinerator Gallery, describes the exhibition as a living archive of what is possible. “By the middle of the twentieth century, cultures around the world had completely different approaches to playgrounds. Artists, designers and city planners all bring imagination and creativity to play spaces, allowing more freedom to play and be OK with taking educated risks.” — B R I O N Y D OW N E S

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Brisbane/Meanjin Danie Mellor: marru | the unseen visible

Queensland Art Gallery | Gallery of Modern Art Until 3 August

The title of Danie Mellor’s latest exhibition gives an indication of the reflective, meditative tone with which this multidisciplinary artist explores certain questions that have preoccupied him for much of his career. Over the Danie Mellor, Dark star waterfall, (still), 2025, years, Bowral-based Mellor’s work has examined his two-channel video projection: 16:9, colour, sound, Ngadjon-jii, Mamu and Anglo-Celtic ancestry from 24 minutes; historic footage and images: National numerous angles, offering a soulful and thoughtFilm and Sound Archive of Australia, Queensland State Archives, State Library of Queensland. provoking treatment of the intersection between courtesy: the artist and tolarno galleries, personal memory and the legacies of colonisation. melbourne © danie mellor. marru | the unseen visible features painting, photography and video, all of which has been created in the last five years. Marru translates as “becoming visible” in Mellor’s ancestral Dyirbal language (of Far North Queensland), tying into a theme of gentle, slow illumination regarding both the complexities of history and social harmony in contemporary Australia. Mellor says the show is about “acknowledging the quieter, hidden or less obvious relationships between Aboriginal people and settler culture and people. This exploration is reflective of my own ancestry, and the acceptance of difference along with recognition of the experiences we share.”

Photography remains particularly central to Mellor’s work, with several pieces adapting and reimagining old family photos, historical archival imagery and photos Mellor has taken. Fitting into this concept is the exhibition highlight, Wall of the Living, 2024, a series of tondos showing images based on scans of Mellor’s own skull. A provocative work maybe, but this too is intended as a statement of unity and common experience—in this case, addressing mortality.

“I was somewhat aware that a wall of skulls might suggest and be read as a reference to massacres or atrocities,” says Mellor, “but my intention was to show the reverse. Death is a means by which to remember life and the installation reveals, through its reflections, something limitless.” — B A R N A B Y S M I T H

Darwin/Larrakia Country Darwin Aboriginal Art Fair

Darwin Convention Centre 7—10 August

Country to Couture Larrakia Country 5 August

Saturday, Darwin Aboriginal Art Fair, 2024. photogr aph: dylan buckee.

National Indigenous Fashion Awards Larrakia Country 6 August

The Darwin Aboriginal Art Fair (DAAF) celebrates 19 years of bringing local and international audiences together on Larrakia Country, from some of Australia’s most remote regions. Over the last two decades, the Fair has grown to include a series of major events propelling the story of Indigenous art and fashion.

DAAF exhibits work from over 70 art centres and offers not just a chance to purchase the work of First Nations artists ethically, but also the opportunity to experience a vibrant programme of dance performances, artist talks, and demonstrations where visitors can learn about Indigenous artistic practices, cultural traditions and contemporary design.

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Significantly, monies from sales are returned directly to the communities, impacting their economic sustainability and the preservation and protection of their cultures.

This showcase of the rich heritage of First Nations people has grown to include the Country to Couture runway and Indigenous Fashion Awards, uniquely memorable experiences taking place under the stars. Art forms proudly share space at DAAF, with visitors encountering works such as weavings from Durrmu Arts, luminous carvings and fabrics from Ngaruwanajirri Art Centre, and the swirling atmospheric paintings of country from Pauline Wangin, alongside traditional adornment and wearable art.

“Creativity can be expressed and shared in many ways,” says the Fair’s executive director Claire Summers, “but DAAF is unlike any other commercial fair. It is a truly unique experience seeing our Aboriginal and Torres Strait Islander creatives express who they are, and their cultural heritage, through many different art forms.” — C O U R T N E Y K I D D

Adelaide/Kaurna Country Ramsay Art Prize

Art Gallery of South Australia Until 31 August

How do you take the temperature of art making in Australia in a single year, let alone two? Since 2016 the Ramsay Art Prize has given it a red-hot go, putting $100,000 on the table with an open call to artists under 40 all around the country.

“It acts as a kind of barometer for contemporary art,” says Julie Fragar, who won the 2017 People’s Choice prize before returning this year as a judge. “What’s Alfred Lowe, You’ve been on my mind, sister, the next generation of artists making? What kind of 2024, hand built stoneware with underglaze things are they interested in? What are they reflecting sgraffito and raffia, 220.0 x 100.0 x 141.0 cm about society?” (overall). courtesy the artist and apy art centre collective. photogr aph: heyandy.com.au.

The biennial prize has given wildly different readings from one competition to the next. Past winners include Vincent Namatjira’s funfair-inspired satire of Captain Cook; a video tribute to full-body baptism by durational artist Ida Sophia; and a stainless-steel pendulum set swinging over a fleshy strip of silicone by sculptor Kate Bohunnis.

Fragar says this year’s forecast shows a trend towards installation and sculpture-based work across the 22 finalists, whose work is on show at the Art Gallery of South Australia until 31 August.

“There’s almost no straight-up painting in the whole show—there’s a big interest in spatial practice. The art is turning to materiality in a way that maybe was falling away over the last 20 years or so.”

2025 finalists include Bridie Gillman’s Pink room, pink womb, which incorporates a soundscape and tufted wool rug; EJ Son’s furry giant Dancing Teddy; and You’ve been on my mind, sister, a pair of skirted, human-sized sculptures by Arrernte artist Alfred Lowe.

“There’s a real sensitivity around materials, especially people like Elizabeth Willing, Shireen Taweel, and Liam Fleming, who have an incredibly light touch around materials,” Fragar says. “There’s nothing else like it.” — WA LT E R M A R S H r ight Bridie Gillman, Pink room, pink womb, 2024, oil on canvas, timber, tufted wool, soundscape: 23:45 min, 202.0 x 190.0 x 162.0 cm (overall); courtesy of the artist and hugo michell gallery.

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Scroll Play Sophie Penkethman-Young dives into the cursed, chaotic and charming depths of the online world to create inquisitive artworks exploring technology, the internet and capitalism with humour.

Technology has always been central to the work of artists—how they make and what they make—but its acceleration and entanglement with our daily lives today feels unprecedented. We are seduced, dependent and—often—alarmed.

Alarmed! But pause on the doom and gloom for a moment. Sophie Penkethman-Young’s internet-based artistic practice offers a healthy dose of absurdist humour and self-reflexivity. A self-described “digital hoarder”, “big reposter”, and “meme truffle pig”, Penkethman-Young dives into the cursed, chaotic and charming depths of the online world to create inquisitive artworks exploring technology, the internet and capitalism where humour is key: “I would feel bad if I was putting depressing work out into the world; the world is depressing enough.”

While the medium is her method, PenkethmanYoung is cautious about fetishising the technology.

Her ability to navigate its seductions and entrapments with clarity and wit is what drew curators Katie Dyer and Sarah Rose to her work in the current exhibition at Artspace, Amongst the Clouds. There, she appears alongside an array of provocative Australian and international artists: Liu Chuang, Nina Davies, Archana Hande, Lawrence Lek, and Liam Young.

The exhibition examines the ways in which digital realms are determinedly tied to the physical world.

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W R ITER

Michelle Wang

There is an installation of thousands of analogue punch-cards referencing India’s transnational textile industry and the first analogue computer that was based on handloom programming patterns by Ada Lovelace (Hande), and a speculative film about bitcoin mining that reveals how cryptocurrency mining is partially powered by cheap hydroelectricity in remote China (Liu). Among these, Penkethman-Young presents a video essay titled Robot//Dog (2024), that unpacks artificial intelligence (AI) through the history of domesticated dogs, which she contemplates as a form of human-made intelligence: “Dogs are a product of human design, which is an interesting allegory for AI.” Her work circumnavigates the alarmist media and social media portrayals of the evils of AI through a lens that combines personal anecdotes of pet ownership with incisive research into the history of dog training and how it parallels the way we train machines through repetition, reinforcement and the increasing complexity of context-based scenarios. For example, dogs are trained as pets, as well as for use in police, military and assistance contexts. From guide dogs to police dogs, these companions are moulded to fit human desires. r ight Sophie Penkethman-Young, Robot//Dog, 2024.

Installation view, Amongst the clouds, Artspace, 2025. photogr aph: hamish mcintosh.

“Dogs are a product of human design, which is an interesting allegory for AI.” — S OPH I E PEN K E T H M A N -YOU NG

below a n d r ight Sophie Penkethman-Young, Robot//Dog, (still), 2024, five-channel video installation with sound, 20 mins 30 secs. courtesy of the artist.

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The thesis is entertaining, humorous, and quietly unsettling: dogs, as we’ve made them, are a form of technology—projections of our own needs.

The curatorial concept of the cloud not only refers to the digital cloud but also asserts the dual immaterial and material presence of technology in everyday life. The titular robot dog captures that tension perfectly: cute yet freaky, user-friendly yet powered by cables, code, and deeply human ambitions.

Penkethman-Young’s work is ultimately ambivalent on its view of AI: “It is hard to hold ambiguity, especially for things that are innocuous and all around us. But we can hold it for dogs.”

For Amongst the Clouds, Dyer specifically chose artists who explore the hidden costs, histories and contradictions behind technological development, in open ended, propositional ways. Penkethman-Young skilfully wields machine language across her practice with sophisticated aplomb to shape an unexpected and compelling body of work. In Progress: The Wait of Expectation (2022) features her exploration of the psychological suspense of loading bars.

In Boléro: A Tail of Tech Support (2021), she stages a gratingly cheerful chatbot encounter, and in Woolworths Orchid (2019), she probes the blurred lines between digital consumption and natural beauty. Her recent work 404 Psychic Error (2025) draws on her dual fluency in coding and divination— braiding together internet relics, astrology, and 3D printing to explore parallel systems of logic and belief.

The work of the meme truffle pig is, fittingly, a kaleidoscopic artform of foraging: unearthing memes, extracting the psychologies and machinations behind the perpetual doom-scroll, tearing oneself away from endlessly tantalising screens and reassembling it all into tangible, yet unmistakeably online artworks.

Her pieces entertain, poke, and provoke—distilling the chaos of digital life into something delicious and selfaware. She roams the depths of digital realms freely and joyfully, presenting live improvisations and zany rhapsodies. After all, memes transcend language, as Penkethman-Young says: “It’s like jazz—so much of it is what you say and don’t say.”

Amongst the Clouds

Artspace (Sydney/Gadigal Country) On now—20 July

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20 QU E STIONS W ITH

Tara Marynowsky

AS TOLD TO

Sally Gearon

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Tara Marynowsky’s multidisciplinary practice is something of a cabinet of curiosities. From ghostly apparitions in watercolour and feminine interpolations on vintage postcards, to video works laboriously crafted through scratching 35mm film reels—as in her Coming Attractions series, which manipulated trailers of 90s romcoms—her approach to art making is imbued with a penchant for nostalgia and an unmistakable sense of humour.

Ahead of her latest solo exhibition at Edwina Corlette Gallery, we asked Marynowsky 20 quick questions about collecting materials, art and film loves, and making room for surprises.

Describe your practice in seven words?

Figures, moods, faces, cinematic references, histories, creatures.

Your first art love?

Painting. I was obsessed with painting bush flowers and Les Misérables posters when I was about eight or nine. My first real art moment though was at Year Four school camp. Arthur Boyd came for a visit with his art materials— the camp was just up the road from Bundanon on the Shoalhaven River. He painted a landscape in [about] 10 minutes with big sweeping gestures. I was shocked: 10 minutes ... Who was this guy? He was the first real artist I had met.

I took this photo of him and the gang.

Much of your work involves collecting and collaborating with items from the past. Where do you source your materials and what do you look for?

I’ve worked with music sheets, postcards, record covers, magazine covers and 35mm film reels—I collaborate with them and re-work their story to bring them from past to present. I love working with different textures and finding a new life for the item. eBay shopping is fun, but nothing beats trawling a cheap second-hand store for treasure.

What draws you to investigate a particular collection or archive?

Oddities and otherworldly imagery capture my attention. I’m exploring early spiritual imagery, cartoons, fairy tale illustrations, and animalia for my show. Anything that has a bit of humour is good.

A while back, I was really into searching for photos that featured vaudeville stars and costume parties. left Lindau, 2025, gouache and ink on found postcard.

What would a typical working day look like for you?

I feel like there’s not a typical one; it’s a juggle.

All I know is that they go way too fast. More time please.

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top left Millie, 2025, gouache and ink on found postcard. top right Green Goddess#3, 2018, watercolour and gouache on found image. above Coming Attractions, (video still), 2017-19, ink and dye on 35mm trailer (Shakespeare In Love, 1998). right Adventure, Romance, Heroic, Passion, (video still ), 2020, watercolour, texta & steel wool on found 35mm film trailer (The Art of Love, 1956), film-to digital video, 1 minute loop, sound. images courtesy of the artist.

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When is the best time of day for creating?

I like early morning sessions, a four or five am start when it’s still dark. I do a few hours then come back to it in the afternoon or evening.

How much research is involved in your art making process?

It really depends on the project, but I’m hunting for images every day. My film and video works are more thought-out and researched, but I still like to make room for surprises. I’m not into over-planning, or over-engineering, anything.

Do you have a favourite era of film?

I am back into early film, silents and early trick films. I love how experimental they are.

Actors back then went to such extreme lengths.

Like Annette Kellerman, for example, who was essentially an underwater star, always cast as a sea creature woman.

If you could collaborate with any artist, dead or alive, who would it be?

David Lynch.

Artists who’ve influenced your work?

It’s a mixed group, and my references are changing all the time, but these artists come to mind right now: Pavel Pepperstein, Odilon Redon, Chris Marker, Albert Tucker, Max Ernst, Tacita Dean, Maria Kozic, Marlene Dumas, Rita Ackermann.

How does your work as a curator inform your practice as an artist?

I try to keep it all separate as much as possible, but it’s hard not to be inspired by the artists and creatives I work with curatorially.

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

Great question. I liked what Andrew Frost said about my 2017–19 work Coming Attractions in his review of The National: New Australian Art for The Guardian: “The result is amusing but pointed—the pretty woman is erased.” I like that he brings the humour of the work and the aesthetics of the work together in this line.

Best advice you’ve been given about making art?

“See how it plays”. Film director George Miller said this in a documentary about the making of Mad Max Beyond Thunderdome. It’s my go-to line.

Beauty or politics?

Beauty.

Order or chaos?

Slight chaos.

An art experience that’s stuck with you?

Seeing Lessons of the Hour—Frederick Douglass

by Isaac Julien at the Memorial Art Gallery of the University of Rochester (USA) in 2019 was an incredible experience. I was so lucky to stumble across it when I was there. His use of multiple screens is divine. It really was a sublime experience—I was there to visit the George Eastman Museum at the time. I also loved Jordan Wolfson’s Body Sculpture at the National Gallery of Australia, and Cecily Brown’s show Death and the Maid at The Met (USA) a few years ago.

A particularly memorable object or collection you’ve encountered through the course of your practice?

I am fascinated by the story and artwork of an Australian-born graphic artist who started out as a magician, Henry Clive (1883–1960), who painted cover girls and pin-ups for American magazines and film posters. He painted the poster art for the classic The Sheik (1921), and glam portraits of lots of famous actors.

Quick advice for young artists?

Gosh, I’m not usually one for dolling out great advice, but maybe stay off Instagram, and travel as much as possible.

What can we expect to see in your solo show Cave at Edwina Corlette Gallery?

Lots of layers and colour, dream-like meetings and moments on paper and canvas using all sorts of mediums: inks, watercolours, acrylic, oils and some found-image works. Life seems more abstract these days, so the work is leaning more in that direction.

What would you like to do next?

So many things! An artist residency soon would be nice.

Cave Tara Marynowsky

Edwina Corlette Gallery (Brisbane/Meanjin QLD) 9—29 July

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Shadow and Light A quiet power pulses through It’s Always Been Always at Fremantle Arts Centre, where six First Nations women artists reflect on kinship, Country and cultural memory.

The first thing you notice is the scale. Nine metres of paper stretch the length of the gallery wall like a riverbed of memory. Painted in acrylic, charcoal and oil stick, the monumental work—titled My Story (2024)—unfurls as both map and memoir. A vast, undulating chronology of red dirt, ghost gums and saltbush, it’s the largest work ever created by Yindjibarndi Elder and artist Wendy Hubert.

“I born in bush,” Hubert told exhibition curator Zali Morgan in December 2024. “I grew up in the station.

My mum died when I was a little girl. That’s when the atomic bomb blew.” These words feel stitched into the painting’s very fabric, not as illustrations of trauma, but as a form of sovereign storytelling.

My Story is a sweeping visual narrative, threading together memories and terrain from Hubert’s lifetime.

At Red Hill Station, sheep graze near homesteads as the phrase “no wages” marks the legacy of unpaid Aboriginal labour. A mushroom cloud rises from a camp, referencing British nuclear testing, while the words “The Queen is coming” evoke Queen Elizabeth II’s 1963 visit to Western Australia. Elsewhere, eucalypts, waterholes and dusty roads root the work in Country. Hubert moves between memory and witness, drawing quiet strength from the land as she honours its stories and her place within them.

Hubert, a member of the Juluwarlu Art Group collective who is now in her seventies, began painting in earnest after the death of her husband in 1989.

“It’s called mourning,” she told Morgan in the same conversation. “You gotta do something with your life.”

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W R ITER

Rosamund Brennan

For decades Hubert, who will also feature in the 25th Biennale of Sydney, worked in community health; now, she paints to preserve memory , to honour Country and live in joy.

“I want to live happy in my life. Doing art is a perfect thing.”

My Story was commissioned by Fremantle Arts Centre as part of It’s Always Been Always, an exhibition that centres Blak women as custodians, connectors and cultural leaders. Curated by Morgan, a Whadjuk, Ballardong and Wilman Noongar woman, the show brings together six Aboriginal women artists from across the continent. Working across painting, video, installation and text, each reflects on the matriarchal lineages that carry—and continue— Culture. The exhibition proposes a kind of chorus: distinct in voice, unified in strength.

In a quiet gallery next door, a circle of soft light shimmers against a wall. This is A beam of light (2025)

by Wiradjuri poet and artist Jazz Money, a tender video installation capturing the shadows of the artist and their newborn child cast onto a sheet in the late afternoon. The soundtrack is a lullaby of sorts: birdsong, baby murmurs, and the voice of Money’s partner singing them to sleep.

“Our daughter’s name means ‘a beam of light’ in Wiradjuri,” Money says. “It felt like a way to mark this moment of transition. Not just for her, but for me.”

Becoming a parent, they reflect, reshaped their outlook in unexpected ways. “I always thought I was a bit pessimistic… but you can’t bring a child into the world unless you believe it can be worthy of them.”

Wendy Hubert, My Story, (detail), 2024, acrylic, charcoal and oil stick on paper, 965 x 114 cm. commissioned by walyalup | fremantle arts centre. juluwarlu group aboriginal corpor ation. photogr aph: a aron claringbold.

Wendy Hubert, My Story, (detail), 2024, acrylic, charcoal and oil stick on paper, 965 x 114 cm. commissioned by walyalup | fremantle arts centre. juluwarlu group aboriginal corpor ation. photogr aph: a aron claringbold.

Amanda Bell, Blak, neon.

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“There’s trauma, yes, but there’s also abundance.

There’s majesty. I want my daughter to feel proud of her heritage, not ashamed.” — J A ZZ MON E Y

Jazz Money, A beam of light, 2025, video, 17 minutes, audio: Jennifer Mclean.

The work is intimate and unadorned—no poetic text, no ornate production. Just a circle of light and shadow, in which the legacy of 65,000 years of survival and joy seems to pass from hand to hand.

“There’s trauma, yes,” they say. “But there’s also abundance. There’s majesty. I want my daughter to feel proud of her heritage, not ashamed.”

Amanda Bell’s works explore the weight of language and the politics of visibility. Her work Your Blood, My Blood, Our Blood (2023) spells BLAK in white neon tubing against a vivid red wall—a bold assertion of identity and cultural pride. Nearby, a sprawling text installation titled Ngobooloonginy (Bleeding) (2025) stretches across the gallery in handwritten red script, invoking rage, kinship and connection.

In Alidja Maara (2025), Yabini Kickett presents a layered portrait of matriarchal strength and intergenerational knowledge within Noongar culture.

Set against a soft, radiating wash of solar dye, pastel and watercolour, the image depicts a pair of outstretched arms offering upwards—a gesture of protection, guidance and giving.

Harriette Bryant’s assemblage of wall-mounted antique objects, including silver trays, suitcases and teapots, are painted with scenes of nuclear

testing and frontier violence. By transforming colonial relics into vessels of truth-telling, Bryant reclaims power from the tools of propriety.

For Hubert, that power comes through remembering. Alongside My Story, she exhibits a suite of smaller works: Afghan palms from her childhood Country, gum trees dappled in shade, a 1972 dining room where she first learnt “to work and eat properly.”

Each painting is a kind of ceremony—a reckoning with time, and a refusal to be forgotten.

“I know my Ngurra,” she told Morgan. “I know its Laws. I’m old now, but strong in my thinking and my life.”

In this way, It’s Always Been Always is less an exhibition than a collective invocation. It doesn’t just honour matriarchs—it listens to them. It lets them speak in the voices they choose: through lullaby, through landscape, through laughter, through line.

Rather than positioning these stories as discovery, the show reminds us they have always been here— quiet, powerful and insistent in their presence.

It’s Always Been Always

Fremantle Arts Centre (Fremantle/Walyalup WA) Until 3 August 2025

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Studio

Monica Rani Rudhar

Navigating the cultural complexities of (be)longing, loss and disconnection that have shaped her multi-racial identity, Monica Rani Rudhar’s practice is forged from personal archives, family stories and deep connections to her source material.

Creating across ceramics, sculpture, video, performance, and latterly, public art, Rudhar is relishing the space and opportunities that being at Parramatta Artists Studios Granville, NSW has afforded her.

Working towards her solo exhibition at Martin Browne Contemporary, which features upscaled sentimental pieces of jewellery in ceramics to dazzling effect, Rudhar reflects on the value of play, how imitation leads to authenticity, and why she’d be lost without her sketchbook.

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AS TOLD TO

Jo Higgins

PHOTOGR A PH Y BY

Hamish Ta-mé

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“I work off a sketchbook, and take that with me everywhere I go. It anchors me wherever I’m working from.” — MON IC A R A N I RU DH A R

P L AC E

M O N I C A R A N I RU D H A R : In my early studio days I really

relied on Sydney artist-run initiatives like Our Neon Foe and Tiles Lewisham. I just loved being around people and found the community to be so generative. And now I’m here at Parramatta Artists Studios (PAS) in Granville.

It’s great being here with all these other artists and there’s so much professional development.

The staff are so nurturing and really prioritise everyone’s singular needs. I’ve met industry professionals I wouldn’t have otherwise, there’s opportunities that have come directly through PAS, and I feel like I’ve grown so much being here.

I also have a space at home which is handy, especially because I work full-time, but PAS is so much bigger and it allows me to work in a way that maximises my productivity. I can work on multiple projects simultaneously because I’ve got the space.

I can store things, dry things, glaze things, bring them here, test the install of them.

It feels like I can refine ideas here. At home, things are a bit rougher. I also work off a sketchbook, and take that with me everywhere I go. It anchors me wherever I’m working from.

PROCE SS

M O N I C A R A N I RU D H A R : I’m lost without my sketch-

book, but also without my diary. I just can’t use technology. I need to be able to sketch, write a to-do list, scrub it out. My sketchbook also includes a lot of meeting notes, notes from my parents, stickers— things that I’m really sentimentally connected to.

My current sketchbook is covered in sari material, which is funny, because I bought it in Brunswick Heads.

Almost all the materials I use, I’ve sourced from Australia, but they’re obviously imported so it’s been a weird way to access my culture.

A lot of my work develops through conversations with my parents, over FaceTime, or while we’re eating.

They’re my bridge to stories held by family abroad, especially as they act as translators between me and my non-English speaking family members.

But my material process almost always starts with a sketch, even of things that just pop into my head and aren’t fully fledged. They’ll just marinate there and I feel like they come to the surface when they’re ready.

But from the first sketch, I’ll do a larger drawing to scale and then create pattern pieces that I can put up here in the studio. Then I’ll build, carve and fire.

I often work from actual jewellery pieces but I like experimenting with different materials. For my solo show at Martin Browne, I’m wanting to incorporate plaiting, which is why I’ve been playing with all these hair extensions. I just need something to be able to make a maquette. That’s what’s so great about clay.

I can just whip something up and see how it looks, it doesn’t have to be refined. And I can smoosh it back or recycle it.

Playing in the studio has made me realise there’s other elements I want to introduce in my practice.

I do work with ceramics, sculpture, photography and video but I’m wanting more sculptural elements, and so it’s been nice to play.

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M O N I C A R A N I RU D H A R : When we moved in here, PAS

asked us what we wanted from this experience and where we wanted to be in the next couple of years. I’d said, oh it’d be really cool to make public art. It’s been a combination of hard work, luck and support from PAS, but I’m now working on a new suspension work for an exciting project in Parramatta, and another public artwork in Randwick as part of New Monumental, which has been curated by Vital Commons and commissioned by SCAPE, that will also feature works

by Ramesh [Mario Nithiyendran] and Reko Rennie. I’m also working on a commission for the Maker Space in Blacktown, and in thinking about how I can expand my material language, I’m working on a series of soft sculptures for them.

For my upcoming exhibition, I’ve been looking at the different ways that I’ve been able to validate my culture—my sense of Indianness—and how important artificial jewellery has been in that process because I can’t speak the language, and I feel like that’s a big barrier. I’ve also been told by random people that I don’t look Indian enough because I’ve got my mum’s Romanian heritage as well.

There’s something about this feeling of imitation—I feel strangely linked to this jewellery that’s made to imitate something authentic,

especially as I question my own ethnicity as a ‘half’ Indian—I’ve had to grapple with feeling like an imposter, as well as feeling like I don’t belong to either side. When I wear costume jewellery it feels like I’m home within myself somehow.

I’m focusing on scaling up some personal pieces I have, including earrings from my cousin’s wedding, and my Year Six school formal earrings that I wore with an Indian outfit and just remember standing out from everyone else.

I’m also tying in the plait and braid. When I was at school, my parents wouldn’t let me cut my hair. It was so long and so defining and I hated it and wanted to cut it so badly. Returning back to it, recognising it was actually something that tied me to my culture, even though I wanted to reject it then, feels special now.

So I’m excited to introduce these new themes and elements to my work. This show is about paying homage to those things that have given me a true sense of validation as a mixed race South Asian woman, while playing with materiality and authenticity.

Just Like The Real Thing Monica Rani Rudhar

Martin Browne Contemporary (Sydney/Gadigal Country NSW) Until 19 July 53

SE T TING TH E AGEN DA

Artists communicate across space and time in the expansive inaugural exhibition at the newly renovated Potter Museum of Art.

Kaylene Whiskey (Yankunytjatjara, born 1976), Seven Sistas story, 2021, water-based enamel on SA tourist attraction road sign, 75 x 270 cm. museum and art gallery of the northern territory, darwin.

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Giselle Au-Nhien Nguyen

Despite the fact that it is the oldest continuing visual culture in the world, Indigenous art was not considered Australian art until the 1980s.

So it is with tongue firmly in cheek that a new exhibition, 65,000 Years: A Short History of Australian Art, is named.

The show’s roots were planted almost a decade ago in 2016, when Peter Jopling, the Potter Museum of Art’s board chairperson, invited Professor Marcia Langton AO to curate a major exhibition. The aim was to showcase the University of Melbourne’s Indigenous collection—but Langton found gaps. “There was nothing contemporary, nothing by women, no Western Desert paintings, nothing from the Kimberley, no contemporary Arnhem Land material, no Tiwi work,” says senior curator Judith Ryan AM. To address that imbalance, Ryan and associate curator Shanysa McConville came on board to find, and commission, works that showcased the breadth and diversity of Indigenous art over millennia.

With over 400 artworks (including 193 loans from 77 lenders) and 50 archival items such as letters, ledgers and pamphlets, 65,000 Years covers Arnhem Land to Groote Eylandt, the Central and Western Deserts to the Kimberley.

The expansive show is a celebration and a communion. Artists communicate across space and time, including movements and collectives such as Papunya Tula and the Hermannsburg Potters.

“We have these real pioneering leaders, like Rover Thomas and Albert Namatjira, and then we see this interconnected web of artists connected to them, inspired by them, but doing things in different ways,” McConville says.

“We have Vincent Namatjira, for example, connected to the watercolour works—[it’s the] same country that they’re from, same connection, same family, different representations of Country. We have sculptures by Marlene Rubuntja from Yarrenyty Arltere, looking at that new medium next to works by Emily Kame Kngwarreye.”

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Indigenous artists living and working in metropolitan cities, such as the late Ngarrindjeri artist Trevor Nickolls, are also spotlighted. A section of the exhibition physically replicates the city studios where such artists might work. “[Nickolls was] addressing things like Indigenous incarceration and deaths in custody, but working in these urban warehouse environments,” McConville explains.

The exhibition has a darker side, too— another aspect of it is “a really tough look at Australian history… like the Stolen Generations,” Ryan says. “It is also looking at the wrongly commenced history of Australia.”

That includes works by Indigenous artists such as Tommy McRae and William Barak, who recorded the arrival and impact of colonisers on their communities; and by non-Indigenous artists such as E. Phillips Fox, Richard Browne, Nicolas-Martin Petit and Thomas Bock, whose works are settler depictions of Indigenous people and land. “The idea is to create historical context and cultural context for all of the works that we are showing,” Ryan says.

Items from the medical history museum at the University of Melbourne, as well as depictions of the tools used to measure stolen Indigenous ancestral remains, uncover the scientific racism and eugenics that were commonly practised. “[We are] putting all of this material out there for public accessibility, for people to be aware of, and highlighting the individuals involved in this practice, such as Professor Richard Berry—and really shining a light on the atrocities committed by these people while they were at the University in the anatomy department,” McConville says.

“It’s that material, and then the contemporary responses by Indigenous artists to the same topic.”

Six new commissions, mostly by women artists, provide a range of perspectives: Trawlwoolway artist Julie Gough displays the plaster busts of Wurati and Truganini alongside a nine-channel video work; aunt and niece Betty Muffler and Maringka Burton have collaborated on a five-metre-long painting, Ngangkari Ngura (Healing Country) (2022); Lorraine Connelly-Northey contributes sculptures of narrbong (bush bags); Trawlwoolway artist Vicki West’s weavings are on display; Kooma artist Brett Leavy creates the Wurundjeri waterways of 1834 through animation; and Dhauwurd Wurrung Gunditjmara artist Sandra Aitken continues the matrilineal practice of poonyart grass weaving with a two-metre-long eel trap.

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a bov e Trevor Nickolls (Ngarrindjeri, 1949–2012), Tightrope walking 1979–80, oil on canvas, 198.5 x 91 cm. the university of melbourne art collection, vca collection. r ight Emily Kam Kngwarray (Anmatyerr, c.

1914–1996), Wild Yam 5, 1995, synthetic polymer paint on linen, 200 x 150 cm. hassall collection, gadigal nur a, sydney.

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“Being included in this exhibition shows us how we treasure our ancestors’ cultural heritage.”

— S A N DR A A I T K E N

top Rover Thomas (Kukatja/ Wangkajunga, c. 1926–1998) Djugamerri and Bolgumerri 1991, earth pigments and gum on canvas, 89.5 x 110 cm. timothy klingender private collection. left Vincent Namatjira (Western Aranda, born 1983), Albert Namatjira 2021, synthetic polymer paint on linen, 61 x 76 cm. the university of melbourne art collection.

Aitken’s family tradition was almost wiped out by colonisation when church missionaries came to the area. “The Lake Condah Mission manager told [the elders] ... that they were not allowed to pass on the traditional weaving to their daughters,” the artist says. “The Mission was coming into the white people’s way of living, so that is why we lost a lot of culture.”

But Aitken’s aunt, Connie Hart, found a way to secretly continue weaving—the skill survived, and was passed down once more.

“Weaving baskets out of the traditional grasses is women’s business,” says Aitken.

“Being included in this exhibition shows us how we treasure our ancestors’ cultural heritage.”

The exhibition was preceded by a publication of the same name, in November 2024, featuring writing by over 25 curators, critics and academics. These contributors range from experienced scholars, such as Grazia Gunn and Ian McLean, to the next generation of thinkers, such as Coby Edgar, Tristen Harwood and Eve Chaloupka. Langton, McConville and Ryan also contributed an essay each. “[The book is] going to be a really important resource for people thinking about Indigenous art and art history,” says McConville.

65,000 Years marks the reopening of the renovated Potter Museum of Art, and the curators hope it is a bold opening statement. “We haven’t had an exhibition that takes up the whole space and focuses on First People’s art ever in the history of the Potter,” says Ryan. “I think this sets the agenda—the fact that we are choosing to launch this reopening with such an important exhibition.”

65,000 Years: A Short History of Australian Art Potter Museum of Art (Melbourne/Naarm VIC) Until 22 November

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To the Limit In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.

The laws of physics allow us to predict with relative accuracy how something might behave. We know gravity will cause a heavy object to fall, at a certain temperature water will boil, and a tightly coiled spring will eventually release in a burst of energy.

For Italian artist Arcangelo Sassolino, accurately predicting how an object or material might behave has become an integral part of how he makes art.

Starting out as a toymaker, Sassolino initially worked for Casio Creative Products in New York before returning to Italy to work as a marble sculptor in Pietrasanta. From there, his love of mechanics and technology bloomed into his current practice of creating large-scale kinetic sculptures that combine physics and aesthetics.

“Even when I was a child, I was attracted by three-dimensional work, spending a lot of time in the garage outside the family house,” Sassolino explains.

“I was really attracted by the idea of creating things by myself. When I grew up, I patented a kind of 3D puzzle, and I started working for an American company.

I was based in New York, where art is easy to meet.

And I fell in love.”

In his first solo exhibition in Australia, Sassolino brings five recent sculptures to the underground caverns of the Museum of Old and New Art (Mona).

Here, the materials of wood, steel, glass and granite are coupled with custom built machinery delivering precise actions with extreme force. In marcus (2018), a black car tyre is tightly squeezed by a hefty metal clamp, causing it to look as though it might burst at any second, while the paradoxical nature of life (2025) displays a granite boulder precariously sitting in the

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Briony Downes

centre of a glass slab. The glass is bowed beneath the weight of the granite and yet, somehow it all remains intact. Set to punch, squeeze or spin while we watch, each of Sassolino’s machines push sculpture to the limit, teetering between physical balance and catastrophic destruction. The physical tension is palpable.

Cranking anticipation to the maximum, Sassolino has described his works as “psychological traps,” where the viewer’s attention is captured by a suspenseful action playing out before them. The title piece of the exhibition, in the end, the beginning (2025) is a reimagining of Diplomazija astuta (2022), a work Sassolino originally created for the Malta Pavillion at the 2022 Venice Biennale. In a darkened gallery, globs of molten steel (melted to 1500°C) slither from the ceiling to create a series of scorching spurts dripping into pools of water. Sparks fly and the air feels electric.

Sassolino originally intended the liquid metal to fall directly onto the floor and says the vast space Mona offers allows the work to be closer to what he first imagined for Venice. “Mona is a space that not only embraces the raw energy released by materials but also highlights how that energy dissipates into the surrounding space,” he says.

Currently living and working in Trissino, a town in the province of Vicenza in Italy, Sassolino says the area he resides in is known for its excellence in

r ight Arcangelo Sassolino, Diplomazija astuta, 2022, steel, water, induction and electric system.

Installation view, La Biennale di Venezia. photogr aph: agostino osio.

“I come across what I call the urban delirium, the aesthetics of provincial chaos … I observe that hallucination; and it is projected inside of me. That’s why I, as an artist, transform and restore all this in sculpture.” — A RC A NGEL O S A S S OL I NO

Arcangelo Sassolino, marcus, 2018, steel, air and tyre. photogr aph: pamela r andon.

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Arcangelo Sassolino, no memory without loss, 2025, steel, industrial oil and electrical system.

Installation view, Basilica Palladiana, Vicenza. photogr aph: alberto sinigaglia.

industrial production and mechanics. As he explains, this deeply informs his work. “I come across what I call the urban delirium, the aesthetics of provincial chaos.

A creative anarchy: self-propelled vehicles of all kinds, a forest of pipes, buildings of every colour and material.

I don’t just see, I observe that hallucination; and it is projected inside of me. That’s why I, as an artist, transform and restore all this in sculpture.”

Taking in the exhibition, it is clear transformation and renewal are at the heart of Sassolino’s practice.

Gracefully violent actions transform liquid to solid, wood to splinters or glass to shattered shards. In no memory without loss (2023-2025) the viewer is presented with a large spinning disc mounted onto the wall. It is covered in heavily applied industrial oil that creates a slow moving, wrinkled skin across its surface. On occasion, random drips of oil detach from the disc, resulting in a viscous sculpture that is constantly evolving. Violenza casuale (2008-2025) also relies on transformation as rectangular blocks of wood gradually crack and splinter under the force a hydraulic piston applies to their centre.

Mona is a fitting location for Sassolino’s work.

In close proximity there are similar artworks that act in harmony. Every hour the industrial clanging of Jean Tinguely’s Memorial to Sacred Wind (1969) echoes through the museum, while nearby, the smell of engine oil emanates from Richard Wilson’s 20:50 (1987). With the site under near-constant construction, Mona’s sandstone guts are scraped and pierced with machinery not unlike Sassolino’s creations in the gallery. As Sassolino puts it, “Ideas are born from a bud. Sometimes they close, sometimes they blossom.

When they blossom, it is extraordinary to see how one thing becomes something else, and then something else again, and opens possibilities that were initially obscure and hidden in the deep of the unconscious.”

Arcangelo Sassolino: in the end, the beginning

Museum of Old and New Art (Hobart/Nipaluna) On now—6 April 2026

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W R IT TEN IN THE STA RS

A landmark new exhibition at the Art Gallery of New South Wales charts the ingenuity and creative spirit coming out of the Yirrkala community across time.

WRITER

Tyson Frigo

Wanapati Yunupiŋu, Gurtha, 2020, etched steel, 78 x 43 cm. art gallery of new south wales, sydney, mollie gowing acquisition fund for contempor ary aboriginal art 2021 © wanapati yunupiŋu, buku-larrŋgay mulk a centre, yirrk ala.

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above Guyku ḏ a Munuŋgurr, Merman, 2016, natural pigments, shells, shark vertebra and kurrajong bark on wood, 199 x 38 x 30 cm. art gallery of new south wales, sydney, purchased with funds provided by the aboriginal art collection benefactors 2020 © estate of guyku a munuŋgurr, buku-larrŋgay mulk a centre, yirrk ala left Wanapati Yunupiŋu, Gurtha, 2021, etched aluminium, 181 x 60 cm. art gallery of new south wales, sydney, mollie gowing acquisition fund for contempor ary aboriginal art 2021 © wanapati yunupiŋu, buku-larrŋgay mulk a centre, yirrk ala. far left Naminapu Maymuru-White, Milŋiyawuy, 2013, natural pigments on wood, 174 x 21 x 23.5 cm. art gallery of new south wales, sydney, purchased with funds provided by the tony gilbert bequest 2013 © naminapu maymuru-white, buku-larrŋgay mulk a centre, yirrk ala.

Presented by the Art Gallery of New South Wales (AGNSW) in collaboration with Buku-Larrŋgay Mulka Art Centre, Yolŋu power: the art of Yirrkala highlights artworks from some of Australia’s most renowned Yolŋu artists, as well as newly emerging talent. The show encompasses a variety of themes centred around the Yolŋu people’s connections to country; each individual piece breathes in unison with the whole. A forest of artworks with so much to share. Many of the artworks on display feature clan designs—or miny’tji—from community as well as individual explorations that mirror the deep historical and cultural importance that resides in the hearts and minds of these artists and their families.

Miny’tji are sacred clan designs painted onto the body for ceremony.

The patterns exist across Yolŋu art as the unifying ‘icon’ for being and existing on country through time and across place. These miny’tji are passed down from father to son, transferring between flesh and bark and now broadening out into newer contemporary materials such as metals, projection and animation.

Gunybi Ganambarr is one such artist experimenting with materiality on country.

His works encompass a variety of found materials he comes across, ranging from satellite dishes to road signage. These materials are introduced to country via external interference yet ultimately sit within the landscape and in one way or another become part of it. Ganambarr’s use of these cold metallic surfaces as the foundation upon which he carves his miny’tji is a reaffirmation of his Yolŋu identity. Signposts that once determined the movement or lack thereof of the Yolŋu people have, through his deliberate creative intervention, become reminders of the cultural presence that continues to persist and endure.

I was fortunate to interview Cara Pinchbeck, curator of Aboriginal and Torres Strait Islander art at the AGNSW who shared her creative visions and curatorial intent. The show features artworks spanning across decades, inherently carrying with them their own history alongside that of the Yolŋu peoples. Cara shared that “we’re not trying to tell the whole history but rather focus in on those key stylistic changes that were occurring in community as both reactions and reaffirmations of identity in a Commonwealth.”

The focus on ‘stylistic changes’ are not solely visuals-based.

Changes in style or form can be indicative of shifting attitudes, broadening dialogues or simply a natural progression in a long line of continuous cultural practice.

Traditionally clan styles were taught father to son, however as mediums and materials changed so did the ideas of what could be shown and how.

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Noŋgirrŋa Marawili, Lightning, 2017, enamel paint on aluminium composition board, 150 x 100 cm. art gallery of new south wales, sydney, purchased with funds provided by the wendy barron bequest 2017. © estate of noŋgirrŋa mar awili, buku-larrŋgay mulk a centre, yirrk ala.

“There has always been the deliberate extension of understanding and sharing to Balanda and the greater world … This is what power can be. Sharing through art to entice people into conversations of understanding.”

— C A R A PI NCH BE CK

Women had always operated closely with their male counterparts at the art centre; they were experimenting with other avenues of creative production such as printmaking. In time, they too began creating their own paintings. These works exist as freely as their creators, with depictions of familial gatherings, lived experiences and the natural connectedness that exists around us. These women in community were daughters or nieces to great male artists, and those father-daughter relationships would go on to inform the rising wave of female artists we see coming out of community. Artists like Nyapanyapa Yunupiŋu, daughter of Muŋgurrawuy Yunupiŋu, produce layered linework, reminiscent of the twinkling sea of stars that she and her family would gaze under, and of the friction of injuries and life while on country.

This star motif would be introduced as gan’yu. Similarly, her sister Gulumbu Yunupiŋu also experimented with depictions of the celestial as a uniting sentient skyscape. Their works stand as testaments to their own skill and the skill of those that shaped this space before. It’s important to understand that the art coming out of community exists not just as a form of cultural continuation but also as a means of diplomatic agency—a way of sharing story and cultural trade.

For Yolŋu people, their art making practices have opened opportunities for community to selfdetermine and work collaboratively across not only the Northern Territory but indeed, across the globe.

The want to experiment, and the drive for adaption fostered within community by leaders such as Djambawa Marawili and the Buku-Larrŋgay Mulka Art Centre alike, have opened new pathways for artists in community, with entire families and their works represented in institutions worldwide. It is this very boldness and assuredness of self and one’s belonging

to country that exudes from every work throughout the show. The exhibition title is evocative of the power of community, of culture and country and the strength of her custodians. Cara also discussed the choice of words for the title; chief among them was ‘Power’ and what that could mean. Power can exist quietly, sat upon a plinth, or hung on a wall, it can be “poetry rather than violence,” it can be the enduring want to share and the persistence to understand another perspective. “There has always been the deliberate extension of understanding and sharing to Balanda and the greater world … This is what power can be. Sharing through art to entice people into conversations of understanding,” Cara says.

The featured artists were selected in collaboration with Buku-Larrŋgay Mulka Art Centre, the wider Yolŋu community as well as the AGNSW curatorial team to cover the broad spectrum of talent that continues to blossom out of Yirrkala. The selected body of works truly encapsulates the ingenuity of the creative spirit coming out of community across time. It exists as a culmination of decades of enduring community and institutional collaboration celebrating shared accomplishments that benefit this nation’s cultural and political landscape. The works speak to the ongoing cultural strength that underpins Indigenous ways of being and understanding. Broad, emboldened brushstrokes and deep, warm, earthy tones give form to spirit and story, shared down across generations from Yirrkala and now to the wider public at the AGNSW, in Sydney.

Yolŋu power: the art of Yirrkala Art Gallery of New South Wales (Sydney/Gadigal Country NSW) Until 6 October

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I can’t think of an event in the recent history that has galvanised the country’s artistic community quite like the cancellation of Khaled Sabsabi’s Venice Biennale presentation. But, to me, the initial reactions—outrage, anger—explored in countless articles and social media posts haven’t yet found the language to articulate the complex forces that have led to this moment. Or what it means not just for freedom of expression in this country, but for the art that audiences are exposed to, now and in the future. Silent Spring, a reported essay by journalist Dee Jefferson, is the first in Art Guide’s new essay series The Long View, which charts the relationship between art and the wider world and creates space for the conversations we believe will continue to shape the culture. Jefferson’s essay draws on many interviews with artists and arts workers to paint a powerful picture of the event’s long-term implications and what is at stake for art in Australia.

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

WRITER

Dee Jefferson

I L LU S T R AT I O N S

Carla McRae

SI LENT SPR I NG

The cancellation of Khaled Sabsabi’s presentation at the 2026 Venice Biennale signals a long-simmering breakdown of trust between artists and institutions—one that risks threatening the breadth and depth of artistic expression in Australia for generations to come. Dee Jefferson reports.

When artist Khaled Sabsabi was announced as Australia’s national representative for the 2026 Venice Biennale, he told Guardian Australia he was “quite shocked”. “I felt that, in this time and in this space, this wouldn’t happen because of who I am.”

Sabsabi seemed to know or suspect that as a Muslim man born in Lebanon, who migrated to Western Sydney with his family as a child, he was somehow an unacceptable representative of Australia on the international stage.

Within less than a week, he and his collaborator, curator Michael Dagostino, had been dumped by Creative Australia, the government’s arts investment and advisory body, which administrates Australia’s presence at the Biennale. The decision was made after first The Australian newspaper and then a conservative MP spot-lit and criticised two of Sabsabi’s earlier works and suggested he was promoting terrorism.

The decision to revoke Sabsabi and Dagostino’s appointment is shocking in many ways—for being made in haste (a mere five hours after Liberal Senator Claire Chandler’s remarks during question time), and for being prompted, according to Creative Australia CEO Adrian Collette, by a politician’s assessment of an 18-second video artwork she had never seen—a work that was almost 20 years old, and nothing to do with the Venice project—by an artist whose practice she was entirely unfamiliar with.

Creative Australia’s reasoning was equally shocking: that “a prolonged and divisive debate about the 2026 selection outcome poses an unacceptable risk to public support for Australia’s artistic community”. A statement made without any consultation to assess the risk, and without giving Sabsabi a chance to speak to the board.

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As a body required by its establishing legislation to “uphold and promote freedom of expression in the arts and to support Australian arts practice that reflects the diversity of Australia”, Creative Australia could reasonably have been expected to make a statement in support of Sabsabi and his art, and to advocate for his Venice Biennale project, which only six days earlier its CEO had said “reflects the diversity and plurality of Australia’s rich culture, and will spark meaningful conversations with audiences around the world”.

Instead, it announced a review into the process by which Sabsabi was selected. The same rigorous, independent process that chose Australia’s representative for the 2024 Venice Biennale, Archie Moore—who went on to win the event’s highest accolade, the Golden Lion.

The arts sector’s loss of trust in Creative Australia’s integrity, commitment to art and artists, and independence from government influence, has been well documented in the media. Australia’s peak arts organisation has been broadly condemned by its core constituency, with artists and art workers united in calling for it to reverse its decision and reinstate Sabsabi and Dagostino.

The widespread discontent has been compounded by Monash University’s decision in late March to indefinitely postpone another of Sabsabi’s projects: a group exhibition scheduled to open at Monash University Museum of Art in May, that was to have included “coffee-infused calligraphic paintings” and “abstracted silhouette works” drawing on Sufism, the mystical strain of Islamic spirituality that he adheres to. On May 22, the university reversed the decision, following a period of community consultation.

Sabsabi has described the knock-on effect of Creative Australia’s decision to drop him as the effective “dismantling” of his career and reputation, telling The Guardian it “essentially gave the go-ahead to define me as somebody who I am not.”

Every part of this story is shocking, but we should not be surprised because it’s just an extreme iteration of a scenario that has been playing out across the arts for years. Intensified in the wake of the 7 October 2023 attacks on Israel by Hamas, this activity is having a chilling effect on freedom of expression in the arts, previously considered a key arena for difficult conversations.

NAVA, the peak body for visual arts, is seeing a “growing number of instances where artists are being silenced, either explicitly through institutional decisions or more insidiously through self-censorship driven by fear,” says executive director Penelope Benton.

“The implications are not short-term.

They’re profound and structural.”

SILENT SPR ING

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Art Guide Australia spoke to artists, art-workers and curators to get a sense of the larger fallout of Creative Australia’s decision to dump Sabsabi and its longer-term implications.

We were told that the climate of silencing and censorship is disproportionately affecting a particular group of artists. As Cherine Fahd, a Lebanese Australian artist and academic, said: “This is not censorship of art; this is censorship of specific forms of art made by people of particular backgrounds and political persuasion.”

We also heard that it was not new. While everyone expressed shock and dismay at the dumping of Sabsabi, very few were surprised. “We know deeply, at the end of the day, that politics permeates every part of our lives,” said Lebanese Australian artist and arts worker Eddie Abd. “Especially in the arts, where there’s supposedly freedom of expression.”

Muslim, Lebanese, Palestinian and Iranian diaspora artists we spoke to said they’d experienced racism, silencing, de-platforming and censorship within the arts sector throughout their careers, and linked the campaign against Sabsabi to his identity as a Muslim and Lebanese artist—and above all, his stance on Palestine.

As the article in The Australian that spurred senator Chandler’s comments pointed out, Sabsabi was part of a boycott of the 2022 Sydney Festival over its sponsorship arrangement with the Israeli embassy, a decision he said he made “out of solidarity with the Palestinian people and the Palestinian cause”.

Hazem Shammas, a Palestinian diaspora actor who is on the management committee for Arab Theatre Studio in Western Sydney, says he’s experienced silencing and censorship throughout his 20-year career on stage and screen. “That censorship has always been applied because of Palestine.”

In the wake of 7 October 2023, the censorship of artists over Palestine has intensified, he says.

Some of this activity has been highly publicised, including the National

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Gallery of Australia’s decision to cover up two Palestinian flags in a textile work by Aotearoa New Zealand collective SaVĀge K’lub. Pianist Jayson Gillham is suing the Melbourne Symphony Orchestra over a cancelled concert which he claims was linked to an effort to silence him over his position on Gaza.

There have also been highly publicised instances of arts organisations resiling from programming involving Palestinian and pro-Palestine artists, disinviting artists or indefinitely postponing programs. Those who have stuck to their guns have faced backlash, including Melbourne and Sydney Writers Festivals, where board members resigned over the programming of pro-Palestine artists and events. Sydney Theatre Company copped backlash both ways: its response to complaints about three actors who wore keffiyehs during a curtain call was criticised by artists for not taking a stronger stance on freedom of expression, and by Jewish patrons, donors and board members for not taking a stronger stance against anti-Semitism.

For the first time, the broader arts sector is seeing what those from the Middle East diaspora have always known: that Palestine is the third rail.

A MEDI A PILE- ON

There’s another part of the Khaled Sabsabi story that feels familiar to many of the artists we spoke to: the role of the conservative press.

Over the last two years, numerous artists, authors and musicians who have made public statements or social media posts relating to Palestine and the war in Gaza have been targeted by News Corp outlets, including Archie Moore and several high profile members of Eleven Collective, a group of Muslim Australian artists that includes Khaled Sabsabi.

Moore, an artist of Bigambul, Kamilaroi, British and Scottish lineage, was targeted as he was in the final stages of preparing his Venice Biennale project kith and kin. A Sky News report in December 2023, just months before the exhibition was due to open, called for him to be sacked as Australia’s representative, focusing on Instagram posts he had shared about the war in Gaza and accusing him of “appalling anti-Semitism” and “celebrating the terrorists that had slaughtered Israeli citizens” (claims that Moore unequivocally denied as part of a statement in response to Sky News’s coverage).

Eleven member Abdul-Rahman Abdullah says he has been targeted by News Corp repeatedly.

In October 2024, The Australian published an

article focusing on pro-Palestine social media posts

by Abdullah, framing him as “a Labor-appointed member” of the National Gallery of Australia Council.

“I chose to resign from the Council to protect myself and the gallery from further attacks,” Abdullah told Art Guide. “I was the first Muslim council member and held the shortest tenure, as a result I doubt that another Muslim person will ever be appointed to the council.”

In the wake of the Sabsabi decision, Abdullah was namechecked in an article in The Australian questioning Creative Australia’s peer-assessed funding process—specifically, the “level of affiliation between the people on the assessment panels and the recipients making their case for funding”—focusing on grants received by members of the Eleven collective and the participation of members in the assessment process, and highlighting their social media posts and public statements.

Artist Hoda Afshar, another member of Eleven named in the article, was accused of making anti-Semitic remarks. Afshar says it wasn’t the first time she had been criticised in The Australian: “If I made a social media post about what’s happening in Gaza, or how it’s affecting us here, I would wake up to a Google alert, I’m in The Australian again.”

“There should be ways for me to challenge it [legally],” Afshar says. “But because they [The Australian] have lawyers to help them to frame these things with ambiguous wording, it makes it very challenging to fight a legal battle with them. And they also know that no artist can afford the legal fees.”

Bruce Johnson McLean, a Wierdi man and curator who worked at Queensland Art Gallery and Gallery of Modern Art (QAGOMA) and the National Gallery of Australia (NGA) over two decades, says: “There’s a very well-established tactic now where any voices that are different, any ideas that are different, can quite easily be cancelled

by conservative media.”

Johnson McLean says he experienced this firsthand while working as head of First Nations art at NGA. He and colleagues were preparing an exhibition of APY Lands art when The Australian aired allegations in April 2023 that works attributed to Indigenous artists from the APY Arts Centre Collective (APYACC) were substantially made by white assistants. Days later the NGA announced an investigation into the provenance of paintings from APYACC that were due to appear in their show, titled Ngura Pulka. The following month, the South Australian and federal governments announced a joint investigation into the APYACC. Neither found evidence to substantiate the allegations, but the Ngura Pulka exhibition was postponed while the reviews were underway.

“The National Gallery, as a government institution, felt that it had to indefinitely postpone the exhibition,” says Johnson McLean. The NGA has yet to reschedule Ngura Pulka and did not respond to requests for comment.

Johnson McLean says he believes in cases such as Khaled Sabsabi and the Ngura Pulka exhibition, the media is “weaponising the public” to get certain outcomes. “The exhibition came up in the newspapers, and that story was run every few days, to make sure that there was a public backlash,” he says.

Johnson McLean said he was “shocked but not surprised” by Creative Australia’s decision to cancel Sasabi’s Venice Biennale commission.

“A lot of arts organisations are pretty soft targets; they are often left fairly voiceless or powerless in the face of the media—particularly the Murdoch media—or conservatism more broadly,” he said. “They seem to very quickly get on the back foot and retreat behind institutional governance to essentially make the problem go away.”

Johnson McLean links this to the rise in “risk management” practices in the sector across the last decade. “With an increase in risk management has come the increase of risk aversion, and a move away from challenging art.”

He says the Khaled Sabsabi sacking marks a “critical point” in a “trajectory of institutions and artists diverging”.

“Institutions love artists when it’s going well and when an artist is marketable, but as soon as things get challenging, we’ve seen artists get silenced, or seen parts of works get covered or exhibitions dropped.”

SILENT SPR ING

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B E H I N D -T H E - S C E N E S H A R A S S M E N T

Even before Afshar was targeted by The Australian, she was experiencing wide-ranging harassment and intimidation online, including hostile comments on her social media posts and intimidating direct messages, which were also sent to friends and followers who responded to her posts.

In one particularly nasty case, she was told that someone had bought a tree in her name, to plant in the home of a Palestinian family that had been occupied by Israeli settlers.

She says donors have pressured institutions to cancel exhibitions featuring her work and threatened to withdraw funding.

Other artists described similar experiences but would only speak to Art Guide on condition of anonymity, concerned about further attacks. One said: “lobbyists have repeatedly contacted the commercial galleries that I work with saying that they will boycott the entire gallery roster and encourage others to boycott the gallery as well unless they drop or silence me.” Another said: “It feels like a coordinated campaign … anyone working with me, or associated with me gets pulled into the vortex with accusations of racism and even the suggestion of legal action.”

Another artist reported that a collector pressured their gallerist to drop them. “They were threatening that if not, they would stop buying art from him,” the artist said.

Joanna Kitto, director of Melbourne arts space West Space, says she’s hearing from artists who are concerned about “​​their safety in online spaces, being bullied, or their name appearing in a newspaper in a negative context”.

“I’ve been working a lot with Palestinian artists, and they are definitely feeling the pressure,” says Abd. “They are trying to figure out ways of being true to themselves and speaking out, but also feeling the weight of censorship.”

To artist Cherine Fahd, the fact that people won’t speak on the record is chilling in itself: “It’s like living in a surveillance state … People are rightly suspicious, untrusting, and very guarded about what they say on the public record.”

THE BIGGER PICTU R E

In this climate of silencing, censorship and suspicion, artists and arts workers with certain values, political views and backgrounds are not only retreating from social media and mainstream media, but they are also retreating from major institutions and opportunities.

“We’ve seen huge impacts on artists, on arts workers, and particularly on the sorts of people that we want in the industry, who are dedicated to supporting artists,” says Johnson McLean.

“People [are] walking away because they don’t agree with the direction that things are heading.”

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TH E LONG V IEW

Johnson McLean says staff left the NGA in the wake of Ngura Pulka’s postponement. He was one of them, resigning from the NGA in May 2024 after almost five years. “I truly believed that I could support artists better elsewhere,” says Johnson McLean, who has since been appointed Fondation Cartier pour l’art contemporain First Nations curatorial fellow for the 25th Biennale of Sydney.

Cara Kirkwood also left her role at NGA, in mid-2024, after three years as head of First Nations engagement and strategy, including serving as creative producer and cultural strategist for the SaVĀge K’lub exhibition.

Kirkwood, a Mandandanji and Mithaka woman, told Art Guide: “Me and many of my friends have been heartbroken by the scarcity of leadership across the nation. Where are the highest paid salaried workers’ and their advocacy on the true impacts of art and creativity at a time when we need it most? … The incongruence of public services’ declarations of ‘neutrality’ at the cost of human and cultural erasure is heartbreaking.”

Other high-profile departures from the top end of the sector include Creative Australia’s Head of Visual Arts, Mikala Tai, and Venice Biennale project manager, Tahmina Maskinyar, who both resigned in support of Sabsabi and Dagostino. Maskinyar has since been appointed curator at West Space.

At the emerging end of the sector, West Space director Joanna Kitto says she is having conversations with artists who are “genuinely wondering if the arts is for them”.

All the curators and arts workers Art Guide spoke to noted the scarcity of leadership from the top end of the sector during the Khaled Sabsabi saga, and the disproportionate weight borne by artists. Kirkwood put it best: “Time and time again, shockingly, poorly paid artists are left to do the heavy lifting without the bureaucratic infrastructure to help navigate or influence media, public or political aggression.”

The artists Art Guide spoke to said that they would not change the kind of work they made, but many said they were more careful about where they took up opportunities, screening organisations for funding sources and the membership of their boards.

They were more likely to work with grassroots, community-focused and independent organisations who they could confidently expect to protect their freedom of expression.

“I am concerned that a generation of artists—artists who are making important, rigorous work, who are self-reflective and creating nuanced discussion—will not come forward for opportunities that open their practice to a platform outside of the spaces they are already working within,” says Kitto.

“Artists’ voices will be heard by those who are listening, but we run the risk of losing their input on the broader stage—reaching those outside of Australia, and outside of the art sector bubble— where we need them the most.”

The other curators we talked to agreed, with Johnson McLean predicting that “as institutions become more risk averse, what we will see in those spaces is a flattening of art” and a shift towards “Instagrammable fun stuff”.

Ultimately, this shortchanges the vast majority of audiences who experience art through major institutions. If artists whose art or beliefs disrupt the status quo are excluded or exclude themselves, we risk turning galleries into feedback loops or mere pleasure palaces; we risk short-circuiting art’s function as a connective tissue between different perspectives, communities and experiences, and as a testing ground for new ideas. And all this because of decisions and conversations happening in boardrooms and behind the scenes—without the input of the public.

Meanwhile, this leaves the small to medium sector—organisations such as West Space, which has made its position on Palestine (an issue of conscience for many artists) clear, and Arab Theatre Studio, which is committed to its artists’ self-determination—carrying a larger load of producing the nuanced, complex art that speaks to our society right now.

Much of this sector is heavily reliant on government funding, and the curators and arts workers we spoke to were all concerned about the potential dismantling of Creative Australia in the wake of the Sabsabi backflip.

Anne Loxley, executive director of Arts and Cultural Exchange (ACE) in Western Sydney, which receives roughly 80% of its funding from government sources, said: “If this gives conservative thinkers more reasons to dismantle arts funding, then things are really desperate.”

Even a change to the current peer-review model for assessing funding, could be disastrous for artists, and the artists and arts workers we talked to said this was a key concern for them. Abd told Art Guide: “[The current funding model] is at arm’s length from politicians, from government, and personally, for my own development as an artist, I’ve been a part of a couple of programs supported by Creative Australia that benefitted me so much. And in terms of funding for projects that I do as an arts worker, it has been fantastic.”

And yet: for all their concerns about their own practice and livelihoods and freedom of expression, the artists we talked to kept drawing the conversation away from the arts and towards the bigger picture.

Fahd expressed a shared sense of frustration when she said: “Suddenly everyone has something to say about the censorship of Khaled. [But] this is not happening in a cultural vacuum. This is happening during a genocide that our government has sat silent on, and that’s why Khaled has been cancelled.”

Hoda Afshar said what is happening in the arts is “clearly pointing to the rise of fascism”. “We need to ask ourselves: how did we get here? How did we fail to protect the values—freedom of speech, democracy—that we worked really hard towards?”

Afshar says this moment “has been in the making for a long time”, and calls to mind author and activist Behrouz Boochani’s letter from Manus Island in 2017, while he was imprisoned in refugee detention, which was addressed to the Australian people.

“He said that if you ignore what’s happening beyond these shores, to the people on Manus and Nauru, remember: this creature of fascism is growing its roots, and one day you will find it inside your own homes. And that’s where we’re at now, eight years later: it’s inside our homes, and it’s affecting every single one of us.”

Silent Spring was first published at Art Guide online in May 2025.

SILENT SPR ING

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Electrical Conductor Language folds into form in the poetic yet monumental light sculptures of Cerith Wyn Evans.

There is not much to the standard neon light: a glass tube, an invisible gas and a zest of electricity.

Engineered by French chemist Georges Claude in 1910, and first seen flickering outside a Parisian shopfront, its name derives from the Greek neos, meaning ‘new’. An asset in the economy of attention, neon’s strange glow has become central to the architecture of city nightscapes. It is also the main element of Cerith Wyn Evans’ .... in light of the visible at the Museum of Contemporary Art, Sydney (MCA).

Despite its ubiquity, the artist deploys the material with a poetry that is uncanny, sublime and, indeed, novel.

“Cerith is one of contemporary art’s great visionaries,” exhibition curator Lara Strongman tells me, producing work that is at once “conceptually brilliant and profoundly emotional.” Evans’ work has been exhibited around the world and in 2003 inaugurated Wales’ national pavilion at the Venice Biennale. .... in light of the visible is the artist’s first major exhibition in Australia.

Born in 1958 in Llanelli, Wales, a teenage Evans’ encounter with the work of artist Michael CraigMartin proved revelatory. A glass of water was accompanied by a text explaining that the object had been transformed into the work’s namesake: An Oak Tree (1973). Five decades on, Evans is harnessing language and viewers’ imagination to breathe new meaning into objects.

“He always goes beyond the fear of pooling knowledge,” wrote Hans Ulrich Obrist, director of Serpentine Gallery, London. This reservoir of knowledge runs deep, with each work being an “active agent in conversations that take place across time and space, between Cerith and other artists, musicians, writers, gardeners, philosophers, physicists,” says Strongman.

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Emma O’Neill

The artist cut his teeth as a filmmaker producing short, experimental films, counting Derek Jarman among his collaborators. In the 1980s, he was also deeply involved with London’s experimental music scene, producing films and music videos for bands such as The Smiths, The Fall, Throbbing Gristle, and Psychic TV. These experiences coalesce with a wide breadth of influences, ranging from Marcel Duchamp, John Cage, William S. Burroughs and Brion Gysin, to scientific ideas of probability theory and dark matter, studied by the artist during visits to CERN in Geneva.

Despite the works’ complex theoretical footing, Evans asks his audience to resist interpretation. He is partial to art historian Mark Cousins’ words, who likened the experience of his work to being “a deaf man staring at a radio”. Evans’ work privileges atmosphere over article, resonance over resolution.

But still, how do literature and music leap into neon light? In the case of the exhibition’s centrepiece F=O=U=N=T=A=I=N (2020), an unbroken paragraph from Marcel Proust’s Sodome et Gomorrhe (Sodom and Gomorrah, 1921–22) is translated into Japanese.

Neon kanji characters hang suspended on a porous wall that stretches ten metres long and stands three metres tall. The characters narrate Proust’s passage about a fountain, its splashing droplets made luminous by the sun. Here, language folds into form: each character a delicate sculpture lit internally rather than by the sun, the scene left to be imagined by those who consult the accompanying translation.

r ight Cerith Wyn Evans, Neon Forms (after Noh I), 2015. © cerith w yn evans. photo © white cube (george darrell).

“[Each work is an] active agent in conversations that take place across time and space, between Cerith and other artists, musicians, writers, gardeners, philosophers, physicists.” — L A R A S T RONGM A N

Cerith Wyn Evans, F=O=U=N=T=A=I=N, 2020, white neon, 382 x 1084 cm. © cerith w yn evans. photogr aph © white cube (ollie hammick).

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Cerith Wyn Evans, Two Gravity Gongs, 2022. Two gravity gongs (Rolf Nitsch workshop), two arched gong stands.

Each gong: 104.5 x 104.5 x 5 cm; each stand: 156.6 x 129.2 x 75.5 cm. © cerith w yn evans. photogr aph © white cube (kitmin lee).

At large, the exhibition imagines the gallery as garden. Far from a cut-and-paste of previous works, the artist considers each exhibiting space deeply, responding to the “volume of a room, its light, its auditory properties, [and] its history”, making the experience of the work “entirely differently from place to place”, Strongman observes. At the MCA, ambient sounds from the outside whisper into the room as part of Two Gravity Gongs (2025) and uncovered windows frame views of the harbour. Distant trees, glittering ocean, and ferries to-ing and fro-ing become integral to the work, collapsing artwork, viewer, and environment.

For Evans, the garden is both “talisman and method”, a structuring principle that shapes how this exhibition unfolds. As Strongman explains, the garden offers a model for intuitive, non-linear experience: “You can make a purposeful line through the garden or you can drift, stopping and starting wherever you like … you can never experience a garden the same way twice.” In Still Life (In course of arrangement…)

(2025), plants rotate slowly, barely detectable, on turntables mirroring their imperceptible cellular growth. Spotlights on each lend a “cinematic quality”, offering a microscope to their movement.

The botanical selection is deliberate—there were citrus trees in Athens, Japanese pines in Tokyo, and at the MCA various species native to Warrane, selected in collaboration with Aboriginal-owned plant nursery, IndigiGrow.

Neon Forms (after Noh) (2015–ongoing) draws on the artist’s long-standing fascination with Japanese Noh theatre. Suspended in space, unruly scribbles of white light echo kata diagrams— choreographic notations that guide performers through the stylised movements central to the form’s centuries-old tradition. Evans’ approach resonates strongly with 14th-century Noh because despite the intricacy of its instruction, its aesthetics lean towards the allusive. Removed from their context, the choreographic scores enter a new universe of meaning, becoming, in the words of Zoe Stillpass, curator at the Centre Pompidou-Metz, “a disembodied dance without the dancers”.

In re-situating forms, Evans exposes a beauty often latent in its original setting. While his work is in dialogue with a pantheon of historical figures and ideas, it is ultimately the viewer with whom it most intimately converses, loosening inherited systems of knowledge and letting them flow from new vessels.

Like The Oak Tree he encountered as a teenager, each work is animated by audience imagination. Across the chorus of light, shadows, sound, and kinetic plants of .... in light of the visible, more than anything, the profound sensuality of it all draws you in.

.... in light of the visible Cerith Wyn Evans

Museum of Contemporary Art (Sydney/Gadigal Country NSW) Until 19 October 81

Only Connect A survey exhibition spanning the 30-year practice of Jennifer Mills brings together bodies of works grounded in precision and tenderness.

Jennifer Mills is a collector of stories hiding in plain sight. For more than three decades, the Melbournebased artist has quietly explored the everyday, the intimate, and the forgotten. Known for her technical mastery of watercolour, Mills has built a body of work that is as emotionally resonant as it is formally exact.

This year, in her first major survey exhibition at Melbourne’s Bunjil Place, Mills’ strange and tender world comes into full view.

Mills’ practice involves falling down a lot of narrative rabbit holes, she explains. “My work has accumulated into this one big, quite autobiographical story—a confluence of memory and experience.

It’s like that detective’s wall with the red strings, connecting everything.”

While her subjects vary widely—from birds and houses to internet-found strangers and school photos—her approach is consistently grounded in precision and tenderness. Watercolour, her medium of choice, demands both. “It’s a very light touch.

You can’t erase it,” she says. “You have to embrace the mark you’ve made. That was transformative for me.

As someone who likes control, watercolour taught me to let go.”

This idea of letting go recurs throughout Mills’ work, perhaps most poignantly in her collaborations with her son, Darcy Luker, who lives with disability.

In recent years, Mills has handed her meticulously finished watercolours over to Luker, inviting his

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Camilla Wagstaff

spontaneous, unfiltered additions. “He’s deliciously disrespectful,” Mills laughs. “He just sort of bumps me out of the way. But there’s a clarity and confidence in how he sees the world, that I find incredible. Our marks coexist, creating a new energy and a new narrative together.”

This interplay is beautifully explored in Family of Freaks, a series shown at Sydney’s Darren Knight Gallery in May this year. Here, Mills renders Mary Shelley’s Frankenstein in classic portrait style, leaving the faces of surrounding family members blank for Darcy to complete. “When I found that photo, I knew I had to work with it,” says Mills. “There was this tension present—a happy family with one member, the black sheep, so often excluded from society but no less wanting or deserving of love. That felt very close to our family experience of living with disability.”

Themes of disruption and reframing ripple through Mills’ work. Her process often involves working from found photographs—everyday images scavenged over decades from op shops, flea markets, and online. In her hands, these small moments become luminous, transformed into watercolours or altered directly with scissors or oil pastel, to subtly rewrite the original narrative. “I’m interested in the micro moments of people’s lives,” she says.

“The everyday, the banal, but also the poignancy and relatability in that. Everyone can bring their own stories and meanings to the work.”

Jennifer Mills, Ron, proof sheet #1, 2018, watercolour on paper, 34 x 52 cm. courtesy the artist and darren knight gallery.

Jennifer Mills & Darcy Luker, 2 Harveys break time, 2024, watercolour and pencil on paper, 42 x 54 cm (paper size). courtesy the artist and darren knight gallery.

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Jennifer Mills, In the echo chamber (Broady West Primary 1975 - 3 Likes, 16 Comments), watercolour and ink on paper, 62 x 100 cm. courtesy the artist and darren knight gallery.

Jennifer Mills, Batself, 2009, watercolour & ink on paper, 24 x 46.5 cm. courtesy the artist and darren knight gallery.

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“As someone who likes control, watercolour taught me to let go.” — J EN N I F ER M I L L S

The exhibition at Bunjil Place draws together the many threads of Mills’ richly textured practice.

“Since opening eight years ago, Bunjil Place Gallery has celebrated contemporary Australian women artists through solo exhibitions and new work commissions,” says gallery curator Penny Teale. “This will be the first exhibition to survey the work of Jennifer Mills and the first solo exhibition of Jennifer’s work in a Victorian public gallery context.”

Curated in close collaboration with the artist, the survey manifests as a constellation of narratives spanning her 30-year practice. Many of the works were initially shown with Darren Knight, who the artist describes as “the true champion of my practice”.

The Bunjil Place show includes early watercolour works, selections from the long-running In the Echo Chamber series (2013–present), and recent works co-created with Luker.

“There is a democracy to the subjects and materials that Jennifer works with,” notes Teale.

“Her work surrounds narratives that are familiar and personal—family, memory, suburbia, television characters and disability. Working in a domestic scale with materials and processes that are relatable and accessible is also something we know will resonate with our audiences.”

At the survey’s heart is Ron, an ongoing project that began with a bag of discarded family photos bought off eBay. Mills didn’t open the bag for two years. When she finally did, a quiet narrative

began to unfold—the life of a boy named Ron, captured in snapshots from the 1950s to the 1970s. As Mills pieced together his story, noting the progression of a physical disability and the compassion and affection that so clearly surrounded him, she was struck by the parallels to her own life.

“It’s the story of a regular family, documenting their son’s life with love and care,” Mills says. “I’ve become very personally attached to Ron. And it obviously reflects my relationship to my own child.”

Ron stands as a testament to the resilience of families that often remain invisible in mainstream culture. “Disability is still largely hidden,” Mills notes.

“I wanted to bring this story into the light—it’s one we don’t see enough of.”

In this way, Mills’ work acts as both record and reinvention, preserving moments while nudging them lightly toward new interpretations. Her watercolours don’t clamour for attention. Instead, they invite us to pause, consider, and return with a renewed sense of care. Under Mills’ gentle guidance, quiet revelations can speak volumes, if we can just stop a moment to listen.

In the echo chamber Jennifer Mills

Bunjil Place Gallery (Melbourne/Naarm VIC) 9 August—16 November

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Mid-century artist & master craftsman The Krimper name is legendary within the field of mid-twentieth century Australian furniture. Creating modern handcrafted furniture that celebrates the beauty of local and imported timbers, Krimper’s distinctive work reflects his European training and knowledge of international traditions and contemporary design developments.

Schulim Krimper: Mid-century artist & master craftsman presents a range of Krimper’s exceptional furniture, including pieces from private collections which have never been shown in public.

Curated by Kirsty Grant.

Schulim Krimper, The Lina Bryans writing table 1955, Black Bean, glass National Gallery of Victoria, Melbourne. Purchased, 1973. © Courtesy the artist’s estate. Photo: Christian Markel / NGV

Bayside Gallery Brighton Town Hall Cnr Wilson & Carpenter Streets Brighton VIC 3186 T: 03 9261 7111

Opening hours: Wed–Fri, 11am–5pm Sat & Sun, 1pm–5pm bayside.vic.gov.au/gallery @baysidegallery @baysidegallery

bayside.vic.gov.au

5 July–24 August

Geoffrey Schmidt • Neural Architecture

1 August - 14 September 2025 www.umbrella.org.au

Barbara Pierce • Scattered

Umbrella Studio Contemporary Arts Gurambilbarra / Townsville, QLD

Images • Top: Geoffrey Schmidt, Neural Architecture N01 (detail), 2025, Oil paint on aluminium, string and rock, 60 x 60cm panel with installation of variable dimensions. | Bottom: Barbara Pierce, Scattered (detail), 2025, Canvas, cartridge paper, timber, found object, string, thread and acrylic paint, Variable dimensions. | Photographs: Amanda Galea. umbrella.org.au

Yuriyal Bridgeman

22.07 06.12

SUNA (Middle Ground)

Rachel O’Reilly

to come together as water

NORTHERN WATERS

Petra Bauer

WE CALL Sisters!

Mothers!

YOU! Workers! art-museum.uq.edu.au

art-museum.uq.edu.au

mosmanartgallery.org.au

Nasha Gallery

Flin Sharp Blue 15 – 31 August

Five legged donkey, 2025, acrylic on synthetic polymer, 67 x 54 cm; 21 ¼ x 26 ⅜ in

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L1 215 Thomas Street Haymarket, Sydney

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info@nasha.com.au

A National Gallery touring exhibition

LINES IN THE SAND: WOMEN FROM THE WEST Showcasing work from the Cruthers Collection of Women’s Art, UWA Art Collection and the Berndt Museum

31 MAY – 30 AUGUST 2025 | LAWRENCE WILSON ART GALLERY PRESENTED BY

Lawrence Wilson

PRINCIPAL PATRON

TIM FAIRFAX AC

OPEN TUES - SAT 11AM -4PM | FREE ENTRY 35 Stirling Hwy, Perth, WA, Australia 6009 | M001 P +61 (0)8 6488 3707 W uwa.edu.au/lwag @LWAGallery

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Indigenous Studies

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THE UNIVERSITY OF WESTERN AUSTRALIA

Berndt Museum

Alice Hinton-Bateup, Garage Graphix, Kamilaroi/Wonnarua peoples, Ruth’s story, 1988, National Gallery of Australia, Kamberri/Canberra, purchased 1995,© the artist

uwa.edu.au/lwag

museumsvictoria.com.au/melbournemuseum

sea.museum/wildlife

KALEIDOSCOPE 31 MAY – 05 OCTOBER 2025

image: Amos GERBHARDT Family Portrait from the series Small acts of resistance (detail) 2020 archival inkjet pigment print. Courtesy of artist.

MAJOR LENDER: National Gallery of Victoria

MAJOR SUPPORTER

OPEN DAILY 10AM – 4PM | FREE ENTRY

hrag@hrcc.vic.gov.au 03 5382 9575 @horshamregionalartgallery horshamtownhall.com.au

EXHIBITION SUPPORTER

24 May— 17 August 2025

Janenne Eaton: Lines of Sight— Frame and Horizon

Exhibition partners

Geelong Gallery 2024 Annual Appeal campaign donors

Media partner

A Geelong Gallery exhibition Janenne Eaton Talisman for rain 2010 enamel paint on canvas Private collection Photographer: Mark Ashkanasy © the artist

geelonggallery.org.au

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

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KUDLILA SEASON

FRIDAY 20 JUNE — FRIDAY 26 SEPTEMBER

Image — Frank Bauer Studio, Lichtbilder, artwork detail. Photo by Sia Duff.

Kudlila Movement, longevity, repetition and change in the sculptural works of Frank Bauer — and North Terrace: worlds in relief, an exhibition by guest curator Jasmin Stephens

SAMSTAG MUSEUM OF ART

— FREE ENTRY / ALL WELCOME

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OPEN NOW FREE ENTRY Potter Museum of Art, the University of Melbourne, Cnr Swanston St and Masson Rd, Parkville, Naarm. potter-museum.unimelb.edu.au

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CAREER DEFINING — LIFE CHANGING

2026 ANNE & GORDON SAMSTAG

Image — Helen GROGAN, splitting open the surface on which it is inscribed, 2018, installation view, from the exhibition Great Movements of Feeling, 2020, at Latrobe Regional Gallery, Morwell, VIC. Photograph by Christo Crocker. Image courtesy of the artist.

Scholarship Apply now and spend one year at a leading international art school of your choice — Scholarships include: Institutional fees / $75,000 tax free allowance / flights & travel expenses.

Applications close 30 June 2025.

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CELEBRATING AUSTRALIA’S

OLDEST INDEPENDENT CONTEMPORARY ART SPACE.

Judith Wright Arts Centre 420 Brunswick Street Fortitude Valley QLD 4006 Meanjin/Brisbane Australia →ima.org.au

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onespace.com.au @onespace_au 25A Bouquet St South Brisbane Q 4101 Australia 07 3846 0642 info@onespace.com.au

Darren Blackman Post Truth Cairns Indigenous Art Fair: 11 - 13 July 2025 Onespace: 25 July - 23 August 2025 Photo: Darren Blackman, Truth Hurts, 2024, Led Neon light sculpture, 65 x 100cm. Image courtesy of City of Moreton Bay. Photographed by Embellysh Photography.

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AIDAN HARTSHORN FULCRUM Showing at Canberra Glassworks 19 Jun to 10 Aug 2025 Opening event Thu 3 Jul at 5pm Cultural workshop with Aidan Hartshorn Sat 19 Jul at 11am

open Wed to Sun 10am to 4pm 11 Wentworth Ave Kingston ACT 2604 w canberraglassworks.com t 02 6260 7005

Will Lynes + Bronte Cormican-Jones

Gabriella Bisetto

21 Aug to 26 Oct 2025

6 Nov to 25 Jan 2026 canberraglassworks.com

Pictured: Aidan Hartshorn knapping glass.

Credit: Brooke McEachern

mcclelland.org.au

IN 1914, MORE THAN 41,000 AUSTRALIANS AND NEW ZEALANDERS DEPARTED ALBANY, BOUND FOR THE FIRST WORLD WAR.

THIS IS THEIR STORY.

The National Anzac Centre is Australia’s foremost museum dedicated to honouring the ANZACs of the First World War.

Follow the real life experience of one of 32 ANZAC characters using multimedia, unique artefacts, rare images and film, and audio commentary.

Albany, Western Australia | www.nationalanzaccentre.com.au nationalanzaccentre.com.au

The Centre for Contemporary Photography & RMIT Culture present

344 Swanston St, Melbourne Curated by Catlin Langford and Metro Auto Photo.

CENTRE FOR CONTEMPORARY PHOTOGRAPHY

rmit.edu.au/rmit-gallery

Book you tickets today

mhm.org.au

IgNite yOur sense Of hUmaNity

Holocaust survivor and artist Sarah Saaroni OAM. Photographed by Simon Shiff. mhm.org.au

‘WHAT LIES BENEATH’, CURATED BY ROBYN BACKEN & JOHN TONKIN. 7 AUGUST - 6 SEPTEMBER

IMAGE: GAIL PR IES T, ‘IN _ LIS T ENING _ IN’, 2024. COUR T ESY T HE AR T IS T.

BEN JOSEPH ANDREWS & EMMA ROBERTS, TULLY ARNOT, ROBYN BACKEN, DENIS BEAUBOIS, GAIL PRIEST AND JOHN TONKIN.

SYDNEY COLLEGE OF THE ARTS, THE UNIVERSITY OF SYDNEY, SYDNEY.EDU.AU/SCA sydney.edu.au/sca

NATURE IN FOCUS 30 AUGUST 2025 – 1 FEBRUARY 2026 South Australian Museum | Open daily 10am – 5pm Bernie Shore, Rifleman Stare (detail). Finalist in the Animals in Nature category.

Principal Sponsor

Production Partner

Prize Sponsor

samuseum.sa.gov.au

BOOK NOW Unlimited free VIP entry for Museum Members

AUTO-PHOTO: A LIFE IN PORTRAITS

ALAN ADLER, KATHERINE GRIFFITHS, MARK HOLSWORTH, CARRIE KENNEDY, KYLE ARCHIE KNIGHT, JULIE MAC, NICKY MAKIN, JESSE MARLOW, BRIAN MEACHAM, RUTH O’LEARY, METRO AUTO PHOTO, PATRICK POUND AND JOSHUA SMITH

CENTRE FOR CONTEMPORARY PHOTOGRAPHY

rmit.edu.au/rmit-gallery

RMIT GALLERY 344 SWANSTON STREET MELBOURNE, VICTORIA

CCP AUSTRALIA CCP.ORG.AU @CCP_ AUSTRALIA

5 JUN - 16 AUG, 2025 TUES-FRI 11AM-5PM SATURDAY 12PM-4PM

RMIT GALLERY RMIT.EDU.AU/RMIT-GALLERY @RMITGALLERIES

CURATED BY CATLIN LANGFORD AND METRO AUTO PHOTO

METRO AUTO PHOTO METROAUTOPHOTO.AU @METRO.AUTO.PHOTO

ARTS FESTIVAL

hota.com.au

FIVE WALLS GALLERY

MAX LAWRENCE WHITE JULY 11 - AUGUST 2, 2025 Lvl 1 / 119 Hopkins St. Footscray, Vic | www.fivewalls.com.au | info@fivewalls.com.au | +613 9043 6704 image: Max Lawrence White, 29, 58, 127, 27, 19, 59, 106, 2024, acrylic and enamel on board, brushed aluminum frame, 60.7cm x 60.7cm x 4cm

fivewalls.com.au

leonardjoel.com.au

A SURVEY OF WORKS 1996 – 2025

JENNIFER MILLS

9 AUGUST – 16 NOVEMBER 2025 BUNJIL PLACE GALLERY

Jennifer Mills & Darcy Luker, 2 Harveys break time 2024, watercolour and pencil on paper, 42.0 x 54.0 cm Courtesy of the artist and Darren Knight Gallery, Sydney

bunjilplace.com.au

Arwin Hidayat, Humans are Greedy, 2024, acrylic on canvas, 80 x 65.5 cm.

Now Representing – Arwin Hidayat ‘It Turns Out I'm Still Breathing’ 29 July—23 August 2025

86 Arthur St, Fortitude Valley Brisbane QLD | mitchellfineartgallery.com | @mitchellfineartgallery | 07 32 54 2297

mitchellfineartgallery.com

marimekko.com

civicartbureau.com

platformarts.org.au

northsite.org.au

LAUNCH / SATURDAY

05

JULY / 4 to 6 PM 05 JULY / 10 AUGUST

JASON WATERHOUSE Slump

STOCKROOM

98 Piper St, Kyneton 0425 769 793 info@stockroom.space www.stockroom.space

xxx, 2025 xxx, stockroom.space

Two-part exhibition of all new Tasmanian work from across the island Exhibition 2 1 Jun - 21 Sep Tasmania Makes is an annual platform in its second year, designed to celebrate and invigorate Tasmania’s rich culture of innovation and craftsmanship across all design disciplines. Known for our thoughtful, resourceful and naturally sustainable way of working, Tasmania boasts an ever-expanding reputation for its reliably good and distinct vernacular design.

For more info

designtas.info/tm25-2

Catalogue and Media enquiries:

artisticdirector@designtasmnia.com.au

Design Tasmania

corner Tamar and Brisbane Streets, Launceston Tasmania

Hours

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

Craig Ashton Travis Bell Geoff Farquhar-Still Benjamin Grieve-Johnson Elliot Hall Sharon O’Donnell Stuart Williams Pictured: Connections, 2025, Huon pine, blackwood, bronze, glass, by Craig Ashton Photo: Ivette Dodd

designtas.info/tm25-2

TASMANIA MAKES 25

THE

ECKERSLEY’S

ART & CRAFT PRIZE 2025 CALL FOR ENTRIES $25,000 IN PRIZES TO BE WON ENTER NOW

ENTRIES CLOSE 31ST JULY

eckersleys.com.au

BURNT INTO MEMORY 7 June - 17 August

HAWKESBURY REGIONAL GALLERY

300 George Street, WINDSOR 2756 (02) 4560 4441 gallery@hawkesbury.nsw.gov.au Weekdays: 10am-4pm & Weekends: 10am-3pm Closed Tuesday & public holidays FREE ENTRY

This project has received grant funding from the Australian Government.

hawkesbury.nsw.gov.au/gallery

QANTAS FOUNDERS MUSEUM 14 JUNE – 15 AUGUST 2025 FREE ENTRY Kaylene Whiskey, Kaylene TV (1), 2020, single-channel video, 1 min. Instagram post for 52 ARTISTS, 22 September 2020.

Courtesy the artist, Iwantja Arts, Indulkana, APY Lands, SA and Artspace, Sydney 52 ACTIONS was curated by Artspace, Sydney. The exhibition is touring nationally with Artspace, Sydney, with support from Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program and is proudly funded by the NSW Government through Create NSW; the City of Sydney; and the Copyright Agency.

qfom.com.au

Bringing together 52 leading Australian artists from across the country to present the diversity, complexity and dynamism of contemporary Australian art now.

Feature Artists: Eddie Abd, Abdul Abdullah, Adrift Lab, Brook Andrew, Aphids, Archie Barry, Nathan Beard, Naomi Blacklock, Diego Bonetto, Pat Brassington, Johnathon World Peace Bush, Rainbow Chan, Erin Coates, Lill Colgan & Sab D’Souza, Michael Cook, Nici Cumpston, Pilar Mata Dupont, Léuli Eshrāghi, Ruha Fifita, Rochelle Haley, Larissa Hjorth, Naomi Hobson, Jannawi Dance Clan, Guo Jian, Karrabing Film Collective, Gillian Kayrooz, Loren Kronemyer, Adam Linder, Dani Marti, Hayley MillarBaker, Raquel Ormella, Ozanam Learning Centre, Henri Papin (Meijers & Walsh), Jason Phu, Patricia Piccinini, Kenny Pittock, Yhonnie Scarce, Sancintya Mohini Simpson, Rolande Souliere, Stelarc, Tyza Stewart, Shahmen Suku / Radha, Seini F Taumoepeau, TV Moore, James Tylor, Unbound Collective, Ivey Wawn, Kaylene Whiskey, Min Wong, Chris Yee, Gutiŋarra Yunupiŋu, and Louise Zhang.

QANTAS FOUNDERS MUSEUM Sir Hudson Fysh Drive, Longreach QLD Phone: 07 4658 3737 www.qfom.com.au

7–9 August Arts Centre Melbourne, Hamer Hall Tchaikovsky’s expressive and virtuosic Violin Concerto and Brahms’ masterful Second Symphony sit alongside a brand new work from Klearhos Murphy.

Tchaikovsky’s Violin Concerto

One of the most beloved, beautiful and expressive violin concertos in the classical repertoire

Book Now mso.com.au mso.com.au

Artwork credit: Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023 (video still).

Sally M Nangala Mulda and Marlene Rubuntja’s tale of resilience and enduring childhood friendship Exhibition runs Saturday 14 June to Sunday 24 August, 2025 466 Peel Street Tamworth 2340 Free admission

P: 02 6767 5248

www.tamworthregionalgallery.com.au

tamworthregionalgallery.com.au

CELEBRATING AUSTRALIA’S

OLDEST INDEPENDENT CONTEMPORARY ART SPACE.

Judith Wright Arts Centre 420 Brunswick Street Fortitude Valley QLD 4006 Meanjin/Brisbane Australia →ima.org.au

ima.org.au

A–Z Exhibitions

Victoria

JULY/AUGUST 2025

This winter discover the Master of Landscape, J.M.W. Turner, and his echoes through Australian art

7 June – 24 August 2025 EXCLUSIVE TO GIPPSLAND ART GALLERY! Tickets on sale through www.gippslandartgallery.com

GOVERNMENT PARTNERS

Gippsland Art Gallery Wellington Centre Port of Sale 70 Foster Street Sale VIC 3850 Phone (03) 5142 3500 gippslandartgallery.com

MAJOR PROJECT PARTNERS

Gippsland Art Gallery is proudly owned and operated by Wellington Shire Council with support from the Victorian Government through Creative Victoria.

INDUSTRY PARTNERS

TOURISM AND LIFESTYLE PARTNER

LOGISTICS PARTNER

DESIGN PARTNER

EDUCATION PARTNER

PRINT PARTNER

gippslandartgallery.com

IMAGE Mandy Martin (Australia 1952–2021) Wanderers in the desert of the real; Snowstorm: Hannibal and his army crossing the Alps, after Turner (detail) 2008 Ochre, pigment and oil on linen 180 x 270cm Collection Western Plains Cultural Centre, Dubbo Gift of the artist, 2021 © The estate of the artist

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ACAE Gallery

of Aboriginal erasure from popular narratives of ski slopes and infrastructure.

www.acaearts.com.au

5 July—17 August Backspace Gallery, 43 Mair Street, Ballarat:

Wurundjeri Country, Australasian Cultural Arts Exchange, 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm.

See our website for latest information.

Daughters of Baba Yaga Chrissy Button

Stieg Persson.

12 June—16 August Black Swans Stieg Persson August—October WORD WORK Rose Nolan

Art Gallery of Ballarat

Local artist, apprentice tattooist and theatre set producer Chrissy Button draws upon her Polish heritage in Daughters of Baba Yaga. In Eastern European folklore, Baba Yaga is a monstrous old woman – she is the witch. In common tropes involving this character, she commands her transfigured herd of 41 daughter-horses to foil the heroprince (a task which proves as treacherous as it is impossible). She beats them and accuses them of disloyalty and self-interest. Button responds to the fairytale’s patriarchal symbolism that serves to monsterise the matriarch.

Her sculpture and collages feature the red thread that not only deflects the evil eye according to Polish superstition but also acts as a bind for repair, control and manipulation.

www.artgalleryofballarat.com.au 40 Lydiard Street North, Wathaurong Country, Ballarat, VIC 3350 [Map 1] 03 5320 5858 See our website for latest information.

Kate Anderson, Fragments and Reflections 4, 2024, acrylic on cotton canvas, 28 x 17 cm.

The Art Gallery of Ballart is closed for interior upgrades, re-opening early 2026.

Art Screen continues in Alfred Deakin Place. Backspace Gallery is now located at 43 Mair Street, Ballarat.

23 August—19 October Backspace Gallery, 43 Mair Street Ballarat:

5 July—26 July Ambiguity Ann Thomson, Hu Qinwu, Kate Anderson, Vicki Grace, Tony Scott.

Multipurpose Brian O’Dwyer

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment.

See our website for latest information.

Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule.

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Woiwurung Country, Melbourne, VIC 3000 [Map 2] Wed to Fri 12noon–5pm, Sat 1pm–5pm.

See our website for latest information.

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Brian O’Dwyer, John, 2024, from the series, Multipurpose, digital photo on paper, 40.7 x 50.7 cm. Courtesy of the artist.

Peter Waples-Crowe, Ngaya (I Am), 2022, (still), single-channel video installation, 5 minutes. With Rhian Hinkley and composer Harry Covill. Commissioned

by ACMI. Courtesy of the artist. © Peter Waples-Crowe.

31 May—1 August Art Screen, Alfred Deakin Place, Ballarat: Ngaya (I Am) Peter Waples-Crowe For Pride Month, the Gallery presents work by Peter Waples-Crowe. A proud Ngarigo man living in Naarm/Melbourne, Waples-Crowe makes art about the intersection of his First Nations and LGBTQI+ identity. First captured in Eugene von Guerard’s 1868 painting, North-east view from the northern top of Mount Kosciusko, Ngarigo Country was transformed in the 20th century by the Snowy Mountains Hydro-Electric Scheme. On top of a camp and humorous grab-bag of art history and archival video, Waples-Crowe inserts his own image as a counterpoint to decades

In association with the 2025 Ballarat International Foto Biennale, local artist Brian O’Dwyer presents his photographic series Multipurpose. Taken in a swimming pool change room, the images are portraits of O’Dwyer’s early morning swimming companions. For the artist, the pool is not only a site for exercise; it has also facilitated friendships between participants and himself. The pool has become a vital part of the attendees’ routines, contributing to their mental health and overall wellbeing.

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

See our website for latest information.

Until 20 July 50 Plus: Celebrating 50 years of Tamworth Regional Gallery’s Fibre Textile Collection

VICTORIA including bark paintings, ḻarrakitj and woven fibre-works. As part of Melbourne Design Week the works feature the ingenuity of functional objects from fish and eel traps through to sacred sea maps.

This exhibition brings innovative design and stories of First Nations people to the surface, celebrating art, culture and design – lived and practised for tens of thousands of years.

Simone Thomson, Marrup Biik - Spirit Land (detail). Photo: Andrew Curtis.

An extraordinary immersive video and sound installation created by local Wurundjeri/Yorta Yorta artist Simone Thomson, Marrup Biik – Spirit Land, travels through a spiritual map of Maroondah exploring Country, Culture and traditional stories. Experience a powerful reimagining and animation of a significant artwork from Maroondah City Council’s art collection. Opens during Reconciliation Week.

Mirka Mora, Doll, 1979, cotton fabric, PLAKA poster paint, acrylic and wool stuffing, 24.5 x 18 x 4cm. © The Artist’s Estate, Ararat Gallery TAMA, Ararat Rural City Council, and MDP Photography & Video.

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

Until 14 September Minatures from the TAMA Collection

Mirdidingkingathi Juwarnda Sally Gabori, Thundi, 2010, synthetic polymer on canvas, 201 x 154 cm.

7 August—10 October On Display: The Story of Artbank

Kait James, Faboriginal, 2024, acrylic yarn, cotton, digital printed cotton, mirror tiles, felt, 150 x 140 x 10 cm.

Photo: Christian Capurro. Courtesy of the artist and Neon Parc.

Until 16 November Kait James: Red Flags

Artbank Melbourne 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.

15 May—18 July Catch: Stories of First Nations fishing from the Artbank Collection Gloreen Campion, Lorna Jin-Gubarrangu, Yvonne Koolmatrie, Manuwa, Jennifer Kemarre Martiniello, Djutjatjutja Munuŋgurr, Marrnyula Munuŋgurr, Dhukumul Waṉambi, Mr W Waṉambi, Kim Wandin, Adrienne Watson, Lisa Waup, Freda Wayartja Ali The Artbank Collection holds many stories of fishing, woven through the collection. This exhibition Catch, showcases selected works of cultural significance

Artbank celebrates our 45th Anniversary in August. To mark the occasion, we have compiled a beautiful book filled with images and client hangs, archival material and essays to tell the story of Artbank from 1980 through to today. To launch the book Artbank Melbourne is hosting an exhibition that brings the pages of the book to life filling the walls with “in real life” masterpieces mentioned in the book.

Drawing from the identity and design of the publication, in conjunction with Artbank’s familiar visible storage model, the exhibition will present an iconoclastic snapshot of the program’s history. It tells a proud story of caring for Australia’s hardest working National Collection and providing 45 years of much needed artist support through timely acquisitions.

ArtSpace at Realm and Maroondah Federation Estate Gallery 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.

Until 20 July Marrup Biik – Spirit Land Simone Thomson ‘This is where our heart is. This is where our spirit lives. This is Spirit Land. Marrup Biik’ - Simone Thomson

Ourania (Rani) Amvrazis, Siren glitch 3a, 2024-25, from the series Siren glitch, metallic pigment ink-jet print, collection of the artist, courtesy of the artist.

21 July—5 September Psychology of Sound Ourania (Rani) Amvrazis Psychology of Sound by Ourania (Rani) Amvrazis, presents immersive, thought provoking and playful works that manifest sound and light into three dimensional forms and bodily encounters.

Amvrazis’ practice draws upon the philosophical traditions of her Greek cultural background and her ongoing interest in science and technology. Her works embed photography, video, light, sculpture, sound, kinetics and performance into large-scale installations that harness the transmission of energy and forces that are often outside the scope of human perception.

21 July—5 September An Alternative Prehistory (Reality Optional) Matt Bisset-Johnson An Alternative Prehistory (Reality Optional)

by Matt Bisset-Johnson presents a selection of acrylic paintings alongside a series of animated short films. The exhibition creates an alternative history, or false palaeontology and a sensory 13 5

artguide.com.au ArtSpace at Realm continued...

Arts Project Australia

experience with an undercurrent of satire and an alternate reality.

www.artsproject.org.au

Like an outdated scientific illustration, the paintings reveal unknown and unlikely creatures. Some paintings act as the background for the animated films.

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.

Artpuff www.artpuff.com.au Dja Dja Wurrung Country, The Mill, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm.

Open public holidays.

See our website for latest information.

Arts Project Australia is a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice.

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.

See our website for latest information.

For 50 years, we have been recognised and celebrated for the quality of the work produced by the artists in our studio which is exhibited in our gallery and around the world and represented in multiple public and private collections.

Megan Cope, The Tide Waits For No One 2020–21, installation view, Embodied Knowledge, QAGOMA, Brisbane, 2022–23. Courtesy the artist and Milani Gallery. Photograph: Natasha Harth.

Jackie Gorring, Rosie, 2025, relief print on canvas, 43 x 66 cm.

27 June—24 August Five Acts of Love Abdul-Rahman Abdullah, Hoda Afshar, Megan Cope, Eugenia Flynn, D Harding, Saodat Ismailova, Ali Tahayori, Larissa Sansour & Soren Lind, Khaled Sabsabi, Yhonnie Scarce, Hossein Valamanesh

24 July—10 August Far Fetch Jackie Gorring

Australian Galleries

Opening celebration Friday 25 July, 5pm–7pm.

www.australiangalleries.com.au

Paul Hodges, Untitled, 2022, pencil on paper.

5 July—9 August Landscape: A Different View Curated by Paul Hodges, Suzie Brown and James McDonald.

Carol Swain, Listening, 2025, oil on canvas, 76.5 x 61 cm.

14 August—31 August Colour Carol Swain and Karima Baadilla Opening celebration Friday 15 August, 5pm–7pm.

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Landscape: A Different View invites you to explore the world through a range of artistic perspectives that reimagine our relationship with place. This group exhibition brings together a diverse collection of works by Arts Project Australia artists that blend the energy of urban life with the calm of rural settings, challenging traditional ideas of landscape. Each artist offers a unique lens, transforming familiar environments into compelling narratives.

From structured cityscapes to organic natural forms, the works reflect the fluid, ever-changing nature of the world around us. Celebrating difference in vision, style, and experience, the exhibition reveals that landscapes are not fixed—they are shaped by how we see and feel them. Together, these works form a shared vision: one that encourages us to look beyond the surface, embrace multiple viewpoints, and discover beauty in all environments.

Opening Saturday 5 July, 3pm–5pm.

28 & 35 Derby Street, Woiwurung Country, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm.

See our website for latest information.

1 July—19 July Peter Churcher

Thornton Walker, The thicket was murmuring, 2025, oil on canvas, 130 x 120 cm.

1 July—19 July Thornton Walker

VICTORIA 29 July—16 August Rodney Forbes

15 August—7 September Noisey Eyes Daniel O’Toole

29 July—16 August Sarah Tomasetti 29 July—16 August Chris Ingham

Bayley Arts

26 August—13 September Sue Anderson

www.bayleyarts.com.au

26 August—13 September Kit Hiller

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.

The Australian Tapestry Workshop produce handwoven tapestries designed by contemporary artists. Our open studio space, bespoke dye lab and galleries are a creative hub for engagement with tapestry, textiles and contemporary art.

Sophie Honess.

Photograph Philip Castleton.

Based on Gomeroi Country, emerging textile artist Sophie Honess creates work rooted in a deep response to her surroundings, uncovering hidden beauty through colour and texture. As a member of Yinarr Maramali, a Gomeroi women’s cultural weaving collective, her practice is grounded in narrative, cultural knowledge, and community.

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

Closed public holidays.

See our website for latest information.

Backwoods Gallery www.backwoods.gallery Level 1, 25 Easey Street, Collingwood, VIC 3066 [Map 3] 03 9041 3606 Thu to Sun 12noon–6pm.

Les Stanley, Turtle, 2025, acrylic on canvas, 60 x 60 cm. Courtesy of the artist.

10 July—25 July NAIDOC 2025: Strength, Resilience, Connection Paintings by Leslie J Stanley, a Wuli Wuli elder and artist from Central West Queensland and Chrissyray Weetra, a young emerging artist of the Warumungu and Arrente tribes. Together, their work weaves tradition with vibrant contemporary expression. Les and Chrissyray form a bridge of time and experience highlighting their strength and resilience that comes from looking forward while staying connected to their land and culture.

Leili Tehrani Walker, Pigdon St, gouache and oil pastel on canvas, 100 x 100 x 3 cm.

Phong Chi Lai in the ATW Residency Studio. Photograph: Marie-Luise Skibbe.

2 June—16 August 2024 Artists in Residence Group Show Jackson McLaren (VIC), Kaimurai (IND), Lisa Reid (VIC), Phong Chi Lai (VIC), Rebecca Diele (VIC), Tammy Gilson (Wadawurrung), Tricky Walsh (TAS).

18 July—10 August In The Shape Another Leili Tehrani Walker

This exhibition brings together a selection of works developed through recent residencies. Some pieces were created during the residency itself, while others emerged later, highlighting the lasting impact of time spent at ATW. Together, they offer a glimpse into diverse artistic practices and reveal the rich potential that unfolds when artists are given the space to research, connect, and experiment.

17 July—20 September Artist in Residence Gallery Sophie Honess (Gamilaroi Yinarr)

Daniel O’Toole, Day’s End, synthetic polymer on poly-cotton, 150 x 150 x 3 cm.

Sophie Williams, Still Life with Shells, 2025, oil pastel and pencil on paper, 42 x 30 cm. Courtesy of the artist.

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artguide.com.au Bayley Arts continued...

9 August—15 August Colourful Creations Sophie Williams The exhibition is inspired by Sophie’s passion for colour and her goal to spread happiness through art. Working mainly with oil pastels and coloured pencils, she carefully renders everyday subjects— flowers, fruit, and familiar objects—with thoughtful precision and care. Among her still life pieces, the artist has included retrospective works that reveal the journey of her artistic development.

Beechworth Contemporary Artspace

and the pencil, charcoal and ceramic drawings that underpin them. Made in the bush over long periods they capture responses to changing light, seasons, viewpoints and sensations.

www.beechworthcontemporary. com.au

13 June—13 July Ntaria and beyond, the Hermannsburg School of Art

89 Ford Street, Beechworth, VIC 3747 [Map 4] 0421 072 098 Fri to Mon 10am–4pm or by appointment.

This exhibition introduces six new Ntaria watercolours that have come into the Benalla Art Gallery Collection; a generous gift by Peter and Wendy Fishley.

Bayside Gallery www.bayside.vic.gov.au/gallery Boonwurrung Country, 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.

George Aristovoulou, Lemon Myrtle, 2016, coloured pencil, pencil on paper, 28 x 38 cm. © Copyright the artist.

Represented by Arts Project Australia, Melbourne.

TARO IIYAMA, Messenger, 2025, recycled cardboard, food packaging, varnish, 78 x 72 x 42 cm. Photograph courtesy the artist.

17 June—27 June Quest TARO IIYAMA TARO IIYAMA creates sculptural forms that are meticulously created by folding and weaving recycled cardboard. Quest invites audiences to experience TARO IIYAMA’S most recent collection of weirdly wonderful works all created in his home studio in Wangaratta, north east Victoria.

Benalla Art Gallery www.benallaartgallery.com.au Schulim Krimper, Cocktail cabinet on stand, c. 1950, black bean, brass and glass. Ballarat Art Gallery. Gift of Lilian and Ralph Renard under the Cultural Gifts Program, 2000.

Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 Wed to Mon 10am–4.30pm, closed Tue.

1 June—31 August Lemon Myrtle George Aristovoulou An emerging artist who works with pencil, ink and gouache on paper. His style exemplifies figurative abstraction, where he carefully segments the picture plane, creating broad linear strips that incorp rate figurative elements.

Brunswick Street 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.

5 July—24 August Schulim Krimper: mid-century artist and master craftsman The work of Schulim Krimper holds a distinctive place within the field of mid-twentieth century Australian furniture design. Creating modern handcrafted timber furniture, he was a skilled craftsman whose European training and knowledge of international traditions and contemporary design developments informed his work. Krimper’s legacy has relevance to the design aesthetics and approaches evident in Bayside’s history of mid-century architecture.

This exhibition presents a range of Krimper’s furniture, including pieces from private collections which have never been shown in public. Curated by Kirsty Grant.

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Mary Tonkin, Ramble, Kalorama, (detail), 2017-19, oil on linen, 180 x 1890 cm.

Photo: Matthew Stanton.

16 May—20 July Rambles Mary Tonkin An exhibition of large immersive paintings

Barbara Mbitjana Moore, Ngayuku Ngura - My Country, Nturiya, 107-25, acrylic on canvas, 121 x 151 cm.

VICTORIA 12 July–27 July Opening Saturday 12 July, 6pm–8pm.

This must be the place Jane Helmers, Vanessa Rowe, Steve Tomlin Growing, Unnoticed Declan Monaghan Punctum Caecum Mici Boxell Tjukurpa Tjina – Desert Tracks Artists of Tjala Arts Winter Light Group Exhibition

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.

The Colour and the Shape of Dangeau Part Deux Justin Lees ‘L’impostore Italiano’ (The Italian Imposter) Nunzio Miano

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

See our website for latest information.

Until 20 July Floribunda

31 July–17 August Opening Friday 1 August, 6pm–8pm.

Sugar Rush Hannah Goggs (Moody Rabbit)

www.bunjilplace.com.au

Grace Cossington Smith, Still life with ranunculi, 1926. National Gallery of Victoria, Melbourne. Gift from the Estate of Brian Myddleton Davis AM, 2022. © Estate of Grace Cossington Smith.

Nunzio Miano, Italian Imposter, 2025, synthetic polymer and UV varnish on canvas, framed in wenge, 79 x 64 cm.

Here Today Ewa Wallis

Bunjil Place Gallery

Kait James, Life’s pretty shitty without a Treaty, (detail), 2020. Image courtesy the artist.

31 May—4 October Taking Back Language Uncle Brian McKinnon, Fiona Foley, Jazz Money, Jenna Lee, Kait James, Karla Dickens, Mia Boe and Peter Waples-Crowe. Curated by Sarah Werkmeister and Katie Ryan.

Floribunda is a major partnership between the National Gallery of Victoria and Bunjil Place. Latin for many-flowering, and a hybrid of ‘flower’ and ‘abundance’, Floribunda is an intoxicating larger-than life mashup of floral imagery, design and motif drawn exclusively from the NGV Collection. Through its ‘Wunderkammer’ style of display, this exhibition celebrates and reimagines the nature and significance of one of Australia’s most important collections.

Veins of Light, Roots of Loss Sarah Blatchford In Flux of Mind Victoria Nguyen 21 August—7 September Opening Friday 22 August, 6pm–8pm.

Intertidal Anna Spencer Echidna Barney Rathnayaka Wide Open Wonder Michelle Harvey Echo in a Maze Ellana Bobenko Fungarium Tracie MacVean Painting facade Philip James Mylecharane

Hootan Heydari, Remembering to Forget, (detail) 2025. Image courtesy the artist 31 May—4 October Remembering to Forget Hootan Heydari 31 May—4 October You, Me and Everything Around Us Sammaneh Pourshafighi

Jennifer Mills, In the echo chamber (double agent - 99/86), 2014. Courtesy of the artist and Darren Knight Gallery, Sydney.

9 August—16 November In the echo chamber Jennifer Mills A major survey exhibition celebrating the career of award-winning Australian artist Jennifer Mills.

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

Rain White’s Bushwalk is a reflective body of work inspired by the therapeutic act of walking through the landscape and the healing power of artmaking.

Through layers of paint, symbols, patterns, and repetition, Rain explores the emotional and physical experience of place. The rhythmic flow of footsteps is echoed in the intuitive compositions, capturing moments of movement, memory, and emotion. This process-based approach embraces spontaneity and risk, allowing the work to evolve naturally.

31 July—24 August WATER Elemental series exhibition: Betsie Genou, Rositsa Hurring, Ryan Abramowitz, Andrea Vargas.

Opening celebration 31 July, 6pm–8pm.

A lifetime spent in the hills informs her deep connection to the forest—a place of growth, renewal, and belonging—where the landscape itself becomes a guide.

Buxton Contemporary www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] See our website for latest information.

Emily Lowe, Hidden in Plain Sight.

19 July—31 August Without Bounds Emily Lowe Without Bounds is a striking body of work that explores the profound significance of nature through a process-driven, organic creative practice, free from limitations or the pressure of outcomes.

Inspired by the beauty and complexity of the natural world, Emily challenges the notion of ‘creative consumption’ by repurposing discarded materials within the traditional medium of acrylic on canvas. Her work transforms waste into vivid depictions of natural phenomena, creating harmony between nature and human impact.

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.

Art collection management services for private and corporate collections.

Beautiful Brighton gallery space available to hire as event space with catering and beverage packages.

26 June—27 July Sculptured 3D works by local artists, featuring Tamar Dolev.

Rain White, Chopped Forest .

19 July—31 August Bushwalk Rain White

Betsie Genou.

Debra Ferry.

28 August—14 September Debut Solo show by Debra Ferry.

Opening celebration 28 August, 6pm–8pm.

From 11 July Summer Small Works Show & Prize 2025 Applications open 11 July to Australian & NZ artists. Theme: ‘Under the Surface’.

Opening celebration & prize announcements Thursday 20 November, 6pm–8pm.

Applications are now open for the 2026 ‘elemental’ and solo exhibition programs, see www.caeleneneeglen.com.au/apply.

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

Open public holidays and by appointment.

John Wolseley, Forest Kingfisher with Symbiotic Moths and Beetles Ed: 20 Variable, 2025, two colour plate etching, 35 x 28.5 cm.

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artguide.com.au Cascade Art Gallery continued...

3 July—31 July Directors Choice Exhibiting painting, printmaking, sculpture and ceramics from the Cascade Art Gallery collection.

Samara Adamson-Pinczewski, Ethereal Rythms, 2024, metallic acrylic, irridescent acrylic, acrylic and molding paste on wood panel, 100 x 90 cm.

26 July—16 August Flying colours Samara Adamson-Pinczewski Jeff Gardner, Butterfly Cloud, 2025, two colour plate etching, 45 x 40 cm.

28 August—31 August 2025 Melbourne Affordable Art Fair See Cascade at the 2025 Melbourne Affordable Art Fair at the Royal Exhibition Buildings. The Romantics - featuring paintings by David Moore and Julie Andrews. Launching new etchings by Jeff Gardner.

Charles Nodrum Gallery

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

Closed public holidays.

See our website for latest information.

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

See our website for latest information.

Savina Hopkins, To hear these options again, press 9, 2024— series, ongoing, scissors, legal tape, bias binding, cord, thread, ribbon, bandages, rags, dimensions variable. © Savina Hopkins.

28 June—20 September End Credits for a Misaligned World Savina Hopkins

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.

Sadie Chandler, Dream House (Pallas), 2023, oil on canvas, 61 x 46 cm.

28 June—19 July House rules Sadie Chandler 142

28 June—2 August Dancing Hands Curated by Maya Hodge (Lardil).

Aunty Patsy Doolan (Barkindji), Amy Hammond (Gamilaroi), Carly Takari Dodd (Kaurna, Narungga, Ngarrindjeri),

Carly Tarkari Dodd (Kaurna, Narungga, Ngarrindjeri), Yalkari, 2024, linen, cotton yarn and polyester fill. Photographer Connor Patterson.

Kyra Mancktelow (Quandamooka, Mardigan), Lyn-Al Young (Gunnai, Wiradjuri, Gunditjmara, Yorta Yorta), Molly Mahoney (Boonwurrung, Wemba Wemba, Barkindji).

Our grandmothers’ grandmothers’ hands tell stories; weaving and sculpting are more than just a practice – they are deeply-embedded traditions that embody resistance as truth-telling, love and joy, all rooted within Country and kinship.

Dancing Hands showcases six Aboriginal women artists at different stages of their careers working across Victoria, New South Wales, Queensland, and South Australia. Maya Hodge is the curator of the 2025 First Peoples-led exhibition.

The First Peoples-led exhibition series is an initiative established by Craft in 2020 to support the development of contemporary First Nations curatorial practice within craft and design.

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

Closed public holidays.

18 June—8 August VENETIAN BIND VENETIAN BIND is an exhibition capturing key elements of an ambitious research project developed by Deakin University for European Cultural Centre in conjunction with the Venice Biennale. Featuring the creationof six interconnected artworks by teams of Deakin researchers and HDR candidates produced in situ across 2024, this project is curated by David Cross and Cameron Bishop from the Public Exchange Bureau with a

VICTORIA Paddy Bedford, Emily Kam Kngwarray, Patrick Tjungurrayi, Gordon Bennett, Lin Onus, Daniel Boyd and Carlene West, among many others.

Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au Bernardo Bellotto, The Campo di SS. Giovanni e Paolo, Venice, 1743/1747 oil on canvas. Image in the public domain, Courtesy National Gallery of Art, Washington. Adapted by Cameron Bishop, 2024. Promotional image only provided by Curators of the Venetian Bind exhibition. specific focus on the ecology and cultures of Venice, the lagoon it sits in, and the islands that surround it. Cross and Bishop asked each group of researchers to respond to a unique ‘bind’, a provocation set in six specific Venetian locations.

These experiences, ranging from encounters with local experts to hands-on workshops, fostered creativity and collaboration manifested in public performances and a series of artefacts and videos first exhibited in the Palazzo Mora and reinvented for Deakin University Art Gallery.

Bendigo Visitor Centre, 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–4.30pm, except Christmas Day. Djaa Djuwima meaning to 'show, share Country’ in Dja Dja Wurrung language is a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods.

D’Lan Contemporary

Pearl Ring #8 in 18ct Yellow Gold featuring a baroque, one-of-a-kind South Sea Pearl by Laura Eyles. design to collectors worldwide. At e.g.etal each piece is unique, but each is alike: carefully conceived, beautifully crafted and sincerely passed on.

East Gippsland Art Gallery www.eastgippslandartgallery.org.au GunaiKurnai Country, 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 1] 03 5153 1988 Tue to Fri 10am–4pm, Sat 10am–2pm, closed public holidays. Free admission.

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

4 April—September Dhelk Djakitj Dhelk Djakitj means nourishing food and the stunning exhibition artworks are inspired by bush tucker – the food, the people, Country, and stories that bring them together. This exhibition showcases First Nations bush tucker and the UNESCO City & Region of Gastronomy. Artists have created artworks to reflect their diverse experience and personal connections to bush tucker and Gastronomy through traditional and contemporary art forms.

e.g.etal www.egetal.com.au

Patrick Tjungurrayi, c. 1935–2017, Wagutu & Kuningka Dreaming at the Site of Ngaru, 2007, synthetic polymer paint on linen, 244 x 183 cm.

7 May—3 July SIGNIFICANT An international exhibition of Australian First Nations art featuring major works

by Mick Namarari Tjapaltjarri, Uta Uta Tjangala, Bill Whiskey, Rover Thomas,

Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 150 Little Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 5111 Mon to Sat, 10am–5pm. e.g.etal is a Melbourne gallery that represents and supports Australia’s thriving contemporary jewellery design movement. Celebrating 25 years as a Victorian icon, e.g.etal maintains a passionate commitment to contemporary jewellery, bringing world-class jewellery

Luke Mongta, In the Blood (Genetics), acrylic on canvas.

20 June—2 August South East NOW 2025 Bradley Brown, Leann J Edwards, Dr. Aunty Eileen Harrison, Ian Harrison, Derek Hayes Jnr, Alfie Hudson, Chris Mongta, Luke Mongta, Adrian Morgan, Jennifer Mullett, Shane O’Shanassy, Alice Ann Pepper, Ronald Edwards Pepper, Patricia Pittman, Alan Solomon, Ray Thomas, Colin Thomas.

East Gippsland Art Gallery and Gunaikurnai Land and Waters Aboriginal Corporation proudly present South East NOW 2025 A collaborative exhibition across two venues, showcasing the work of seventeen outstanding artists. Join us in celebrating creativity, culture, and community. Entry is free to both venues and everyone is welcome.

Two opening events: 5.30pm Friday 20 June at East Gippsland Art Gallery and 11am Saturday 21 June at Gunaikurnai Land and Waters Aboriginal Corporation.

FREE. All welcome.

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VICTORIA

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

See our website for latest information.

Ballarat, VIC 3350 [Map 1] 03 5327 8615 See website for days/hours open.

27 June—18 July Benchmark25 Undergraduate Visual Arts Ballarat’s Arts Academy presents new work by Visual Arts students from the Bachelor of Visual Arts in this important annual exhibition, showcasing fresh new ideas and approaches to painting, textiles, ceramics, sculpture, drawing and printmaking.

Exclusive to Australia, the Ballarat International Foto Biennale presents ENNINFUL x MAPPLETHORPE, a selection of 46 original silver gelatin prints by acclaimed photographer Robert Mapplethorpe. Curated by Ghanaianborn British editor and stylist Edward Enninful OBE, the exhibition, with works presented in pairs, invites visitors to experience some of Mapplethorpe’s best-known photographs.

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

Amanda Jane Gabori, Dibirdibidi Scales, 2019, acrylic on linen, 60 x 135 cm.

6 July—28 July Kaiadilt Dulka Dulkawanlne (Bentick People’s Country: Bentick Island) Amanda Jane Gabori Dibirdibi In partnership with Mornington Island Art. In this solo exhibition, Amanda Jane Gabori Dibirdibi, youngest daughter of famous artist Sally Gabori, expresses her deep love of and connection to her Bentick Island homeland in multi-hued paintings that feature the Island’s unique rock formations and sea life.

26 June—16 August Everywhen Elsewhere Frankston Arts Centre ReGeneration; innovation within tradition An exhibition featuring the intergenerational nature of First Nations art from Central Australia, the Kimberley, Queensland and Arnhem Land. The exhibition is presented in recognition to the 50th anniversary of NAIDOC week and its 2025 theme - The Next Generation: Strength, Vision & Legacy. Foyer, Frankston Art Centre, 27-37 Davey Street, Frankston, Vic 3199. All works for sale. artscentre.frankston.vic.gov.au and online at everywhenart.com.au

Lauren Matthews, Home Sweet Home, 2022,cotton, embroidery floss, inkjet ink, embroidery hoop 30cm diam. Courtesy of the artist.

26 July—16 August Survival Memories Lauren Matthews Lauren Matthews embraces the rich history and tenacity of textiles to create samplers, patchwork, quilts and banners, in a heartbreaking but empowering body of work. A window into Matthew’s childhood experiences as an incest victim-survivor, the artist examines how textiles can be a vehicle for remembering, memorialising and agitating, combining the softness of textiles with a feminist ferocity, to allow her to reconnect with the little girl and honour her survival. Lauren Matthews is supported by an Australian Government Research Training Program (RTP) Stipend and RTP Fee-Offset Scholarship through Federation University Australia.

A fundraising exhibition of paintings and 3D works by established and rising star First Nations artists from around Australia held in partnership with the Xavier College Student Committee for Indigenous Affairs. 20 % of sales to Djirra - Aboriginal Women’s Service - preventing and addressing family violence in a cultural safe and supportive space. Eldon Hogan Performing Art Centre, Xavier College, 135 Barkers Road, Kew and online at everywhenart.com.au

4 July—9 August Gemini Christina May Carey & Aaron Christopher Rees

15 August—30 August 2025 Majlis Travelling Fellowship

Federation University Post Office Gallery Wadawurrung and Dja Dja Wurrung Country, Post Office Gallery, Camp Street campus, Cnr Sturt & Lydiard Street Nth,

Christina May Carey and Aaron Christopher Rees, Ooscopia, 2025, silver gelatine print on fibre paper, Xanthophylls extract “Yolk” dye.

Gemini is the first collaborative exhibition

by Melbourne based artists Christina May Carey & Aaron Christopher Rees.

Drawing on the archetypal symbolism of the ‘twin’, this project explores the artists’ personal histories within the context of more universal experiences. This new body of video and photographs considers the cosmological duality associated with ‘twins’ and its relationship with processes of exchange and interaction.

21 August—13 September Everywhen Elsewhere Xavier College Synergy 2025

www.federation.edu.au/pogallery

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.

See our website for latest information.

Robert Mapplethorpe, Embrace,1982.

Copyright © Robert Mapplethorpe Foundation. Used by permission.

23 August—19 October ENNINFUL x MAPPLETHORPE Ballarat International Foto Biennale

The Majlis Travelling Fellowship is open to third (final) year VCA Art students at the Faculty of Fine Arts and Music. A travelling scholarship of $15,000 is awarded to the winning student that will allow them to travel overseas at the conclusion of their undergraduate studies. This keenly anticipated exhibition, which provides a snapshot of student activity within VCA Art, presents the works of all shortlisted students. The winner will be announced at the Opening.

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

gallerysmith.com.au

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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.

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.

See our website for latest information.

Keisuke Matsuura, Jiba pek16, 2020, magnet, acrylic on canvas, 63 x 53 x 5 cm. Photograph: Aaron Martin.

Gina Kalabishis, The Arrival, 2025, (detail), oil on linen, 336.5 x 152.5 cm.

17 June—5 July Les Chemins du Dēsir: Pathways of Desire Gina Kalabishis 17 June—5 July Body Talk Michael Simms

Kim Anderson, This Mess We’re In, (detail), ink, charcoal and pastel, 78 x 36 cm.

8 July—24 July While the World Looks Away: Art in the Shadow of Climate Apathy Group exhibition featuring new works

by FLG artists Kim Anderson, Margaret Ackland, Michael Gromm, Chelsea Gustafsson, Rebecca Hastings, Kathrin Longhurst, Annika Romeyn, Melinda Schawel, Christine Willcocks and guest artists Jane DuRand and Tracey Deep.

29 July—23 August Exploration 25 This year sees 48 past exhibitors returning to help celebrating 25 years of our emerging artists exhibition and award program.

Max Lawrence White, 29, 58, 127, 27, 19, 59, 106, 2024, acrylic and enamel on board, brushed aluminium frame, 60.7 x 60.7 x 4cm. Photograph by Chris Bowes.

11 July—2 August A challenge of biases Max Lawrence White A challenge of biases presents a body of new work that uses chance to dictate the creation of new paintings. In this collection the artist explores the possibilities of palette and composition through taking decision out of their hands. 210 colours from the artist’s studio were numbered then fed into a random sequence generator. The generator was programmed to select combinations of seven numbers at random, the correlating colours of which became the palette of each work.

A single composition was used for each painting, made up of two rectangles and five squares enclosed within a square structure. This structure brings balance and order to the otherwise chaotic colour palette. By allowing randomness to dictate the selection of colours, each painting becomes a blend of unexpected hues, inviting viewers to contemplate the interaction of colour. Through this innovative approach, the artist seeks to challenge their creativity and biases and invite viewers to engage with the unpredictable nature of colour. Each painting is a unique expression of the intersection between chance and design that is open to interpretation from the viewer.

inaugural participation in Spring 1883 Art Fair, taking place from August 13–16 at the historic Hotel Windsor on Spring Street, Melbourne. This marks a significant milestone for the gallery as we join a vibrant community of contemporary art spaces and independent galleries from across Australia and beyond. Spring 1883 offers a unique platform to present curated exhibitions in the intimate setting of a hotel room, encouraging meaningful dialogue between artists, collectors, curators, and audiences. For our debut presentation, Five Walls will present a focused selection of works by represented and affiliated artists whose practices reflect the gallery’s commitment to minimalism and conceptually driven practice.

The presentation will include painting, and sculptural works that engage with space, perception, and the interplay between form and idea.

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.

See our website for latest information.

10 May—19 July Undercurrent Lori Hakim

11 July—2 August It Is What It Is Julian Goddard and Sarah Robson

Contemporary jeweller, Lori Hakim, explores the transformative power of craft to reclaim and repurpose waste. In response to the overwhelming abundance of materials discarded along the pristine coastlines of Port Phillip Bay/Bunurong Country, Undercurrent explores the transformative power of craft to reclaim.

11 July—2 August Hott Flushe Mitchel Brennan

10 May—26 July Lovers and misfits Peter Milne

13 August—16 August The Hotel Windsor: Spring 1883

Lovers and misfits is an exhibition of portraits by Peter Milne taken during the formative years of his artistic practice.

Five Walls is proud to announce our

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their process are highlighted alongside their artwork. Main Prize: $1000 and the opportunity to have a solo exhibition and opening event in one of Frankston Arts Centre’s gallery spaces in 2025.

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

24 June—5 July 79 BANKSIAS Aenie Leckey 8 July—19 July Emerging Artist Award 2025 Presented by fortyfivedownstairs.

Peter Milne, Nick Cave, Boys next door gig, Swinburne, 1977, pigment ink-jet print 30 x 20 cm. Courtesy of the artist and M.33 (Melbourne).

Milne first began taking photographs of his friends, family, and the Melbourne punk scene in the 1970s and over the subsequent decades captured a flow of figures including Nick Cave, Anita Lane, Rowland S Howard, and Polly Borland.

A Museum of Australian Photography (MAPh) Touring Exhibition.

19 August—30 August Going Places Fiona O’Byrne

Gallerysmith www.gallerysmith.com.au 40 Porter Street, Prahran, VIC 3181 [Map 6] 03 9008 4592 Tue to Fri, 11am–5pm, Sat, 10am–5pm.

See our website for latest information.

19 June—12 July land, soil, story Lee Salomone Against the Tide Wilma Tabacco Chance and Choice Lee Salomone

22 July—2 August Ætheria Gary Smith 22 July—2 August Chrysalis + Aberrations Dawn Allmark and Michaela Sandberg

Dena Kahan, Hunting and Collecting #1, 2025, oil on linen, 107 x 87 cm. Narelle Wilson photography.

17 July—9 August Collecting Dena Kahan

Katherine Nakamarra, Tjintjintjin, 2023, acrylic on linen, 122 x 122 cm. Courtesy the artist and Papunya Tula Artists.

26 June—16 August ReGeneration: innovation within tradition Everywhen Art

Susan Watson Knight, Birdsong Seven, 2021, limited edition pigment p print on archival rag paper, 113.5 cm x 85 cm.

5 August—30 August colour.field.echo Amanda Johnson, Michele Burder and Susan Watson Knight.

An exhibition featuring the intergenerational nature of First Nations art from Central Australia, the Kimberley, Queensland and Arnhem Land. The exhibition is presented in homage to the 50th anniversary of NAIDOC week and its 2025 theme - The Next Generation: Strength, Vision & Legacy.

Jim Pavlidis, oil on linen, 30 x 35 cm.

17 July—9 August A Life in Storeys Jim Pavlidis

31 July—29 August An exhibition For Art’s Sake!

FAC Open Exhibition 2025 A range of visual mediums in a group exhibition that will explore and share inspiring stories of creativity. Stories of why artists create or what inspires them and

Fiona O’Byrne, Platform 4, 2025, oil on linen, 30 x 45 cm.

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Geelong Gallery

24 July—24 August Sandbelt Harlinah Teoh

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

Gippsland Art Gallery www.gippslandartgallery.com

Ardi Gunawan, luckily there’s no inside (brick muppet filth face anxiety ladder. emotion traffic reenactment Jakarta body), 2011, four day performance and unplanned documentation

by Mimmo Cozzolino. Image courtesy and © the artist.

Janenne Eaton, R E E F 2015, enamel, vinyl decals, mirror, polymer clay on canvas, Geelong Gallery, Gift of the artist, 2019, © the artist, Photographer: Mark Ashkanasy

nat&ali, Foster Berean, Kate Smith, Alex Vivian, Joshua Petherick, James Deutsher and LAC, Christopher LG Hill, Ash Kilmartin, Danielle Freakley, Hoddle (Caeylen Norris), Debra Kunda, Aaron Rees and Holly Childs.

23 August—12 October Gertrude Contemporary: Bureaucracy of Feelings Curated by Diego Ramírez.

24 May—17 August Lines of Sight—Frame and Horizon Janenne Eaton Janenne Eaton is an eminent Australian artist whose work is critically engaged with some of the most pressing humanitarian and cultural debates shaping our lives today. Eaton’s paintings and installations explore environmental, historical, and political concerns, and the impact of a globalised, digital ecology on the individual, on communities, and on Nature. Eaton’s powerful images contemplate some of the intangible complexities of the human condition and incorporate some of the key signifiers of our consumer-led, information-obsessed society to make searingly critical commentary on how we live and human beings’ changing relationship to time, space, and place. Geelong Gallery is delighted to present the first major survey of Janenne Eaton’s extraordinary practice, through works spanning more than four decades.

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 12pm–5pm.

See our website for latest information.

21 June—10 August Gertrude Contemporary: Of Stadiums and Construction Sites (Ne change rien pour que tout soit différent), a project by Lisa Radford Ardi Gunawan, A Constructed World,

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.

J.M.W. Turner (England 1775–1851), High Force, Fall of the Tees, Yorkshire, 1816, watercolour and scraping out on paper, 28.3 x 40.3cm. Collection Art Gallery of New South Wales, Sydney.

Purchased, 1947. Image © Art Gallery of New South Wales.

7 June–24 August Turner & Australia

Arini Byng, How to Just Be, 2025, performance documentation, Performance Review presents Performing Care, 2025.

Performers: Jacob Coppedge, Peta Duncan, and Amaara Raheem. Photo: Machiko Abe. Courtesy of the artist and Performance Review.

6 June—12 July Gertrude Glasshouse: How we breathe Arini Byng

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.

18 July—23 August Nathan Beard

Glen Eira City Council Gallery 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.

Until 20 July 30th Annual B’nai B’rith Jewish Youth Art exhibition Until 20 July The New House Christina Heristanidis 24 July—24 August Glen Eira Artists Society exhibition

Now showing until November 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.

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Heide Museum of Modern Art

to queer histories. Kaleidoscope is about celebrating, remembering, representing, learning and connecting through art. This exhibition is supported by the generosity of its Major Partner, the Wimmera Pride Project, and the Dimboola Imaginarium.

Major lender: National Gallery of Victoria.

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.

15 March—31 August Albert Tucker: Spirit Worlds and Dreamscapes 29 March—5 October Izabela Pluta: Lumina

Hyphen — Wodonga Library Gallery Glenn England, Seed Bank #2, 2025, stoneware clay, 30 x 15.5 x 7 cm.

1 August—31 August Encircle Kate Gorman and Glenn England

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

Horsham Regional Art Gallery www.horshamtownhall.com.au

Trevor Nickolls, Brush with the Lore, 2010, Art Gallery of South Australia, acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art, supported by BHP 2018.

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.

5 April—20 July Blak In-Justice: Incarceration and Resilience 26 July—15 November Grace Wood: A Garden is A Mother

Marco Luccio, The Struggle, 2023, charcoal drawing on postcards, 156 x 113 cm.

Amos Gerbhardt, Family Portrait from the series Small acts of resistance, (detail), 2020, archival inkjet pigment print.

Courtesy of artist.

31 May—21 September Kaleidoscope Man Ray, Eye and Tears, 1930s; printed 1972, gelatin silver photograph, National Gallery of Victoria, Melbourne © Man Ray Trust. ADAGP/Copyright Agency, 2025.

6 August—9 November Man Ray and Max Dupain

The Hive Gallery 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.

27 June—27 July Grain Jane Haussegger, Lucas Guilbert, Jake Lunniss

Queer culture is a kaleidoscope; ever changing with endless possibilities contained within the human experience. Kaleidoscope is an exhibition that explores the idea of queerness in its many forms. It embraces, celebrates and emphasizes the differences and experiences that have shaped the lives of those within this community from varied and diverse perspectives. Each artwork reflects life through a queer lens, and approaches the ideas explored in this exhibition as an expression of identity, desire and representation. From contemporary love to the darker side of social movements that changed lives, queer history is an active process that is ever evolving, and this exhibition aims to give agency to the subjects and their experiences. Many of the works in this exhibition are by artists who identify as queer; some are by artists who lived in times when such identification was not possible; and some works are not by queer artists but have a connection

24 May—17 August Myth, Mayhem and Metropolis Marco Luccio

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm.

See our website for latest information.

M. Paul Friedberg, Riis Park Plaza, Jacob Riis Houses, New York City, 1965. Photograph: Anon. Modern Records Centre and the Lady Allen of Hurtwood papers.

University of Warwick, Coventry UK. Courtesy The Playground Project.

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JON CATTAPAN 5 JULY 2025 - 2 AUGUST 2025 STATION I MELBOURNE

— GADIGAL / SYDNEY 91 CAMPBELL STREET SURRY HILLS NEW SOUTH WALES 2010 AUSTRALIA P: +61 2 9055 4688 NAARM / MELBOURNE 9 ELLIS STREET SOUTH YARRA VICTORIA 3141 AUSTRALIA P: +61 3 9826 2470 — POST@STATIONGALLERY.COM STATIONGALLERY.COM

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VICTORIA Incinerator Gallery continued...

28 June—12 October The Playground Project Melbourne The Playground Project Melbourne, curated by Gabriela Burkhalter, celebrates the history, imagination and possibility of 100 years of playground design. This blockbuster travelling exhibition is presented at Incinerator Gallery with new and pioneering contributions by local and international artists and designers, including Mary Featherston and Emily Floyd, Edwina Green, Simon Terrill and Assemble. Three playgrounds and a new playable public artwork welcome visitors to an interactive and immersive exploration of creativity, play, and social interaction at Melbourne’s leading north-west contemporary art and design space. Exhibition design by BoardGrove Architects. Produced by Incinerator Gallery. Project Partner: Kunsthalle Zürich. Major Partner: Jellis Craig | Jellis Craig Foundation. Education Partner: Monash University | MADA. Kids go free! For tickets and more info: playgroundproject.com.au

Ivanhoe Library & Cultural Hub

at TACAS reclaim and reuse discarded textiles and found objects. Most of the artworks and products that they create uses household and industrial waste, as well as natural materials. They challenge themselves to find new ways to use what others discard. This exhibition is a celebration of TACAS’ 10th Anniversary. Opening night: Thursday 17 July, 6pm–8pm 24 June—13 July Mungga Artist Studios: Thou Art Mum – Artist Collective Artist-in-residence.

17 July—10 August Mungga Artist Studios: TACAS (Textile Art Community Art Space) Artist-in-residence.

David Palliser, Sink In, 2025, oil on canvas, 122 x 138 cm.

Islamic Museum of Australia

14 August—20 September Optical Symmetry David Palliser

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

www.banyule.vic.gov.au/ILCH

Eli van Engelen, Untitled, 2024, graphite on canvas, 121 x 183 cm.

Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222

13 August—16 August Spring 1883 Eli van Engelen, Alex Hamilton, Petra Kleinherne, Henry Miles, David Milne

Australian Muslim Artists 2025.

15 August—8 November Australian Muslim Artists 2025

Robert Fielding, Ngapartji-Ngapartji, 2018, from the Banyule Art Collection.

9 July—3 August First Nations Art In celebration of NAIDOC 2025, this exhibition showcases some amazing artworks by Australian First Nations artists, from the Banyule Art Collection.

19 June—13 July Still TAM Thou Art Mum Join us in taking a closer look at the everyday. An exhibition that explores the still life. Thou Art Mum (TAM) is a group of female artists who come together to make art and support each other among the busyness of being mothers.

Still TAM expresses their take on still life in a busy world.

17 July—10 August Gathering of Loved Ones TACAS (Textile Art Community Art Space) Textile Art Community Art Space (TACAS) is a not-for-profit incorporated community membership organisation, based in Heidelberg West. The artists and makers

Alex Hamilton

This exhibition is an annual shortlisted showcase of contemporary works by Muslim-Australian artists. Featuring diverse approaches to both visual and Islamic art forms, the exhibition celebrates the rich cultural heritage, creative innovation, and multifaceted identities of Muslim artists today.

Jacob Hoerner Galleries

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

Closed on Jewish & public holidays.

www.jacobhoernergalleries.com First Floor, Pleysier Perkins, 89 Wellington St, St Kilda VIC 3182 [Map 6] 0412 243 818 Thu to Sat, 11pm–5pm, and by appointment.

3 July—9 August AAA - Art, Architecture & Aesthetics Eli van Engelen, Hannah Goldstein, Alex Hamilton, Petra Kleinherne, John Lennox, Henry Miles, David Milne, Monique Morter, David Palliser, Katya Petetskaya, Mike Portley, Andrew Sibley, Benedict Sibley, Jasmine Skutela & Gillian Warden 14 August—20 September Crumples are Half Box Half Door Allison Zuckerman, Day of Rest, 2024.15 5

LCAD30 Bion Balding Saraid Banahan Katie Banakh Matt Benjamin Martina Copley Gleb Donskikh Merrin Eirth Neil Goodridge Melanie Irwin Beth Kowald Michael Mark Liam Meijborg Elsie Preston Jackie Ralph Penny Walker-Keefe

Celebrating 30 years of art & design.

Exhibition opening Friday 29th August 4 - 6pm Gallery open 1st - 12th September, Mon - Thurs 10 - 4 Latrobe College of Art & Design 138 Cromwell St Collingwood VIC 3065 www.lcad.edu.au

@latrobecollege

lcad.edu.au

EXHIBITIONS | TALKS | EVENTS

Whistlewood, 642 Tucks Road, Shoreham, Vic 3916

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everywhenart.com.au

VICTORIA Jewish Museum of Australia continued...

1 May—27 July Chutzpah: Spirit. Recollection. Self Nina Sanadze, Ori Gersht, Inbal Nissim, Elinor Sahm, Hedy Ritterman, Stephania Windholz Leigh, Joel Mesler, Allison Zuckermann, Jordy Kerwick, Navot Miller.

Mark Raphael Baker, Paris, France, 1987.

1 April—6 July The Things You Cannot See: Photography of Mark Raphael Baker

Kelli Lundberg Art www.kellilundberg.art 545 Mornington-Tyabb Road, Moorooduc, 3933 VIC [Map 1] Mon 10am–4pm, Tues closed, Weds to Sat 10am–4pm, Sun 11am–3pm.

See our website for latest information.

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

See our website for latest information.

Maree Clarke, The Long Journey Home 9, 2024, digital print on photographic paper.

13 June—26 July Generations: connections to Country Maree Clarke, Mitch Mahoney, Jarra Karalinar Steel, Kylie Clarke, Molly Mahoney and Kerri Clarke 13 June—26 July Tidal Volume Series Jarra Karalinar Steel

Sat and Sun 12noon–5pm, Mon by appointment.

22 January–20 July Much like cooking a meal Biannual façade commission Renee Cosgrave and Merryn Lloyd.

22 May–10 August Unbecoming James Barth, Neve Curnow, Alicia Frankovich, Matthew Harris, Yvette James, Callum McGrath and Keemon Williams Guest curated by Tim Riley Walsh.

20 August—9 November Healing: Art & Institutional Care Fayen d’Evie, Carol Dobson, Jenny Hickinbotham, Helen Johnson, Alecia Neo, Finnegan Shannon and Lukaza Branfman-Verissimo, and Grace Wood.

Curators: Amelia Wallin and Jacina Leong.

23 July—25 January 2026 Elyas Alavi & Fazil Mousavi

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.

Jayne McSwiney, Turn the Light on, 2025, Starlink internet installed in an abandoned house, Wi-Fi network: “Carlo Acutis”.

4 July—16 August Lost and Found Jayne McSwiney

La Trobe Art Institute Debbie Mackenzie, Lead Me Home, 2025, acrylic on canvas, 150 x 150 cm.

2 July—10 August Revelations in Solitude Debbie Mackenzie

Fu Hong, Golden Tree, 2025, oil on plywood, 70 x 84 cm.

www.latrobe.edu.au/art-institute 121 View Street, Djadjawurung Country, Bendigo, VIC 3550 [Map 8] 03 5444 7272 Tue to Fri, 10am–5pm,

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.

Fu Hong, The Twilight of Autumn, 2025, oil on canvas, 122 x 122 cm.

Finnegan Shannon and Sam Peterson, Do you want us here or not, 2023.

Courtesy of the artists.

Showing in July Luminous Season Fu Hong 157

artguide.com.au

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

See our website for latest information.

Linden New Art

Liminal Gallery + Lab

www.lindenarts.org

www.liminalgalleryandlab.com

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.

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

Latrobe Regional Gallery presents an exciting program of contemporary art for our region and visitors to enjoy. Latrobe Regional Gallery is one of the largest public galleries in eastern Victoria, with seven gallery spaces and a changing exhibition program that offers a blend of unique local perspectives, curated exhibitions of note and artworks from our collection.

5 July—19 October Equilibrium: Works from the LRG Collection Levana LaBelle, Black Water Divide.

28 June—19 July Artistic Fusion Levana LaBelle and Sharryn Jenkinson.

Lane Cormick, Untitled, 2019.

Photograph: Ruben Bull-Milne.

30 May—24 August Lane Cormick: Smoking will never die but you will Rona Green, Cola Nights, 2022, hand coloured linocut 26 July—16 August All things animal: from the observed to the imagined Paul Compton, Miranda Costa, Vanessa Esau, Kevin Foley, Jill Green, Rona Green, Michelle Merrifield, Cathy Ronalds and Heather Shimmen.

Bridget Hillebrand, Into the Deep, (detail), 2025, linocut, silverleaf on washi paper and organza.

5 July—28 September Into the Deep Bridget Hillebrand 21 June—21 September STRAIGHTCUT: LRG Collection Photography

30 August—27 September Liminal Art Prize Open Submissions

McClelland Sculpture Park + Gallery www.mcclelland.org.au

Iryna McMillan, Aurora with Venus and STEVE during Moonrise, Sale, digital photograph. Sale Camera Club.

Merryn Trevethan, Dislocation City, 2023. Courtesy of the artist.

21 June—21 September Gippsland Interclub Photography Exhibition

17 July—17 August Dislocated Daydream Merryn Trevethan

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Bunurong Country, 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm.

5 July—27 July Blowing In A New Era: Three Generations, One Family Blowing In A New Era: Three Generations, One Family tells the story of a renowned studio glass family. In this milestone exhibition at McClelland Sculpture Park + Gallery, the Gordon Studio Glassblowers

VICTORIA A new solo exhibition by visual artist Katrin Koenning intimately explores connection and belonging through a deeply personal and immersive constellation of images drawn from the artist’s archive across time and space.

Mailbox Art Space Eileen Gordon, Red Spikey Seed Pod. Photograph by Kevin Gordon. presents three generations of practice, infinite patience, and unique work to the world of art. This exhibition celebrates seven family members of engravers and glassblowers, their works proving glass continues to play an important role within the modern artisan practice.

Williamson, Matt Blue, Jasmine Crisp, Hamish Fleming, Rhys Cousins, Dani McKenzie, Joshua de Gruchy, Martin Claydon, Fiona Davey, Daniel McAuley, Hugh Burry, Harry Bayston, Grace Stevenson, Indiana Williams, Tania Babic, Tim Wilson, Symone Ishak and Ruby LI. We are thrilled to announce the selection of 21 talented artists as finalists for the inaugural Lennox St Gallery Art Award.

The winner of the first Lennox St Gallery Art Award will be revealed on Saturday, 5 July, from 2pm–4pm at the gallery.

We would be delighted if you could join us for the announcement and celebration.

Manningham Art Gallery

www.@mailboxartspace 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.

Mary Cherry Gallery www.marycherry.com.au 126 Rupert Steet, Collingwood, VIC 3066 [Map 3] Thur to Sat 12noon– 5pm, or by appointment.

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

Benjamin Armstrong, Leichhardt’s Arrival, 2018, linocut, dye, ink, coloured pigment, iridescent pigment, 76.5 x 57 cm. McClelland Collection.

9 August—2 November Eternal Oblivion death and the afterlife

Manningham Art Gallery presents an eclectic and innovative yearly exhibition program, workshops and events committed to supporting local and regional artists, as well as touring shows from across Australia.

What happens after we die? Eternal Oblivion is a thought-provoking journey that peers into the unknown—where Heaven, Hell, and The Void collide.

Inspired by Annie May McClelland’s legacy and the McClelland collection, this exhibition dares you to confront death and experience the afterlife through an artistic lens.

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

See our website for latest information.

www.lennoxst.gallery

Until 13 July Woven narratives Badger Bates, Clair Bates, Lorraine Connelly-Northey, Yvonne Koolmatrie, Glenda Nicholls, Julie Gough, Robin Lee Bates, Joanne Egan, Laree Hills, Roxanne Hills, Daniel Hills, Allen David Jackson, Sian Harris, Craig Charles, Peter Peterson

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

Finalists: Alexander Dowthwaite, Rhys Parkinson, Jenny Cui, Geordie Gem

September Null is Not an Object Jen Valender

Mildura Arts Centre

Lennox St. Gallery

2 July—2 August Lennox St Gallery Art Award 2025

Jen Valender, Null is not an object.

Katrin Koenning, seaside jiggle, 2022, archival pigment print, 40 x 30 cm.

Image courtesy of the artist.

13 August—18 October Mirrors Katrin Koenning

Woven Narratives brings together works from the Mildura Arts Centre Collection

by First Nations artists who explore weaving in all its forms—both as a hands-on practice and a way of telling stories.

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A space for art CY Courtyard CY Venue CY Space

bookings + enquiries collingwoodyards.org/venues enquiries@collingwoodyards.org

collingwoodyards.org/venues

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VICTORIA Mildura Arts Centre continued...

Australian photographs and continue to provide access to the collection for our community beyond our museum exhibitions.

The exhibition looks at how stories, culture, and connection are woven through materials and memory. These artists use tradition in thoughtful ways to speak to history, place, and identity. Woven Narratives invites you to follow the threads— literal and symbolic—that hold powerful meaning across generations.

Mandy Collins, Ilparpa evening, 2019, watercolour and salt on paper.

Ian Alderman, #Flanders 6950, 2018, digital photographic print on archival paper.

Until 13 July Recovering the Past Ian Alderman Recovering the Past is a unique photographic exhibition by London based artist Ian Alderman. This exhibition brings together two separate groups of men with origins a century apart, united through conflict. The first group is the men of the Australian Imperial Force (AIF) who fought in Flanders in some of the worst battles of The Great War. The second group is the Belgian men who continue the ongoing bomb disposal efforts on the same former battlefields today. Inspired by Australian artistic and cultural icons, photographer Frank Hurley and artist Will Longstaff, this ground-breaking exhibition is a philosophical exploration of consequences of human conflict; of legacies that persist long after the guns fall silent.

parts of the communities. Both are drawn to landscapes that possess natural power and a unique beauty. Their travels become even more meaningful as they create art in the regions they explore, fully immersing themselves in the landscapes and closely observing the local wildlife.

Both artists use a variety of mediums to create their works, adapting to different environments and challenges. Working directly on-site from their subjects is a vital aspect of their artistic process, providing both inspiration and motivation.

Their deep connection to the places they portray is evident in their work.

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.

Until 27 July A Love Language Jackie Foster A Love Language, a solo exhibition by local artist Jacklyn Foster, explores the deep connections forged through food, cooking, and shared meals. Through vibrant still life works, Jacklyn celebrates the kitchen and dining rooms as a place of love, tradition, shared moments and storytelling. Inspired by familiar dishes, the use of food in a celebratory sense, the exhibition highlights the act of cooking for others as an expression of care, experimentation, and connection. A Love Language invites viewers to reflect on how food can preserve memories, and bring people together, acknowledging the rituals that turn meals into meaningful connections.

Until 27 July Life and Place Mandy Collins | John Turner Mandy Collins and John Turner’s work primarily stems from places that hold significant meaning to them—places where they have lived, worked, and been integral

Sandy Edwards, Feminist Filmworkers Conference Minto, 1979, gelatin silver photograph, courtesy of the artist.

7 June—31 August Protest is a creative act By facilitating a conversation between women artists across the decades, Protest is a creative act confirms that many of the issues addressed by women photographers in the 1970s – around the body, sexuality, race, national identity and the environment – have not since been resolved. Collectively, the historical and contemporary works in the exhibition show the good that can come from working together to advocate and agitate for change. Featuring Destiny Deacon, Janina Green, Siri Hayes, Jemima Wyman, Rosemary Laing, Prue Stent & Honey Long, among many others. Curated by Kelly Gellatly and Angela Connor.

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.

Nusra Latif Qureshi, DID YOU COME HERE TO FIND HISTORY?, 2009, (detail).

Courtesy of the artist and Sutton Gallery.

26 July—21 September Nusra Latif Qureshi: The House of Irredeemable Objects

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.

MAPh is the proud custodian of over 3,860

Claude Monet,1840–1926, Grainstack (snow effect), 1891, oil on canvas, 65.4 x 92.4 cm. Museum of Fine Arts, Boston Gift of Miss Aimée and Miss Rosamond Lamb in memory of Mr.and Mrs. Horatio Appleton Lamb Photography © Museum of Fine Arts, Boston. All Rights Reserved 6 June—5 October French Impressionism from the Museum of Fine Arts, Boston 6 June—5 October Plans for the Planet: Olaf Breuning for Kids

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VICTORIA National Gallery of Victoria continued...

Installation view of The Colour of Memory: Sally Gabori Artist Room on display in Wurrdha Marra, The Ian Potter Centre: NGV Australia, 12 April – September 2025.

Now open Bark Salon

One Star Gallery Uchikake Kosode with windy seashore and fishing scene, late 18th century, crepe silk, paste resist dyeing, embroidery, 166 cm (centre back) 123 cm (cuff to cuff). National Gallery of Victoria, Melbourne, Purchased with funds donated by Janet Whiting and Phil Lukies, 2024.

4 June—4 October Kimono

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.

See our website for latest information.

13 November—20 July 2024 NGV Architecture Commission: Home Truth by Breathe

Tiffany Titshall, Fire Burn and Cauldron Bubble, 2025. and dark humour, four artists reunite— not just as former printmakers, but as women shaped by living. Ate Hours + 32 Years is a powerful reflection on so-called “women’s business,” identity, and the enduring force of creative will.

OTOMYS www.otomys.com 424 Malvern Road, Prahran, VIC 3181 [Map 6] Tue to Fri 10am–5pm. info@otomys.com

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.

1 November—20 July Cats & Dogs 14 March—20 July Top Arts 2025

Installation view of Martin Grant on display from 28 March 2025–26 January 2026 at The Ian Potter Centre: NGV Australia, Melbourne. Photo: Sean Fennessy.

28 March—26 January 2026 Martin Grant Now open Wurrdha Marra

Miles Standish Morgen and Liberty, 2010.

3 July—13 July Where The Perfect are Lonely Miles Standish A poignant and profoundly loving reflection on friendship, family and the fragile, beautifully flawed, poetry of human relationships. Comprising 40 portraits made over nearly 50 years, this body of work invites a meditation upon love and loss, sorrow and joy: the imperfect beauty of life.

17 July—27 July Christian Marsden with Evan Flux and Ben Walsh A stimulating triple exhibition with artworks of meticulously collaged reflective materials together with sound design and abstract paintings.

31 July—17 August Ate Hours + 32 Years Tiffany Titshall, Georgie Green, Joelle Mayberry, Sue-Anne Mccarthy

Frances van Hasselt, Moonlight Sleeping on a Rusted Lake, hand-woven mohair, 1.24 x 1.33 m.

7 August—25 August Liminal Layers of Light Frances van Hasselt, Jenny Lundgren and Caroline Collom Liminal Layers of Light explores the ephemeral spaces where light meets form, tracing delicate thresholds between visibility and obscurity. Presented as a trilogy, the exhibition brings together three distinct artists — Frances van Hasselt (South Africa), Jenny Lundgren (Sweden), and Caroline Collom (Australia).

Through a convergence of textile works and paintings, Liminal Layers of Light offers a nuanced, interwoven study of

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BRIDGET HILLEBRAND

INTO THE DEEP

5 July – 28 September 2025 138 Commercial Road, Morwell Open Daily: 10am - 4pm latroberegionalgallery.com @latroberegionalgallery IMAGE: Bridget Hillebrand, Into the Deep (detail), 2025, linocut, silverleaf on washi paper and organza.

LRG is thrilled to present a major new solo exhibition by acclaimed Victorian artist Bridget Hillebrand, inspired by the coastal waters of Southern Victoria.

Into the Deep is a new large-scale installation informed by Hillebrand’s ongoing concern for ecological shifts occurring beneath the ocean’s surface. In an age of hyper-visibility, the deep ocean is resistant to our usual ways of seeing, with more than 80% of our oceans yet to be mapped, explored or even seen by humans. Into the Deep invites viewers to wade into an intimate meditation on the transience and fragility of our deepest waters, accompanied by a soundscape evoking the depths of the underwater realm. Dr Bridget Hillebrand is an interdisciplinary artist based in Naarm/Melbourne whose practice intertwines art, science and environmental consciousness. This spectacular immersive installation is not to be missed.

latroberegionalgallery.com

VICTORIA OTOMYS continued... transitional states and the spaces light inhabits and leaves behind.

7 June—4 July Tabula Rasa Godwin Bradbeer Godwin Bradbeer lived in Broadmeadows from 1955 to 1964, and in 2010, he revisited his former primary school, discovering it abandoned and vandalised before its demolition. Amid the ruins, he uncovered 145 old blackboards - fragments of the past. These chalkboards, each marked with traces of history and memory, have become symbols of beauty, minimalism, and authenticity. They explore themes of authorship, anonymity, and the passage of time. Many of the blackboards remain as they were found, serving as tools for memory, reflection, and imagination, while others have been altered with words, verses, and illustrations.

These works were completed on a daily basis throughout my first year as a mother. I set out on the project of making this work for two reasons: To maintain a core and important part of ‘self’ during my emergence into motherhood; being an artist at a time I when much of my identity is being dissolved and reformed. I wanted to make sure that there was a small amount of time for me and my practice each and every day, to help me cope with the demands of being a new mother.

Secondly, to document my first year as a mother, and my son’s first year of life on this planet. Opening night 21 August , 5.30 pm–7.30pm.

Inga Dalrymple, Soft Collapse, oil on canvas, 50 x 40 cm.

4 September—19 September Zarah Cassim, Greg Penn and Inga Dalrymple This exhibition unites three artists whose work spans sculpture and painting.

Greg Penn (Australia) explores consciousness through organic materials in his sculptures, while Inga Dalrymple (Australia) captures fleeting impressions of place and experience in her paintings.

Zarah Cassim (South Africa) examines the fluid boundaries between reality and illusion in her work. Their distinct yet interconnected practices share a vibrant playfulness, inviting a layered dialogue across mediums.

Parallel Projects www.@parallelprojects.au 138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.

Helvi Apted.

19 July—16 August Floating Lines Helvi Apted, Irene Barberis, Megan Evans, Anna Farago, Britt Salt, Louise Saxton, Shannon Slee, Jacqui Stockdale Floating Lines brings together a diverse group of artists working with textiles in contemporary practice. Through fabric, thread and form, the exhibition explores the interplay between material, process and narrative, offering a rich reflection on the conceptual and tactile possibilities of textile art today. Highlights include a collaborative, interactive installation inviting visitor participation, and artist talks scheduled for 1pm on 16 August.

PG Gallery www.pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm.

Godwin Bradbeer, Tabula Rosa (hand), Blackboard and mixed media.

Tabitha Hocking , excerpt from 365 Days, 9 x 10cm circles, acrylic, watercolour, ink, fineliner, colour pencil, mixed media, 2024–25.

19 August—30 August 365: Becoming Tabitha Hocking

Silvi Glattauer, The Weight of Memory, Photogravure with second plate rolled colour, Edition of 3, 2025, 76 x 56 cm.

19 August—30 August Feature Artist Silvi Glattauer These images are not travel shots, and they are not snapshots. They resist the postcard view and the fleeting capture.

Instead, they are fragments drawn from places I have travelled to, some many times over. I use my camera but not for documentation, but rather as means of reflection, and as way to interpret imagined geographies, layered time, and quiet stories that linger beneath the surface.

These are crafted images, made not to represent a single moment, but to evoke many. Each one is composed in sections that suggest the fragmented nature of perception and recollection.This series is printed entirely using the photopolymer photogravure process, a technique that allows for rich tonal depth, subtle textures, and hand-crafted nuance. Printed at Baldessin Press & Studio in St Andrews, Victoria, each print is part of a limited edition of three.

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126 Rupert st, Collingwood VIC

www.marycherry.com.au marycherry.com.au

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VICTORIA

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.

Our artistic program is underpinned by a rigorous artist development framework that incorporates arts laboratories, residencies, mentorship, professional development and artist-led training.

Banks recent exhibitions at NGV, Gertrude Contemporary, Centre for Contemporary Photography, and Cementa Festival. The free opening event runs from 4pm–6pm on Saturday 2 August. Platform Arts is a contemporary arts space supported by the City of Greater Geelong, Creative Victoria, and Creative Australia.

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. project8 is a contemporary art space in Melbourne’s CBD committed to expanding aesthetic languages of speculative poetic and material innovation through curated exhibitions and related events.

Installation view of 65,000 Years: A Short History of Australian Art, Potter Museum of Art, the University of Melbourne, 2025. Including items from the Donald Thomson Collection. Gift of Mrs Dorita Thomson, 1973. At rear items from the collection of Museums Victoria.

Photography by Christian Capurro.

30 May—22 November 65,000 Years: A Short History of Australian Art Curated by Associate Provost and Distinguished Professor Marcia Langton AO, Senior Curator Judith Ryan AM, and Associate Curator Shanysa McConville.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 WINTER RECESS July and August.

RACV Goldfields Resort www.racv.com.au/art

Georgia Banks, Villain Edit, photo by Giulia McGauran.

2 August—26 September Villain Edit Georgia Banks Over five years, Georgia Banks has rigorously delved into the world of Reality TV and AI, exploring ideas of death, fame and legacy, fearlessly provoking viewers to critically engage with the ineffable ways these mediums shape and influence identities, relationships, and the zeitgeist of our nation more broadly. Villain Edit brings together key works by Banks into a firsttime survey exhibition with a major new performance commission and premiere of Death Warmed Up on Friday 19th and Saturday 20th of September. The video work A Four Letter Word (2020) portrays a dramatic reenactment of Bank’s interview with executive producers of a popular reality TV dating show. Remains to be Seen (2021 –) explores death and legacy in the age of public personas through a competition in which the artist’s corpse is the prize. DataBaes (2022–23), commissioned by NGV for Melbourne Now, sees Banks developing an AI chatbot called Gee, using data from auditioning for reality TV shows. Villain Edit offers audiences the opportunity to experience Banks’ remarkable and ambitious works together for the first time, connecting to

Veronika Hauer, Mint Melting Mouth, (2022), plaster casting, acrylic varnish.

Photo: Thomas Raggam.

Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

2 August—13 September Ritual Eternal Curated by Cūrā8 (Kim Donaldson and Sean Lowry), featuring Veronika Hauer and Katie Lee, Alicia King, Fu Xiaodong, Karina Utomo, Treahna Hamm, Lai Yin, Mao Chenyu, Noriko Nakamura, Sorcha McKenzie and Tristan Liao.

Ritual Eternal brings together artists whose practices engage with ways of knowing, perceiving and experiencing the world that sit outside prevalent cultural language systems and epistemologies.

Drawing from diverse traditions—sacred, secular, ancestral and subcultural— the works in this exhibition seek to expand conceptions of ritual, transcendence, and the limits of familiar forms of transmission.

Potter Museum of Art www.potter-museum.unimelb. edu.au Cnr Swanston Street and Masson Road, Parkville, VIC 3052 [Map 5] Tues to Sat, 11am–5pm.

See our website for latest information.

Jessie Rose Ford, Moods of the Swamp, 2021, acrylic on card, 22 x 34 cm.

Courtesy of the artist.

7 June—17 August ArtHouse, RACV Goldfields Resort: The Studio is Everywhere Jessie Rose Ford 167

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VICTORIA 5 June—16 August Auto-Photo: A Life in Portraits Curated by Catlin Langford and Metro Auto Photo

RACV Goldfields Resort continued...

Jessie Rose Ford explores highly detailed botanicals and gestural oil and acrylic paintings of the Australian landscape, highlighting the intrinsic beauty of the world around us. Drawing inspiration from the garden, a studio setting, a bushwalk, travel and conversations with friends, for Ford the studio isn’t confined to four walls—it’s everywhere.

From 23 August Ballarat International Foto Biennale

RMIT Design Hub Gallery

Image courtesy of Nguyễn Ngọc Thảo.

Photograph: Tobias Titz. tên tôi (my name) is a community-driven project that embraces and celebrates ethnic names through bead-making workshops and participatory installations.

Roberson Art 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.

Through maintaining photobooths across Melbourne/Narrm since 1972, Alan Adler produced an archive of over a thousand self-portraits and contributed to the photography of over a million people. Witness Adler’s extensive archive, and discover the history of photobooths, their cultural significance, and the individuals who use and preserve Adler’s photobooths today. Auto-Photo: A Life in Portraits is a Centre of Contemporary Photography (CCP) exhibition, presented in partnership with RMIT Culture.

www.RobersonArtGallery.com.au

Phuong Nguyen Le, Vở ô ly #13, 2024.

Image courtesy of the artist.

43 Bridge Road, Richmond VIC 3121 [Map 6] 0417 863 147 Mon and Tues by appointment, Wed to Fri 10am–4pm, Sat and Sun 10am–6pm.

26 August—19 September Sensory Clay Vở ô ly Phuong Le Unnatured Xinshuo Zhou

RMIT Gallery www.rmit.edu.au/rmit-gallery

Paula Mahoney, Jump on through (to the other side), 2021. Image courtesy of the artist.

24 July—20 September The Mourning After Larissa Hjorth

Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 5] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

Robyn Roberson, Flame in the Current, 2024, acrylic on canvas, 55 x 55cm.

The Mourning After seeks to explore how we can connect, enhance kinship and create hope in response to the overwhelming sense of permacrisis we face in our daily lives. It seeks to uncover and make sense of different mourning rituals and practices, to form a constellation of grieving moments.

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.

See our website for latest information.

15 July—10 August tên tôi (my name) On-site with Nguyễn Ngọc Thảo

Art in Motion Colours in Harmony, installation.

31 May—31 August Art in Motion Colours in Harmony Exhibition features over 50 framed acrylic on canvas abstract artworks. Curated by David Disher.

Image courtesy of Alan Adler and Metro Auto Photo (Christopher Sutherland and Jessie Norman).

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Shepparton Art Museum www.sheppartonartmuseum.com.au Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Weekdays 10am–4pm, Weekends 10am–4pm, closed Tue.

Brett Whiteley, Self portrait in the studio, 1976, Art Gallery of New South Wales, purchased 1977 © Wendy Whiteley.

28 June—5 October Brett Whiteley: Inside the Studio Bringing together works from the collections of Art Gallery New South Wales and Brett Whiteley Studio to shed light on Whiteley’s lively studio practice.

5 April—16 March 2026 Swamp Drawing Kerrie Poliness

5 July—10 August Shadows Grown Talitha Kennedy

Shivers Gallery

5 July—10 August Subtle Grounds: Among Heidi Kwong

www.864shivers.com Wurundjeri Woi-wurrung Country, 864 Sydney Road, Brunswick VIC 3056 [Map 3] 0474 010 207 Weds to Mon, 11am–6pm.

Rasim Aslan, Urban Malfunctions No. 1, 2024, digital photograph.

17 July—15 August The Third Space Şafak Gürboğa, Felat Erkozan, Ayşe Nur Cakir, Handan Tufan, Rasim Aslan

Heidi Kwong, Subtle Grounds: Among, installation view. Photography by Janelle Low. 16 August—21 September Paul White Honor Freeman Jade Power

The Third Space presents the work of five artists living between Australia and Europe, who have been forced to leave Kurdistan and Turkey through migration, displacement, or asylum. Their artistic practices have been shaped—and continue to evolve—through the crossing of not only physical but also cultural and emotional borders, marked by experiences of memory, identity, and belonging.

Sullivan+Strumpf Naarm/Melbourne

Stockroom Kyneton

19 June—26 July Winter curation

www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

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. Closed Tue & Wed Vipoo Srivilasa, Deity of Home & Comfort, 2016. Photo: Shepparton Art Museum. © the artist.

5 July—10 August Slump Jason Waterhouse

3 May—12 October Flower Bears Vipoo Srivilasa 22 March—24 August More than this Belinda Fox 19 March—12 October Magic Mountains Emmet O’Dwyer From 28 June Repetition Gosia Wlodarczak 5 July—2 November SAM Open 2025

Talitha Kennedy, Shadows Grown (Vie, Stroke, Titillate), 2025, leather, thread, polyester fibre, wire, lead.Photograph by Darren Tanny Tan.

Joanna Lamb, 21 June, 12:06pm, 2025, acrylic on superfine polyester, 153.5 x 110 cm.

31 July—30 August Looked over, overlooked Joanna Lamb 171

artguide.com.au

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.

Tolarno Galleries

this pioneering Australian artist and his influential school.

www.tolarnogalleries.com

Featuring: A M E Bale, Clarice Beckett, Colin Colahan, Archie and Amalie Colquhoun, Polly Hurry, John Farmer, Alma Figuerola, Justus Jorgensen, William Frater, Carl Hampel, Percy Leason, Max Meldrum, Jim Minogue, Arnold Shore and others.

Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

9 March—20 July TarraWarra Biennial 2025: We Are Eagles

Rose Nolan, To Keep Going Breathing Helps (circle work), 2016-2017, Installation view MCA, Sydney. Courtesy of the artist and Anna Schwartz Gallery, Melbourne.

9 August—9 November Rose Nolan: Breathing Helps Curated by Dr Victoria Lynn. A bold solo exhibition by Rose Nolan featuring largescale installations and new commissions responding to TarraWarra’s architecture.

With a striking red-and-white palette, the show includes performances by Shelley Lasica and highlights Nolan’s spatial, sculptural, and performative practice.

The Torch

Tim Maguire, Untitled 20250102, 2025, acrylic on canvas, 60 x 60 cm.

28 June—26 July Tim Maguire 2 August—30 August Liam Fleming

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.

www.thetorch.org.au 146 Elgin St Carlton VIC 3053 Mon to Fri, 1pm–5pm, Sat 11am–3pm.

See our website for latest information.

Geoff Cunningham, Social Creatures, 2022, acrylic and aerosol on canvas, 60 x 60 cm. Image courtesy of the artist.

18 June—26 July Impressions of Place: Melbourne & Victorian Artists Inc Impressions of Place is a community exhibition showcasing the creative talents of Boroondara-based members of Melbourne and Victorian Artists Inc (MAVA).

25 June—9 August Hidden Boroondara: Boroondara Photography Competition Explore the winning entries of the 2025 Boroondara Photography Competition.

Budding photographers of all ages and abilities submitted photographs from the past and present, capturing the surprising, secret and lesser known aspects of buildings, natural environments, and people in Boroondara.

VAS Gallery I 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.

Future Dreaming 2024 installation view, The Torch Gallery, Carlton. Photograph: James Henry.

24 October—22 November Future Dreaming Featuring 250 paintings by First Nations Artists incarcerated in Victorian prisons in 2025. Each artwork is 30 x 30 cm and affordably priced with 100% of the artwork sales going directly to the artists.

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A M E Bale, Pompon Dahlias, c. 1936, oil on canvas, 56 x 46 cm. Image courtesy of the John and Peter Perry Collection.

7 May—27 July Australian Tonalism: A selection from the John and Peter Perry Collection Discover the artistic legacy of Max Meldrum (1875–1955) in this exhibition showcasing the lifelong dedication of John and Peter Perry to collecting works by

Gwendoline Krumins, The Tarkine, Tasmania, winner 2024.

VICTORIA 2 July–3 August VAS 9x5 Exhibition 2025 A homage to the original 1889 9x5 Impressionism Exhibitions, of small works painted on cigar box lids. Reintroduced to VAS in 2023, this historically important exhibition is one of the most popular events of the VAS calendar, attracting hundreds of entries from artists around Victoria and beyond.

experience when painting no matter what the subject.

www.wangarattaartgallery.com.au

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] Tue to Fri 12noon–4pm.

See our website for latest information.

Atong Atem, Three Women, 2019, Ilford smooth pearl print. Image courtesy of MARS and the artist.

Marketa Kemp, Mzee.

2 July—13 July VAS Portrait Exhibition 2025 This annual exhibition, featuring the Nada Hunter Portraiture Award, celebrates portraiture in all genres.

6 July, 11am-4pm Portrait Painters in Action Open Day This free event offers visitors insight into the diverse ways artists capture their sitters, showcasing their individual styles with mediums including oil, acrylic, pastel, and watercolour.

17 July—3 August VAS Winter Select Exhibition 2025 The second of our three annual Select Exhibitions, this exhibition will showcase exceptional works from Victorian Artists Society members.

20 August—31 August VAS Edward Heffernan Drawing Exhibition 2025 On display will be beautiful drawing works from a diverse range of artists. Supported through a bequest from the estate of his wife Maree Elizabeth Heffernan, this exhibition is named for Edward Heffernan, a past president of VAS. 6 August—17 August AGRA Annual Exhibition The Australian Guild of Realist Artists (AGRA) was formed by artists to promote education and excellence in all forms of realist art.

20 August–31 August & 2 September–7 September Gregory R Smith Solo Exhibition Gregory R. Smith VAS FVAS presents his 44th solo exhibition, featuring some 120 works including both landscape and still life. All he displays is an attempt to convey a little of the essence of his visual

Wangaratta Art Gallery

24 June—27 September HOME 25: Invisible Cities Vernon Ah Kee, Alee Afzali, Barat Ali Batoor, Rushdi Anwar, Atong Atem, Belinda Farinaccia, Carla Gottgens, Emily Jacir, Soyoun Kim, Karo Moret Miranda, Kent Morris, Adrian Olguin, Maroulla Radisavic, Hayden Ryan, Joseph (Yugi) Williams (Tennant Creek Brio) and Ka Yan So.

56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

24 May—17 August Wangaratta Contemporary Textile Award 2025 The Wangaratta Contemporary Textile Award celebrates the diversity and strength of Australian textile art. Now in its ninth iteration, the $40,000 acquisitive award was initially established to mark Wangaratta’s long and prominent history of textile manufacturing and craft making.

In furthering this unique tradition and social history the award celebrates and strengthens the development of contemporary textile practice in Australia.

Selected from over 430 entries Australia wide, the 2025 exhibition showcases work by 10 finalists who not only demonstrate a mastery of technique in a broad textile medium, but demonstrate innovation and excellence alongside a rigorous and robust conceptual practice. A Kyamba Foundation Project.

Explore the sites, sounds and stories of Invisible Cities, rediscover Dandenong and savour local flavours.

HOME 25: Invisible Cities takes place across the streets and sites of Dandenong, showcasing works of 16 refugee, assylum seeker, First Nations and migrant artists. Located in the most multicultural city in Australia, the roving exhibition will be uniquely presented across multiple venues spanning several blocks throughout central Dandenong, such as the cultural precinct (Walker Street Gallery and Arts Centre, the Drum Theatre, Heritage Hill Museum and Historic Gardens), public spaces and the Dandenong Market.

This approach mirrors the rationale of HOME, which tells a shared story through a multiplicity of perspectives.

Experience HOME 25: Invisible Cities through an intuitive exploration of artworks and sites over 14 weeks of a multi-sensory interactive exhibition.

Revisiting HOME 25 in a diverse urban environment will reward a different exhibition experience each time. As artwork and geography, personal memory, and ‘psychogeographical’ interpretation of paintings, sculptures, site-specific experimental, and multimedia and sound installations are explored, you will uncover more layers of the Invisible Cities.

Visit an exhibition featuring stories of displacement, belonging, connection to place and Country.

Fiona Currey-Billyard, The Procure, 2023, rust, linen, 180 x 30cm.

7 June—20 July Night Talk Fiona Currey-Billyard Night Talk continues Sydney based artist, Fiona Currey-Billyard’s explorations into the nature of memory and the capacity of materials to capture the resonance of historical, cultural and natural events. This new body of work explores the circadian rhythms of natural environments and the retained memories of locations personally familiar and significant to the artist from her childhood in Papua New Guinea and regional Australia to her travels as an adult across Europe and Australia.

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SPIDER WITH THE GLASS LEGS

TAMARA HENDERSON 24 MAY – 26 OCTOBER PROUDLY SUPPORTED BY

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VICTORIA Wangaratta Art Gallery continued...

Working across textiles, sculpture, installation and sound, Currey-Billyard combines her studio practice with research and experimentation using physical materials drawn from specific locations including nails, staples, hair and tobacco combined with textiles and paper.

of their careers to a broader public. A Museum of Contemporary Art Australia and Museums & Galleries of NSW touring exhibition curated by Talia Smith. This project has been assisted by the Australian Government’s Visions of Australia program.

Nikki Lam, the unshakable destiny_2101, 2021, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, 16mm film transferred to digital video, 2K, colour, sound, image courtesy and © the artist, photograph: Zan Wimberley.

23 August—19 October Primavera: Young Australian Artists The MCA Australia’s annual exhibition for artists aged 35 years and under, presents work by six early-career artists who challenge society’s prescribed structures to deliver compelling alternatives to the status quo. Each artist, drawing on their lived experiences, reckons with the perils of history, education, culture and language to question authoritative structures and systems.

2 August—19 October Alexandra Peters Curated by Micky Schubert

West Space www.westspace.org.au

Barbara Pritchard, Across the foothills, 2023, mixed media on 350gsm paper, 76 x 55 cm.

13 June—10 September Untamed Barbara Pritchard

Wurundjeri Country, Level 1 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

Barbara Pritchard works from her studio set amongst bushland on Dhuduroa, Jiatmatang country, in the Snowy Mountain region of Victoria. At the core of her four-decade long practice is a connection to the wild, rugged, and untamed nature of the Australian bush. Working primarily with pen, ink, wash and mixed media she is drawn to the immediacy and seductive quality of line and mark making to capture the essence of the landscape.

Following an interest in Chinese Sumi-e painting where each ink stoke aims to convey the spiritual and emotional essence of the subject, Pritchard prioritises contrast and harmony in technique and concept.

Warrnambool Art Gallery www.thewag.com.au Gunditjmara, Eastern Maar, Maar Nation, 26 Liebig Street, Warrnambool, VIC 3280 [Map 1] 03 5559 4949 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm.

5 October 2024—19 October Strong Spirit Merindah-Gunya 29 March—2 November Considering the Collection Warrnambool Art Gallery Permanent Collection.

Curated by Sydney based artist and curator Talia Smith, Primavera features artists Tiyan Baker (NSW), Christopher Bassi (QLD), Moorina Bonini (VIC), Nikki Lam (VIC), Sarah Poulgrain (QLD), and Truc Truong (SA), who investigate themes of protest, reimagining, and perseverance.

Since its inception in 1992, Primavera has played an influential role in the development of contemporary art in Australia, introducing the work and ideas of a generation of artists at an early stage

23 May—26 October Spider with the Glass Legs Tamara Henderson Curated by Micky Schubert.

26 July—14 September Us Gillian Bencke Newcastle based artist Gillian Bencke’s work re-imagines commonly collected items - ephemera, keepsakes, heirlooms from personal and institutional collections through a textile-based practice. Interested in how individuals and communities collect, preserve and exhibit artefacts, her work examines how we, as a society, define and reinforce culture and assign value and meaning to material objects. Working across sculpture and installation, Bencke’s practice involves unmaking objects and then making them anew adding details of embroidery and applique, focussing on the different ways that certain objects become emblematic, iconic and elevated from their original function and former use.

4 April—20 July kiki Anna Varendorff Curated by Micky Schubert.

Installation view Tamara Henderson Spider with the Glass Legs, 2025, The Warrnambool Art Gallery, photography David Keating

Katie West, The women plucked the star pickets from the ground and turned them into wana (digging sticks), installation view, 2023. The National 4:Australian Art Now, Carriageworks, Sydney.

5 July—30 August West Space Commission Katie West West Space is proud to premiere the culmination of Katie West’s National Regional Arts Fellowship as part of our Commission series. A Yindjibarndi artist on NoongarBallardong Country in Western Australia, West’s practice is defined by experiments in a‘custodial ethic’, grounded in the understanding that the health of human society and Country mirror one another.

Realised across textiles, photography, an installation of found objects, weaving, and sound transmitted through radio this new project examines the entanglement of industry and Aboriginal kinships through the artists’ position as a Stolen Generations descendant, reconnecting with Country and practicing custodianship through creative practice.

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GEMINI Christina May Carey Aaron Christopher Rees

Fiona + Sidney Myer Gallery 4 July — 9 August 40 Dodds St Southbank finearts-music.unimelb.edu.au

VICTORIA West Space continued...

artistic technology, centering on the ways that water forms boundaries of culture and politics. Cooper’s Window will look to bring oceanic knowledge from the field of science ‘ashore’, quantifying the ‘invisible’ for human comprehension through material research. The resulting sculptural work will highlight current oceanic concerns, to make sense of our rapidly changing environmental context.

Whitehorse Artspace www.creativewhitehorse.vic.gov. au/venues/artspace Wurundjeri Woi-wurrung Country, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

11 July—30 August Annemieke Mein: Nature Revealed Edwina Cooper. Photography by Rosina Possingham.

12 July—16 August West Space Window Edwina Cooper In this exhibition Edwina Cooper presents new work in the West Space Window across July and August. Cooper’s practice is driven by environmental science and

Annemieke Mein OAM is famed for her exquisitely made and incredibly detailed textile art that represents Australian fauna and flora. Poetic and imaginative yet created with empirical accuracy, her investigations into the microcosmic world of insects and often overlooked aspects of nature have cemented Annemieke Mein’s place as one of Australia’s most popular artists.

Annemieke Mein, The Recycled Hopper, 2019, textile. Whitehorse Art Collection.

Nature Revealed features a selection of works generously loaned from the Gippsland Art Gallery in Sale, which holds the most comprehensive public collection of Annemieke Mein’s extraordinary art.

Works from the artist’s private collection are also included. Mein’s iconic threedimensional textiles, preparatory drawings, samplers, and showcases reveal the artist’s in-depth creative process.

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A–Z Exhibitions

New South Wales

JULY/AUGUST 2025

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

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.

Artbank Sydney www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm, or by appointment for all leasing requirements. .

the work in the Artbank Collection and particularly shone new light on some of our early collecting from Maningrida. Featured Artists will include: Samson Bonson, England Banggala, Elyssa Cameron, Jack Kala Kala, Aileena Lamanga, Jack Nawilil, Irenie Ngalinba Jimmy Njiminjuma.

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.

10 May–17 August Archibald, Wynne and Sulman Prizes 2025 Australia’s must-see art event, showcasing portraiture, landscape and subject painting.

significant moments in Yirrkala’s history when artists have consciously altered their practice, developed new styles or embraced new mediums.

Until 11 January 2026 High Colour High Colour is an immersive exploration of local and global Indigenous perspectives on colour.

Art Leven (formerly Cooee Art) www.artleven.com Gadigal Land, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

See our website for latest information.

David Brown Jangala, Yumari, 2024, natural ochre and pigments on canvas, 60 x 60 cm.

5 July—26 July Ngurra Ngayunku (My Home) David Brown Jangala

Maranbado, Rain Dreaming, c. 1979, natural earth pigments on bark, 67 x 113 cm.

3 July—10 August Artbank Window Gallery: barlmarrk: wind, breath, pulse, power.

Works from Maningrida and surrounding homelands. Curated by Derek Carter and Alison Cooper.

Derek Carter and Alison Cooper, arts workers and cultural liaison officers at Maningrida Arts, have researched the holding of Maningrida and surrounding homelands in the Artbank Collection.

They have brought together an exhibition that highlights the most important and culturally significant works in collection.

Representing, painting, fibre art and lorrokon, the exhibition draws together various family lines and accounts for the richness of culture at Maningrida. Held in conjunction with the National Indigenous Art Fair, it is an opportunity for Carter and Cooper to share Maningrida Art with other Indigenous communities and the Sydney audience at large. The exhibition also provided invaluable insights around

N Marawili, Lightning, 2017. Art Gallery of New South Wales. Purchased with funds provided by the Wendy Barron Bequest 2017. © Estate of N Marawili. Image © Art Gallery of New South Wales.

21 June—6 October Yolŋu power: the art of Yirrkala Yolŋu power: the art of Yirrkala showcases the extraordinary artists of Yirrkala and the power of their art from the 1940s to the present. The exhibition considers the

Angela Tiatia, Hibiscus rosa sinensis, 2010. Art Gallery of New South Wales Purchased with funds provided by the Contemporary Collection Benefactors 2019. © Angela Tiatia. Image © Art Gallery of New South Wales.

Joshua Bonson, SKIN, 2023, acrylic on canvas, 94 x 71 cm.

2 August—23 August SKIN -The effect of black and white Joshua Bonson 179

artguide.com.au

Australian Galleries

media works, dwelling between painting and drawing,that create the impression of a mural on the Art Space’s interior walls.

www.australiangalleries.com.au

6 August—17 August Being There Cathy Shugg

15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm.

See our website for latest information.

Cathy Shugg presents her solo exhibition Being There, a collection of mixed media paintings created through the dynamic interplay between her immersive art travels and her introspective studio practice.

Employing diverse materials, expressive colour and evocative surfaces, Shugg captures the emotional and sensory resonance of her journeys through landscapes, cultures and inner states.

20 August—31 August Obsolete Redux FOCALPoint Conceptual Photography Emma Hicks and Merindah Funnell, Untitled, (detail), 2025, mixed media.

12 June—13 July Echoes of Light: Our Connection Through Waterways Emma Hicks and Merindah Funnell Echoes of Light: Our Connection Through Waterways is an exhibition by friends and collaborators Emma Hicks and Merindah Funnell, presenting a series of mixed media works that highlight interwoven stories shaped by water and time immemorial, deeply connected to Country.

The exhibition features new, site-specific works that bring together the cultural practices and knowledge connected to Cammeraygal Country. The artworks share relationships to Country and invite viewers to reflect on their own connections and experiences to place.

16 July—3 August In the Realm of Old White Man Stephen Hall

GW Bot, Ocean and Grassland Glyphs, 2021, linocut on tapa cloth, 122.5 x 55 cm (irregular), unique in series.

17 June—5 July G. W. Bot

Obsolete Redux explores the enduring resonance of analogue experiences within a rapidly digitalising society, juxtaposing the tactile warmth of analogue photography with the immediacy of digital photography and installation works. Participating artists from Australia and Korea delve into themes of memory, intimacy, and authenticity through this contrast, reminding us that within the tactile and the imperfect—which are often dismissed as ‘obsolete’—remains profound emotional depth, introspection, and the enduring touch of humanity.

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.

In the Realm of Old White Man is a poetic and metaphorical look at how the expansive ruling power of Old White Man has dominated the direction of countless societies for centuries. Hall’s exhibition explores its impact and legacy on the planet and humanity through sixteen large mixed

17 June—5 July Michael Buzacott 15 July—2 August Ron Robertson-Swann 15 July—2 August David Frazer

Courtesy of Dafna Maimon.

12 August—30 August Fred Williams

26 July—6 September Gut Waters Erin Coates, Kathy High, Eugenia Lim, Dafna Maimon, Helen Pynor, Justine Youssef

Art Space on The Concourse www.willoughby.nsw.gov.au/arts Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm.

See our website for latest information.

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Cathy Shugg, Tumbledown Valley, 2024, watercolour and gouache on paper.

Gut Waters explores the role of the gut in reimagining our health and place in the world based on the ongoing research of Dr Vanessa Bartlett. Through the interdisciplinary lenses of art, science and health, the exhibition positions the gut as point of connection between the world inside and outside our bodies. It features new commissions, site-specific installations and recent works by four Australian and two international artists. Supported

N E W S O U T H WA L E S by the NSW Government through Create NSW. Lead Curator : Dr Vanessa Bartlett.

Curatorial Collaborator: Rachael Kiang.

Barometer Gallery www.barometer.net.au 13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 Open Fri and Sat 12noon–5pm, and by appointment.

See our website for latest information.

other times.

8 July—15 July Correspondence from a Thin Place Alluding to histories of pyromancy, an ancient practice where the movements, sounds, and colours of flames are read for omens or messages from another world, Correspondence from a Thin Place asks if and how we can read messages from beyond, who gets to interpret them, and how communication crosses from the immaterial to the material. Here, drawing is a translative medium between worlds, and flame is an interlocutor: something that speaks to those who know how to listen.

Open 10am–5pm everyday.

Bathurst Regional Art Gallery 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. See our website for latest information.

point and an exit, not just with food, but in the sense of discerning which energies come through and nourish the insides, and which are let out. ESSSENSSSE is about letting go and being one with the spirit, and embracing its purity and vulnerability. Accompanying ESSSENSSSE is a public program including performance, talks, and workshops.

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.

Blacktown Arts www.blacktownarts.com.au 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.

Catherine Rogers, Highlander Scottish Pub, Paris.

17 July—28 August Photographic views of Paris Catherine Rogers presents a selection of photographs of Paris taken over three months in 2023 and printed by the artist in 2024-5. The images pay homage to French photographer Eugene Atget who made thousands of glass plate photographs of old Paris, printing them as albumen prints c.1890–1925. Open Fridays and Saturdays 12noon–5pm.

Please call 0414 872 037 to view at

Tia Madden, Correspondence from a Thin Place.

HOSSEI, ESSSENSSSE, 2023. Performer Lauren Booker. Dimensions variable.

Photo by Jacquie Manning.

5 July—7 September ESSSENSSSE HOSSEI Bathurst Regional Art Gallery (BRAG) is pleased to present ESSSENSSSE, a joyful work about healing and new beginnings by acclaimed contemporary artist HOSSEI (NSW). Originally commissioned and presented by Verge Gallery at the University of Sydney, ESSSENSSSE is an aquatic ecosystem that explores the tenacity of the human spirit, stripping away corporeal human qualities and revealing what’s underneath, which transitions from a large installation into a performance featuring a cast of 16 otherworldly sea creatures. ESSSENSSSE began when HOSSEI became fascinated by the sand dollar sea creatures— their shape, features, and how in mediaeval times it was truly believed that sand dollars were mermaid currency.

When looking at the sand dollar, HOSSEI realised that if you were to remove the physical characteristics of a human body, you would be left with a mouth and an anus, just like the sand dollar. It is this idea that compelled HOSSEI to make the sand dollar an emblem of the show. An entry

Vivienne Binns and in collaboration with The Blacktown Arts and Craft Group, Mothers’ Memories, Others’ Memories, 1981. Photography by Jennifer Leahy, Silversalt Photography.

1 July—13 September A Real Experience Taking its inspiration from Vivienne Binns’ iconic project Mothers’ Memories, Others’ Memories, a landmark collaborative female-led community artwork created in Blacktown between 1979 and 1981, this exhibition celebrates female-identifying artists whose work has been shaped by their connection to Blacktown.

A Real Experience takes the themes of Binns’ project to engage deeply with the Blacktown City Council Art Collection, unearthing the histories and stories held within and presenting a wide range of artists whose practice speaks to memory, storytelling, and the lived experiences of women across time.

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Broken Hill City Art Gallery www.bhartgallery.com.au 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.

16 August—10 August Pro Hart Outback Art Prize 2025 The Pro Hart Outback Art Prize invites artists from across Australia to reflect the spirit, beauty, and complexity of the outback. An open-themed, national acquisitive award, the prize showcases diverse works in all media, from painting and sculpture to video and mixed media installation. Presented by the Broken Hill City Art Gallery with support from the Hart family, the exhibition honours the creative legacy of Pro Hart and his role in shaping the region’s artistic identity.

a former cement works in regional NSW, now transformed into a vibrant arts precinct. A Blue Mountains City Art Gallery exhibition.

Bundanon www.bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–4pm.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com. au

Catherine Farry, Buzz Rickson Jacket (in case of an emergency) for Cayce Pollard, (detail), pencil on paper, 2025.

2 May—10 August Catherine Farry: Survival Kits for Literary Heroines What if you could offer your favourite book character a way out? In this playful and thoughtful exhibition, Catherine Farry creates imagined ‘survival kits’ for literary heroines. Using mixed media, she honours each character’s world while offering them hope, choice, and solidarity.

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. 10am–4pm. Admission fees apply.

28 June—5 October maḻatja-maḻatja (those who come after) Betty Kuntiwa Pumani

2 May—10 August From Away: Em Jensen From Away is a photographic narrative celebrating the transient population of Broken Hill. From Away serves as a reminder of the ways in which people can shape and redefine the places they inhabit.

12 July—10 August The Bald Archy Prize Australia’s premier satirical art prize, The Bald Archy celebrates humour, irreverence and the larrikin spirit through portraiture.

Judged by Professor Maude Cockatoo, the world’s only avian art critic, this long-running exhibition is known for portraits that provoke laughter, spark conversations, and affectionately skewer public figures.

Now in its 28th year, the prize continues to charm and challenge, with a line-up of works guaranteed to amuse and surprise.

Betty Kuntiwa Pumani, Antara, 2020 (detail), synthetic polymer paint on linen.

Courtesy of the Artist, Mimili Maku Arts and Museum of Contemporary Art Australia. Image, © Betty Kuntiwa Pumani/ Copyright Agency, 2025, photograph: Jessica Maurer.

Moorina Bonini, dapalama (between), 2023, vinyl text, charcoal. Courtesy of the artist.

21 June—10 August Primavera: Young Australian Artists The MCA Australia’s annual exhibition for artists aged 35 years and under.

A Museum of Contemporary Art Australia and Museums & Galleries of NSW touring exhibition curated by Talia Smith. This project has been assisted by the Australian Government’s Visions of Australia program.

16 August—5 October Creative Foundations Elisabeth Cummings, Harrie Fasher, Kim Fasher, Jody Graham, Jennifer Leahy, Annabel Mason, TC Overson.

Betty Kuntiwa Pumani’s paintings reveal a shimmering landscape of red earth, bright blue waterholes and stippled white tobacco flowers. They represent Antara, her mother’s Country in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in north-western South Australia, and Tjukurpa storylines centred on maku, the witchetty grub. Betty Kuntiwa Pumani: maḻatja-maḻatja (those who come after) is the artist’s inaugural museum survey, encompassing key loans from public and private collections, including works shown publicly for the first time. Maḻatja-maḻatja is a Pitjantjatjara term meaning ‘those who come after,’ carrying the understanding that all we do now already belongs to future generations – a thread connecting ancestral past to distant future through ongoing care for Country, culture, and story.

This exhibition brings together seven artists who are part of a growing creative community at The Foundations Portland

David Sequeira, Form from the Formless (Under Bundanon Stars), 2025 (detail), gouache and pencil on music manuscript. Courtesy of the artist. Image, © David Sequeira, 2025.

Paul Connor, 9 Days in the life of Broken Hill, 2024, mixed media on canvas board.

Winner Pro Hart Outback Art Prize, 2024.

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Harrie Fasher, The Space Behind, 2022, mixed media steel and concrete, 186 x 280 x 154 cm.

28 June—5 October The Shape of Music David Sequeira The Shape of Music brings together

N E W S O U T H WA L E S four bodies of work by David Sequeira in diverse media, including a major new commission for Bundanon. Sequeira’s new commission, Form from the Formless (Under Bundanon Stars) 2025, presents as an installation of music stands, each bearing manuscript sheets with hand-painted imagery of the glittering Bundanon night sky and his signature geometric forms, accompanied by a soundscape.

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.

Pluta, Tom Polo, Alexandra Standen, Abdullah M I Syed, Judy Watson, Guan Wei and Rachael Wellisch.

Under the Big Blue Sky is a new group exhibition that explores social and cultural perspectives on the colour blue, highlighting its visual, emotional, and symbolic significance.

CBD Gallery www.cbdgallery.com.au 72 Erskine Street, Sydney, NSW [Map 8] 0450 130 422 Tue to Sat, 11am–5pm.

Ben Rak, Slave of my own skin, 2025, acrylic and silkscreen on canvas, 61 x 51 cm. and psychological complexities that shape their identity and perception of the world. Abstract art, with its open ended forms and nonrepresentational gestures, reflects the inner landscapes of the artists, offering a visual dialogue on anxiety, freedom, and belonging.

Opening 28 August, 6pm–8pm.

Ceramic Break Sculpture Park www.cbreaksculpturepark.com.au

Kuba Dorabialski, Field Recording, film still, 2025.

5 July—14 September in every room Lara Chamas, Jagath Dheerasekara, Kuba Dorabialski, Roberta Joy Rich, Sancintya Mohini Simpson and Curtis Taylor.

Casula Powerhouse Arts Centre www.casulapowerhouse.com Dharawal Country, 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm.

Guan Wei, Off to the Space, 2023.

Courtesy of the artist.

22 April—20 July Under The Big Blue Sky Hedar Abadi, Elyas Alavi, Neil Beedie, Charles Billich, Sonja Carmichael & Elisa Jane Carmichael, Emily Crockford & Rosie Deacon, Ara Dolatian, Mira Gojak, Kirtika Kain, Eugenia Lim, Sidney McMahon, Dhambit Mununggurr, Izabela

Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Thu to Sun, 10am–5pm and by appointment.

See our website for latest information.

Imogen Eve, Pinky Skies, 165 x 98 cm, watercolour on Yupo, 2024.

17 July—16 August New Voices: NAS Grad Group Show Imogen Eve, Marina Kawabe, Quanzhu Ma, Brooke Marchel, Libby Moore, India Swinton, Sylvia Zi. CBD Gallery’s ongoing commitment to emerging artists, New Voices is an exhibition showcasing seven emerging artists graduated from the National Art School in 2024 who push the boundaries of contemporary painting, drawing, and ceramics. With diverse approaches, these artists engage with themes of memory, perception, identity, and materiality, reflecting the shifting landscape of contemporary practice. Opening Thur 17 July, 6pm–8pm.

28 August—4 October Inner Currents: Abstraction and the Unseen Self Richard Blackwell, Tony Curran, Skye Jamieson, Ben Rak, Dionisia Salas Inner Currents explores how the processes of abstract art serve as a conceptual tool for artists to engage in self-discovery and reflect on lived experiences. Through abstraction, artists transcend literal representation, delving into the emotional

Sandra O’laughlin, Brolga Vase, earthenware.

July—August Myall Creek Memorial Exhibition Featuring numerous indigenous artists throughout NSW & QLD including Waabii Chapman-Burgess, Kerrie Walker, Tania Hartigan, Sandra O’Laughlin and Paula Duncan.

2025 Triennial Acquisition Sculpture Prize Submissions are now open for Ceramic Break Sculpture Parks 3rd Triennial $12,000 Acquisition Sculpture Prize.

Applications close 20 July, 2025.

To enter: form.jotform. com/242337787807873 18 3

28 August – 4 October 2025

Helen Britton The Story So Far Living Treasures: Masters of Australian Craft

101-115 William St, Darlinghurst | australiandesigncentre.com australiandesigncentre.com

Photo: Corinna Teresa Brix

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

Cowra Regional Art Gallery www.cowraartgallery.com.au 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.

30 August—5 October Calleen Art Award Group exhibition The Calleen Art Award is an annual acquisitive painting prize and exhibition.

It presents the best of contemporary Australian painting in any style, theme or subject. The Award was established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM to encourage originality, creativity and excellence in the visual arts, and is made possible by the generous support of the Calleen Trust.

The exhibition is a must-see opportunity for collectors, art lovers and those with a special interest in contemporary painting.

Cowra Micro Gallery www.cowramicro.weebly.com Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat & Sun, 10am–2pm, or by appointment.

See our website for latest information.

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.

7 May—3 July SIGNIFICANT An international exhibition of Australian First Nations art featuring major works

by Mick Namarari Tjapaltjarri, Uta Uta Tjangala, Bill Whiskey, Rover Thomas, Paddy Bedford, Emily Kam Kngwarray, Patrick Tjungurrayi, Gordon Bennett, Lin Onus, Daniel Boyd and Carlene West, among many others.

James Gleeson (1915–2008), Ganymede ll, 1979, charcoal and pastel on paper.

Macquarie University Art Collection.

Gift of the artist. Photography by Effy Alexakis, Photowrite. © Gleeson/O’Keefe Foundation.

7 June—13 July Vibrations in Australian Drawing Vibrations in Australian Drawing is an exhibition demonstrating the essence of the practice and the importance of drawing underlying a range of disciplines.

7 June—13 July The Good Anna Louise Richardson

Cate McCarthy, Mountains Dancing, 2025, hanging sculpture made with sticks.

The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. Working primarily in charcoal and graphite, Richardson’s work explores ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in rural Australia. Curated by Rachel Arndt & Dr Lee-Anne Hall. A Wagga Wagga Art Gallery, The Condensery and Museums & Galleries of NSW touring exhibition.

This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia and the Government of Western Australia through the Department, Culture and the Arts (WA).

This project has been assisted by the Australian Government through Creative Australia, its principal art investment and advisory body.

27 July—16 August Ways Of Giving Cate McCarthy The ziggurat or mountain represents the graves of my ancestors - the link between the sky and the earth. Our bones melt back into the earth, symbols emerge, modes of activity, layering this curious permanent flux we are immersed in. This country has a mysterious way of giving, whispering secrets, nurturing, teaching us to listen.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 Tue to Sat 10am–5pm.

See our website for latest information.

Djinu Tjimari, c. 1901—deceased, Untitled (Ceremonial figure), c. 1968, earth pigments on eucalyptus bark, 94 x 31 cm.

17 July—21 August Bark Masters In July 2025, D’Lan Contemporary will present Bark Masters, an exhibition 18 5

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sculpture on the farm Dungog 2025

Join us for 3 days of Australian sculpture in the stunning regional setting of Dungog Common. Explore 150 works, both indoor and out. Enjoy talks, workshops, local food and live entertainment.

hornsby art prize 2025 sculptureonthefarm.com Dungog Common FRI 29 AUGUST 9AM-4PM Enter via 74 Common Rd, SAT 30 AUGUST 9AM-4PM Dungog NSW 2420 SUN 31 AUGUST 9AM-2PM Entry $10 pp Kids 18 & under FREE 18 6

ENTRIES CLOSE 7 AUGUST Total prize money $23,000 hornsby.nsw.gov.au/artprize

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N E W S O U T H WA L E S D'Lan Contemporary continued... highlighting the work of some of the finest practitioners of this unique artistic tradition. For over two hundred years, thousands of artists have continued to practice and innovate one of the world’s most distinctive and significant artistic canons. Given the growing global interest in Australian First Nations art, it is both timely and appropriate to acknowledge and celebrate the remarkable contributions of Australia’s great bark painters.

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.

Works by: M. Woodward J. Coburn N. Harding, D. Boyd, Y Bergner, V. Rubin, M. Winch, B. Whiteley, McLean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack, Y. Souvatzoglou and many others.

Gallery76

sustainable materials. 25 artists are represented across a broad range of mediums including weaving, knitting, mixed media, embroidery and print. It also includes eco-friendly practices from history through integration of examples from Embroiderers’ Guild NSW collection.

Threading Lightly also includes an events programme presented by researchers and students from UNSW. 1 August—26 August Play Lateral Stitchers Play is a voluntary, imaginative act sparked by curiosity and joy. It can be structured or spontaneous, shared or solitary, but it always involves exploration and a sense of possibility. Presented by the Lateral Stitchers group of embroidery and textile artists, the exhibition features finished artworks as well as providing insights into the playing that artists do with ideas, forms and materials until something feels ‘right.’ Workshop available: Construct and Develop a Journal with Barbara Dawson, 9 August.

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.

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.

Christian Bonett, Ursula Burgoyne, Somchai Charoen, Vicki Grima, Jan Howlin, Hendrik Kolenberg, Jenny Orchard, Sassy Park, Anna Parsons, Arun Sharma, Toni Warburton, Suh Yongsun.

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.

28 June—16 March 2026 Emerging 2025 Luca Anand Leggo, Joshua Di MattinaBeven, Julian Hamman, Madi Feist, Charles Levi, Tia Madden, Alice Martin, Jacquie Meng The EMERGING prize is a biennial art award to support early-career artists develop their practice. An opportunity for the selected artists to develop and exhibit a new or existing body of work at Gosford Regional Gallery. The prize supports artists who work in non-traditional mediums and a wide range of installation-based practices to present their artwork to a regional gallery audience. 2025 Judge – Curator, Sebastian Goldspink. Exhibition Opening and Award Announcement, 4 July—13 July Now and Then: Marcia Staples A nod to the Dreamtime with the vibrant use of colours.

Keroshin Govender, Cu-Vun-Tar 2025 II, 2025, terracotta, porcelain, cobalt carbonate, underglaze, laser engraving, acrylic, gold lustre, cyanotype, copper.

Highlighting cultural stories and traditions, Art is a form of storytelling emphasising my deep connection to country.

Reflecting the timeless nature of Indigenous Art and Culture while honouring the symbolic and sacred ancestors. Opening Friday 4 July, 6pm.

20 June—12 July A Fresh Perspective 2025 Stella Athanasiou, Emmanuelle Babaud, Jun Chen, Farnaz Dadfar, Alexandra Darling, Kim Redmond-Fewtrell, Keroshin Govender, Lucy Hookway, Raymond Huynh, Lila Kools, Amy Lyall, Lesley Murray, Julie Nash, Tash Tribe, Mark Wilson.

ZINEergy 15 July—6 August Zineergy Community Heroes Zine Project

Catriona Pollard, Water Spirit.

30 May—28 July Threading Lightly Curated by Catherine Gibson Threading Lightly is a group exhibition of sustainable textile and fibre art curated by Catherine Gibson. It showcases artworks that “thread lightly” on our planet, being made from at least 75%

Suh Yongsun, Balmain St. cafe, 2020–21, acrylic on canvas, 157 x 205.2 cm.

18 July—16 August Sydney: Lines of Memory

ZINEergy is the Central Coast’s first risograph-themed exhibition, featuring over 30 artists from Australia and beyond.

Celebrating the vibrant, retro-inspired aesthetic of risograph printing, this dynamic showcase highlights fun, fluoro, and eye-catching artworks created with this indie press technique. A must-see for print and art enthusiasts! Central Coast debut Zine Fair Saturday 19 July.

8 August—20 August 40 Years …and Evolving: Central Coast Watercolour Society 187

Winter 2025 The Leo Kelly Blacktown Arts Centre Tuesday to Saturday, 10 am to 5 pm 78 Flushcombe Rd, Blacktown NSW 2148 (02) 9839 6558

Image: Monica Rani Rudhar in studio at Parramatta Artist Studios, 2025, photography by Garry Trinh

blacktownarts.com.au

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

Glasshouse Regional Gallery

scenarios, a meandering car journey, a shared dinner, a relaxed afternoon in a park, that speak to personal memories for viewers. By deliberately distorting proportions of figures and their environments, Taylor has created a visual language aiming to capture the quintessence of romantic relationships.

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.

Bianca Hester, Extinction lines, 2024, Two channel HD video with sound, 5:18 minutes, looped, Audio modified from field recordings made between 20222024. Videography by Sammy Hawker.

Sound design by Aaron Hull. Photograph

by Jacqui Manning. Installation view UNSW Galleries. Image courtesy and copyright the artist.

Gemma Brown, Rowan Conroy, Marian Drew, Lizzie Hall, Bianca Hester, Janet Laurence, Guido Maestri, Mandy Quadrio, Isadora Vaughan.

Sophie Honess, Rest, (detail), 2023, made with vintage pre-owned materials, wool, latch hook mat.

18 April—13 July Residue + Response: Tamworth Textile Triennial

Horizons explores connections between the body, the natural world and the built environment. The term horizons can indicate limitlessness, opportunity and optimism, or, conversely, be seen as a perceived barrier, feared sense of the unknown, or a warning sign. The exhibition embraces the breadth of these interpretations, looking at the ways we desire to draw close to the environment while also acknowledging the constructed physical, digital and mental barriers created between humankind and the landscape.

The exhibition presents works by artists Gemma Brown, Rowan Conroy, Marian Drew, Lizzie Hall, Bianca Hester, Janet Laurence, Guido Maestri, Mandy Quadrio and Isadora Vaughan. Horizons features a dynamic range of media including ceramics, audio-visual works, photography, painting and installations.

By seeking out the common rather than the specific, Since We’ve Met offers a reflection on our shared humanity. In considering and honouring quiet moments that shape and define relationships, these paintings act as a homage to the people we love or have loved.

Grace Cossington Smith Gallery 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.

Tina Havelock Stevens, Lake Arrangement, Queenstown, 2022, pigment archival print on aluminium, pigment paint, 98 x 67 cm.

25 June—12 July Young Curators Young Curators from Abbotsleigh and Hornsby Girls High School, facilitated by 3:33 Art Projects, present works by Tina Havelock Stevens.

Vana Ford and Kerry Wheeldon, Untitled, 2019, (detail), woven and stitched fibres.

19 July—21 September Looking Back Moving Forward … bringing the past with us NSW Mid North Coast Fibre Artists Network

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.

6 June—9 August Horizons

Jackson Taylor, Driving together, 2024, acrylic on canvas. Courtesy of the artist.

6 June—9 August Since We’ve Met Jackson Taylor Since We’ve Met is a series of faux-naïve figurative paintings that seeks to capture universal moments within romantic relationships. Emerging artist Jackson Taylor is interested in using genre painting to explore the interpersonal aspects of romantic relationships.

The paintings present figures in familiar

Sally Stokes, The temple of thought, oil on linen, 150 x 150 cm.

19 July—9 August Celebrating 140 years of Abbotsleigh School with an exhibition of past student artists: Lucy Barker, Lucy Buttenshaw, Jaq Davies, Rachel Fairfax, Louise Fowler Smith, Emily Galicek, Janet Laurence, 18 9

Claire Yerbury, Untold Eternities

Claire Yerbury, To Return to Life, 2025, mixed media and collage on board, 64 x 122 cm.

21 June to 5 July 2025

78B Charles Street, Putney, NSW, 2112 Gallery hours: Tues–Sat 11am–4pm.

Valuation Days: Tues, Wed by appointment. Sunday, Monday closed. brendacolahanfineart.com Ph: 02 9808 2118 brendacolahanfineart.com

Works by: M. Woodward, J. Coburn, N. Harding, D. Boyd, Y Bergner, V. Rubin, M. Winch, B. Whiteley, McLean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack, Y. Souvatzoglou and many others.

Margaret Woodward (1938-), Floating Rainbow, oil on canvas, 120x120cm.

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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N E W S O U T H WA L E S Grace Cossington Smith Gallery continued...

Fiona Mitchell, Lisa Pang, Eloise Rankine, Helen Redmond, Julia Roberts, Alex Snellgrove and Sally Stokes. Curated

by Rhonda Davis, the Head Curator at Macquarie University Art Gallery.

14 August—21 August An exhibition from Hayden Wood, Gamilaraay artist who focuses on teaching the next generation to practise and preserve traditional practices through his Bokhara Dreaming.

has received grant funding from the Australian Government.

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.

Hawkesbury Regional Gallery

13 June—19 August Recent Work Ken Done

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.

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.

Hiromi Tango, Obi’s Dream: Childhood Memory (Shichi-Go-San Rite of Passage), detail, 2025. Photograph by Alex Chomicz.

Until 14 September Sanctuary: 25 Years of Hazelhurst Arts Centre Del Kathryn Barton, Michelle Cawthorn, Adam Cullen, Marc Etherington, Cherine Fahd, George Gittoes, Rochelle Haley, Bianca Hester, Gavin Hipkins, Shen Jiawei, Ildiko Kovacs, Bob Marchant, Alexander McKenzie, Idris Murphy, Caroline Rothwell, Alex Seton, Peter Sharp, Garry Shead, Hiromi Tango, Imants Tillers, Esme Timbery and Marilyn Russel, Kerry Toomey, Jason Wing, Anne Zahalka.

The Ken Done Gallery www.kendone.com

Kathrine Boland, Bouquet no. 1, pigment inkjet print on 300gsm archival cotton rag paper, 60 x 55 cm. Courtesy of the artist.

7 June—17 August Burnt into Memory Sarah Allely and Bill Code, Wona Bae and Charlie Lawler, Katherine Boland, Penelope Cain, Cathy Franzi, Jody Graham, Anna Glynn, Freya Jobbins, Laura Jones, Gary Shinfield, Leanne Tobin, Leanne Watson, Julie Williams, Freedom Wilson.

Burnt into Memory explores the complex impact of the 2019-2020 Black Summer Bushfires on individuals and communities, within the context of reflection, healing, resilience and forward momentum.

Featuring works by 14 artists living and working within and beyond the Hawkesbury and Blue Mountains region.

The exhibition includes artworks created in the immediate aftermath of the fires, including recent responses. This project

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

See our website for latest information.

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.

Ken Done, Big Reef, 2024, oil and acrylic on linen, 183 x 244 cm.

Jane Lennon, Hollow number 1, 2002, paper pulp, acrylic. Image: Kisma.

13 June—18 July Nurture/Nature Jane Lennon, Tony Lennon, Seon Ae Lee Nurture/Nature presents a deeply personal exploration of family, identity, and belonging through the lens of a blended Korean-Australian family of local artists. The exhibition delves into themes of adoption, loss, care, cultural identity, and lived experience, offering insight into the complexities of family life within a multicultural society.

14 August—31 October Production Design: Scene Architects Build On-Screen Worlds Ryu Sung-hee, Cho Hwa-sung, and Han Ah-reum

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 Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts.

It has been established since 1880. The Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists. Exhibitions change regularly throughout the year ensuring a diverse range of traditional and contemporary works are on show.

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Lismore Regional Gallery www.lismoregallery.org Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thurs until 6pm.

See our website for latest information.

5 July—31 August Archibald Prize 2024 4 April—10 August GROUNDLOOP Lisa Reihana

Jacklyn Wagner, Amoonda Nelson, 2022, digital image on photographic paper.

Courtesy of the artist.

27 June—10 August Through the heart...

Jacklyn Wagner

Dean Beletich, Michael Bell, Sean Thomas Bell, Gillian Bencke, Hannah Bernadette, Tracie Bertram, Brigitte Beyer, Laura Bishop, Michelle Brodie, Chris Brown, Raffi Butler, Leeroy Chapman, Eira Chidgey, Michela Ciulla, Indeah Clark, Karrie Coles, Lottie Consalvo, Dino Consalvo, Sia Cox, Daniela Cristallo, Virginia Cuppaidge, Grace Davies, Jen Denzin, James Drinkwater, Leslie Duffin, Helen Dunkerley, Jono Everett, Megan Farquhar, Liss Finney, Sophia Flegg, Aidan Gageler, Jacquie Garcia, Jessica Gilbert, Alex Golden, David Griffen, Teval Guner, Ellie Hannon, Ileigh Hellier, Doug Heslop, Lotte Lily Hilder, Stephen Hobbs, Clare Hodgins, Katrina Holden, Nick Howley, Lisa Ellen Hughes, Annabel Jaffray, Frances Johnston, Polina Karuso, Jessica Kellar, Deborah Kelly, Anne Kempton, Ben Kenning, Hideaki Kobayashi, Xavier Lane, Peter Lankas, Fiona Lee, Justin Lees, Tess Lehman, Holly Leonardson, Louisa Magrics, Paul Maher, Giverny Maretich, Dani Marti, Patrick Mavety, Elizabeth McDonald, Carolyn McKay, Lydia Miller, Ain Mohd, Nicole Monks, Catharine Neilson, Dan Nelson, Helena Newcombe, Heath Nock, Mel O’Callaghan, Ella Grace Paterson, Claire Paul, Brett Piva, Izabela Pluta, Liam Power, James Rhodes, Simone Rosenbauer, Khaled Sabsabi, Alessia Sakoff, Sandy Sanderson, Malcolm Sands, Malvika Satelkar, Alex Seton, Jo Shand, Wilma Simmons, Neal Smith, Shellie Smith, Braddon Snape, Wednesday Sutherland, Annabelle Sutton, Michelle Teear, Paula Thistleton, Raina Thomson, Marguerite Tierney, Lezlie Tilley, Richard Tipping, Zoë Tjanavaras, Vanessa Turton, Tahlia Undarlegt, Bianca Vern-Barnett, Samantha Walsh, Meg Walters, Bridie Watt, Clare Weeks, Ahn Wells, Karen Wells, Ryan Wild, Katie Ellen Wilkins, Graham Wilson, Lauren Wiltshire, Kara Wood, Lexie Worboys, Susan Zaia, Vera Zulumovski.

Peter Faulkner, Judgement Day, 2024.

Courtesy of the artist.

27 June—10 August Dream vibrations Peter Faulkner

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.

See our website for latest information.

7 June—10 August COLLECT & COLLECT: Focus All artworks available to purchase by: Ben Adams, Gillian Adamson, Jackie Anderson, Laura Baker, Giorgia Bel, 192

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.

Eric Smith (1919-2017), Burning of the Cane, 1973, oil on canvas, 140 x 312 cm.

Purchased Rudy Komon Art Gallery, 1973.

Macquarie University Art Collection Photography Effy Alexakis, Photowrite.

18 June—1 August Eric Smith: The metaphysics of paint Curated by Rhonda Davis, Leonard Janiszewski and Tom Murray.

Eric Smith was a key figure in the development of Australian modernism.

His inclusion in the landmark exhibition Direction 1, 1956 heralded the artist’s life-long search for meaning through abstraction, “throwing myself into the void, searching for ways to express truths in our times”. During his mid-career stage, Smith’s impressive record of winning major art awards such as the Archibald Prize three times, the Wynne Prize twice, the Sulman three times and the Blake Prize for religious art six times witnessed his reputation soar to the top. In the artist’s late period, his focus headed more towards abstraction and less on portraiture as a means for searching that elusive truth, works that encapsulated a deep sense of the spiritual and what lays beyond.

Maitland Regional Art Gallery www.mrag.org.au Portrait of Karla Dickens. Photograph by Michelle Eabry.

23 August—16 November Locked On A lock-on is a powerful, non-violent civil disobedience tactic used by protesters to secure themselves in their place of protest. Honouring the legacy of nonviolent protest and addressing themes of climate crises and ecofeminism, Karla Dickens presents her first solo exhibition in Muloobinba/Newcastle for New Annual, a "lock-on at The Lock-Up".

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.

13 April—28 September Pregnant woman Ron Mueck Ron Mueck – Pregnant woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work has engaged with our own collection and exhibitions designed and curated to allow for different conversations and ideas to

N E W S O U T H WA L E S emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity.

7 June—19 October Found Rebecca Rath For Hunter Valley artist Rebecca Rath, establishing human connection with the natural world is the premise of her practice and the impetus for Found. In this series of paintings Rath brings to life her surrounds, seeking to find new ways of seeing what is in her own ‘backyard’.

14 June—2 November 9.5 The Elliott Eyes Bequest Rick Amor, Robert Fielding, James Gleeson, Jess Johnson, Euan Macleod, Clement Meadmore, Reko Rennie, Anne Ross, Terry Stringer, Michael Zavros With selected works from a private art collection usually housed in a quiet inner city terrace in Sydney, 9.5 The Elliott Eyes Bequest is an exhibition celebrating a bequest by our benefactors Gordon Elliott and Michael Eyes.

14 June—19 October Watered-up by Sea… Malvika Satelkar Watered-up by Sea… is proposed as an alternative phrase for the word ‘flood’. In this installation, Malvika Satelkar is asking us to seek a different set of keys when experiencing ‘a flood’.

21 June—24 August Chinese Restaurant Playground Steffie Yee Chinese Restaurant Playground is a multimedia exhibition about childhood, imaginative play, and finding joy within the frenetic settings of a family-run Chinese restaurant located in Branxton NSW.

Showcasing six moving image artworks

by Australian artists, Between [the] Details celebrates ACMI’s vibrant collecting and commissioning program. Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories.

The works in this exhibition all demonstrate an irrepressible desire to bring deep themes to the surface with humour and an incredible attention to detail.

An ACMI touring exhibition.

12 July—26 October Mother Michael Cook, Katthy Cavaliere, Shan Turner-Carroll, Victoria Atkinson, Nell, Anna Louise Richardson.

‘Mother’ as a subject, concept or idea has been explored and depicted by artists across time and cultures. In the final weeks before we farewell Ron Mueck’s Pregnant woman, MRAG presents a selection of works from the MRAG Collection that reflect on new life, family bonds, love and loss that can all be the experience of Motherhood.

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.

28 June—19 October Sticks and Stones: Earth and Bones Monica Rani Rudhar, Catharine Truman, Robert Fielding, Ken Unsworth, Patricia Wilson-Adams, Wukun Wanambi, Peta O’Brien.

Sticks and Stones: Earth and Bones will showcase Ken Unsworth’s kinetic work Zone of Wistful Thoughts, which he donated to MRAG in 2023. Alongside this iconic installation, works from our collection and a selection of stunning loaned pieces inspired by earthy materials will be on display.

Mark Dober, Saltwater Headland 1, (detail), 2024, gouache on paper. Image courtesy of the artist.

15 May—12 July The Splendour of Nature Mark Dober

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts. Photo: Max Mackinnon.

5 July—12 October Between [the] Details Zanny Begg, Deborah Kelly, Jason Phu, David Rosetzky, Christian Thompson, Kaylene Whiskey.

plants/leaves and sticks on the ground as much as the forest canopy or overarching sky), Dober’s work celebrates his real time experience of nature. The artist paints with directness and immediacy.

The Splendour of Nature is an exhibition of landscapes by Victorian artist Mark Dober featuring wall-sized works on paper using gouache and watercolour.

These works were made on site, locally at Saltwater Headland, and at Wollemi National Park and the upper reaches of the Murrumbidgee River. The artist’s single sheet coastal paintings complete the exhibition. Immersed in his subject, responding to the near and the far (weedy

Alison Higgs, Housing crisis-white hard hat, business tie, 2024. Image courtesy of the artist.

15 May—12 July Housing Crisis Alison Higgs Alison Higgs’ deeply thoughtful series of paintings and sculpture explores mankind’s impact upon the natural environment. The rate of mammalian extinction in Australia illustrates the intersection between humans and nature, with many species now on the brink of collapse. Higgs’ wry commentary, using anthropomorphic, almost surreal imagery, encourages reflection and discussion on this most dire situation. Expanded Landscapes is a collaborative exhibition

by Fiona Lee and Aaron Crowe, surveying sites of significance in the Manning Region on Biripi Country. Using lumens, point cloud mapping and photogrammetry, the artists’ constructed images explore how these liminal spaces are shaped by time, perception, and environmental change.

19 July—13 September Naked & Nude Art Prize 2025 Presented in partnership with the Friends of the Manning Regional Art Gallery, the ‘Naked & Nude Art Prize’ is the only art award of its kind in Australia and attracts entries from artists at all stages of their careers and working in all mediums. This year the prize pool totals $42,000, with a major acquisitive Prize of $40,000.

Manly Art Gallery & Museum www.magam.com.au Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm.

See our website for latest information.

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Martin Browne Contemporary www.martinbrownecontemporary.com

Ryota Sato, Showing Nature the wonders of Nature, video still.

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.

6 June—27 July Welcome to Wherever You Are This exhibition foregrounds the work of artists who enfold time and space, positioning us in relationship to an environment that is shaped by cultural, spiritual, political, social, and intellectual forces.

Central to the exhibition is community and the exchange of ideas. Artists and designers from across the globe are interrelated through the educational environment of the Parsons School of Design, The New School University, New York City. Curated by Simone Douglas and William Stover, it showcases emerging and established artists working across photography, video, painting, sculpture, performance, installation and AI, and reflect on the complex environments we create and share, both real and imagined.

Bronte Leighton-Dore, Untitled, 2025, oil, marble dust and wax on primed birch, 132 x 200 cm.

26 June—19 July Bronte Leighton-Dore 26 June—19 July Just Like The Real Thing Monica Rani Rudhar

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.

17 May—17 August Curlew Camp Abdul Abdullah, Khadim Ali, Jo Bertini, Sophie Cape, Fiona Lowry, John Olsen, Thea Anamara Perkins, Tom Roberts, Marikit Santiago, Arthur Streeton, Imants Tillers.

Kendal Murray, Keen Eyed Applied, Hillside Confide.

1 August—15 September 2025 Environmental Art & Design Prize Explore the diverse ways artists and designers Australia-wide have interpreted our unique landscape, responded to our climate crisis and advocated for our planet through their creative practices.

Works by nearly 200 finalists across three Prize categories exhibiting at MAG&M (Art), Curl Curl Creative Space (Design) and Mona Vale Creative Space Gallery (Young Artists/Designers). 2025 judging panel: visual artist Ramesh Mario Nithiyendran, and Senior Curator Powerhouse Museum / Creative Director of Sydney Design Week, Keinton Butler.

Reviving one of Sydney’s most significant sites of artistic heritage, Curlew Camp juxtaposes historic works by early Australian artists, including Tom Roberts and Arthur Streeton, with contemporary responses from painters engaging with the landscape and legacy of the site today.

17 May—17 August A Painter’s Painter Ann Cape, Sophie Cape, Kevin Connor, Lucy Culliton, Elisabeth Cummings, Michael Esson, Chris Gentle, Chick Gordon, Peter Kingston, Judy Lane, Kerrie Lester, Euan Macleod, Daniel Pata, Susan Rothwell, Anita Taylor, Ann Thomson, Guy Warren.

Curated by Mosman-based artist Ann Cape, A Painter’s Painter examines the intimate relationship between portrait artist and sitter. Featuring depictions of some of Sydney’s most beloved artists, alongside these artists’ own work, viewers are invited into the space shared between artists and everything that space holds.

Amrita Hepi, Scripture for a smokescreen: Episode 2 BABY BABY YOU’RE A NATURAL, installation view, 2024, split screen video and stereo sound, image courtesy and © the artist. Photograph: Jacquie Manning.

17 May—17 August Scripture for a smokescreen: Episode 2 BABY BABY YOU’RE A NATURAL Amrita Hepi In this thought-provoking video installation, artist and choreographer Amrita Hepi explores how we connect – with animals, each other and the spaces we share. Filmed using an iPhone, shot in two different zoos, the artwork reveals the layers that underpin interaction and captivity.

10 May—3 August In Profile: Madison Baird Madison Baird presents Twilight Bush, a series inspired by several months spent painting in the Blue Mountains. Focusing on the shifting light as winter gives way to spring, Baird captures the nuances of twilight, where fading daylight seeps into inky, velvety tones. These paintings explore the quiet intimacy of the natural world, offering a sense of solitude and calm as day transitions into night.

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.

A Painter’s Painter, 2025, installation view, image courtesy the artists and Mosman Art Gallery and © the artists.

Photograph: Jacquie Manning.

1 March—20 July The Intelligence of Painting The Intelligence of Painting throws a 195

Justin Miller Art – Experts in the acquisition and sale of significant Australian and international artworks.

Address: 10A Roylston Street, Paddington NSW 2021 Phone: +61 2 9331 7777 Email: info@justinmiller.art Gallery Opening Hours: Tuesday – Friday: 10am – 5pm Saturday – Sunday: 11am – 5pm

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N E W S O U T H WA L E S Museum of Contemporary Art continued...

5 September—16 November Lismore Regional Gallery: Islands not to scale (Maru a’ o) – Act II Mark Maurangi Carrol 5 September—21 September Lucus Howard and Daniel McClellan 11 September—14 September Sydney Contemporary: Islands not to scale (Maru a’ o) – Act II Mark Maurangi Carrol 26 August—12 October Kyra Henley

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.

National Art School NAS Gallery Prudence Flint, The Bath, 2022, oil on linen. Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2022, image courtesy and © the artist, photograph: Jessica Maurer. spotlight on the energy of contemporary painting in Australia today through the work of 14 Australian women artists. The exhibition includes recent MCA Collection acquisitions, as well as new and recent paintings by Karen Black, Angela Brennan, Eleanor Louise Butt, Prudence Flint, Maria Madeira, Thea Anamara Perkins, Kerrie Poliness, Jude Rae, Jessica Rankin, Julie Nangala Robertson, Gemma Smith, Jelena Telecki, Jenny Watson and Nyapanyapa Yunupingu.

www.nas.edu.au Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm.

Free admission.

See our website for latest information.

Nasha Gallery www.nasha.com.au Gadigal Land, L1, 215 Thomas Street, Haymarket, NSW 2000 [Map 9] See our website for latest information.

4 July—20 July Bridget Stehli 1 August—10 August Horny Jail Group show 15 August—31 August Blue Flin Sharp

13 June—10 Augst EMANATE: Recent Graduates from the National Art School Benjamin Akuila, Eleanor Harris, Grace Buckley, Imogen Rowe, Julie Edgar, Maram Hassan, Mia Ardianto, Quan Zhu Ma, Sophie Victoria and Zi Xin. EMANATE presents a vibrant showcase of ten emerging artists selected from the 2024 Bachelor of Fine Arts and Postgraduate final exhibitions at the National Art School (NAS) in Sydney. This exhibition highlights the diverse and innovative practices cultivated within NAS’s rigorous studio-based programs, spanning disciplines such as painting, sculpture, ceramics, photo media, and printmaking.

21 March—7 September Warraba Weatherall The Museum of Contemporary Art Australia presents the first solo museum exhibition by Kamilaroi artist Warraba Weatherall. Warraba Weatherall (b. 1987, Toowoomba, Queensland) is interested in how knowledge is created and communicated. He has undertaken extensive research into the histories of Kamilaroi cultural objects in public and private collections over the last decade. The exhibition includes large-scale installation, sculpture, painting and video works. It also premieres a number of new artworks, including a major new co-commission between MCA Australia and the Hawai’i Triennial 2025.

Grace Buckly, Flirt, 2024. cast iron chandelier, fringe, thread 32 x 30 cm.

Image courtesy of the artist.

13 June—20 July Night and Day Jane O’Sullivan

11 July—18 October The Neighbour at the Gate Jacky Cheng, Elham EshraghianHaakansson, Dennis Golding (Kamilaroi/ Gamilaraay), Jenna Mayilema Lee (Gulumerridjin (Larrakia), Wardaman, KarraJarri), James Nguyen and James Tylor (Kaurna, Thura-Yura language region).

Curated by a guest curatorium led by Clothilde Bullen OAM (Wardandi Noongar and Badimaya Yamatji), with Micheal Do and Zali Morgan (Whadjuk Balladong and Wilman Noongar).

The Neighbour at the Gate is a commissioned exhibition project for the National Art School, proudly supported by the NSW Government through the Blockbusters Funding initiative.

The exhibition will be accompanied by a publication, learning and education framework and public programs.

Inspired by the Cole Porter lyric “Night and day, you are the one…”, Jane O’Sullivan’s abstract landscapes explore the shifting moods, colours, and sensations of the Australian environment across time and season. Sparked by a single painting that captured both sunlight and moonlight, the series blurs distinctions between light and dark, day and night, and emotional experience.

13 June—20 July From Gunnedah to Gara Gorge Anna Henderson, Maree Kelly and David Manks.

Spanning the floodplains of Gunnedah to the granite country of Uralla and the escarpments of New England, these works offer distinct responses to land, light, and memory. From Gunnedah to Gara Gorge is a reflective journey through Country, exploring how we see, remember, and connect with place.

12 July—28 September Lost in Palm Springs Kate Ballis, Tom Blachford, Darren Bradley, 197

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Orange Regional Gallery

7 July—5 September Peyton Johnson

www.orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

Sooty Welsh, Our Stories. Photograph: Andrew Hull.

7 July—5 September NAIDOC film Festival

Kate Ballis, 2350, 2017. archival pigment ink on cotton rag 103 x 153 cm. Image courtesy of the artist.

Anna Carey, Sam Cranstoun, Paul Davies, Rosi Griffin, Jim Isermann, Troy Kudlac, Lance O’Donnell, Kim Stringfellow, Vicki Stravrou, Robyn Sweaney, Gosia Wlodarczak.

Curated by Dr Greer Honeywill, this exhibition examines the connection between Palm Springs and Australia, and how contemporary artists engage with and respond to modernism’s aesthetic and influence. Place and home, landscapes (real and imagined), and Bauhaus sensibilities inform the exceptional works in this exhibition.

Penrith Regional Gallery www.penrithregionalgallery.com.au Ros Auld, Untitled Orange Vessel and Untitled Orange Sculpture, 2025, stoneware and crackle glaze.

21 June—24 August INSIGHT: Figure and Landscape Ros Auld

Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland.

21 June—7 September Mighty Minds/Mega Machines

Ngununggula

Until 13 July Selections from the Permanent Collection

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.

See our website for latest information.

28 June—24 August CHERISHED: Recent acquisitions from a generous community

16 August—21 September Art Express

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.

Darug Country, 86 River Road, Emu Plains, NSW, 2750 [Map 11] 02 4735 1100 Mon to Sun 10am–4pm.

Performance Arts Culture Cessnock | PACC www.mypacc.com.au 198–202 Vincent Street, Cessnock NSW, 2325 [Map 12] 02 4993 4266 Tue to Fri 9am–4.30pm, Sat 10am–2.30pm.

See our website for latest information.

Performance Arts Culture Cessnock (PACC) is your premier destination for live entertainment and culture in the Hunter Region.

Susan Ryman, Quod Insania Macarthur (the Macarthur Madness), 2020, watercolour, gouache, ink and coloured pencil on rag paper, hand varnished, triptych - each panel, 25 x 20 cm.

19 July—6 September In and Out the Windows: much of the last decade in coloured pencil Susan Ryman A selection of artworks made during the last ten years which trace the evolution of Ryman's practice. All of the pieces share the same means of making - an eye for the unlikely, reference to Ryman's trove of collected specimens and use of the humble coloured pencil on paper.

Tom Polo, remember the end (balancing act), 2022. Private Collection.

Photography courtesy of David Suyasa.

28 June—24 August in a part of your mind, i am you Tom Polo

Peyton Johnson, Image courtesy of Outback Arts.

Opening Saturday 26 July, 12noon–2pm

by Ahn Wells and Dino Consalvo of STRAITJACKET. 19 9

Hank Spirek, Creation, 2025, oil on canvas, 60 x 18 cm.

hankspirekartist.com

Gallery of Orange, NSW Featuring recent work by Hank Spirek.

241 Lords Place, Orange NSW 2800 Artist studio open upon request, 6 Lindsay Street. Blayney, NSW. 0483 318 453 artworkorange.com.au Info@artworkorange.com.au hankspirekartist.com

hankspirekartist.com

the SteelReid

Collection Peter ADAMS | Graham BLONDEL Jane CANFIELD | Elizabeth CUMMINGS Richard CUTLER | Lawrence DAWS Warwick FULLER | James GLEESON Jody GRAHAM | Rita HALL Birgitte HANSEN | Kudditji KNGWARREYE Norman LINDSAY | Stewart MACFARLANE Mervyn MORIARTY | Colin PASSMORE Wendy SHARPE | Randall SINNAMON Michael SMITHER | Simm STEEL Jim THASALOUDIS Matthew WEATHERSTONE John WILSON | Reinis ZUSTERS

Kudditji Kngwarrye. Acrylic on Linen. 1450mm x 1000mm.

steelreid.com.au 20 0

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0414 369 696

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

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.

See our website for latest information.

PIERMARQ* is an art gallery located in Surry Hills, Sydney, exhibiting the forefront of international and Australian contemporary art. PIERMARQ* takes pride in fostering a global network of artists who support each other with practical advice and creative opportunities.

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.

Rogue Pop-Up Gallery www.roguepopup.com.au 130 Regent Street, Redfern, NSW 2016 0424 233 821 Wed to Sat 11am–6pm, Sun 11am–5pm.

See our website for latest information.

Rex-Livingston Art + Objects works with high quality emerging and mid-career artists, through to Australian investment artists. We sell on consignment works by; Sidney Nolan, Adam Cullen, Martin Sharp, McLean Edwards, Arthur Boyd, Charles Blackman, Garry Shead, Fred Williams, John Firth-Smith, Albert Tucker, Trevor 'Turbo' Brown and James Gleeson among others.

Bryan King, The Terrible Drawing, 2024 acrylic on canvas, 61 x 75 cm.

2 July—27 July Opening event Saturday 5 July 11am–6pm.

That Sinking Feeling Bryan King Recent paintings.

Jude Rose, Morning Serenade, 2025, watercolour pencil on Birchwood panel, 50 x 60 cm.

Gabriella Dunayski, Nose Job on the Churches Fund For Underpriveldged Children, 2025, oil on canvas, 244 x 215 cm.

27 June—27 July Of Land & Clay Jude Rose (paintings) and Rebecca Verpoorten-Laws (ceramics)

12 June—26 July Tear Drop or Tidal wave Gabrielle, Dunayski, Monica Kim Garza, Adam Laurence Hedley, Jordy Kerwick, Lucienne O’Mara, Bill Saylor, Ryan Schneider and Søren Sejr.

Jude Rose explores her magical, colourful, topiary landscapes and vistas, Rebecca Verpooorten-Laws presents her whimsical narratives in clay.

Adam Lester, Cat alley, Tokyo, 2025, acrylic and oil on paper, 42 x 59 cm.

The Desert Calls My Name Sally Stokes Recent paintings.

30 July—24 August Opening event Saturday 2 August 11am–6pm.

Andrew Leslie, annodised aluminium, size variable.

31 July—23 August Dozo!

Adam Lester N. G Malla, Richard’s Pot with Yellow Banksia, 2025, acrylic on board, 40 x 30 cm.

1 August—31 August Almost Spring Phil Stallard, N. G Malla, Jo Langley +++

30 July—24 August Abstraction Andrew Leslie Site specific acrylic on annodised aluminium.

What my eyes see Bryan Fitzgerald Recent digital works.

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KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail, Big reef, 2024, oil and acrylic on linen, 183 x 244cm

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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.

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.

31 May—19 July Safari Art Neil Sloan Safari Art is a solo exhibition of works on paper by Neil Sloan, capturing his artistic response to travels throughout East Africa. From connecting with local communities, diverse landscape and wildlife, Neil creates expressive works layered with meaning, energy and a sense of place.

Working on-site, he directly engages with his surroundings, translating his experiences through printmaking, collage and drawing.

Sarah Richards, Depths of resilience, 2025, acrylic on canvas, 22 x 32”. symbolic pathways, these works speak to the balance of holding on, letting go, and stepping forward with courage. Every mark, every step, and every transition tell a story, honouring both where we’ve been and what lies ahead.

SCA Gallery www.sydney.edu.au/sca Gadigal Lands, Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm.

See our website for latest information.

Mia Boe, And the rain has wet, my last cigarette, 2025, diamantes, thread, oil on linen, 81 x 56 cm.

27 June—19 July Mia Boe 25 July—23 August Linda Marrinon

Royal Botanic Gardens www.evieadasal.com.au The Garden Gallery, Mrs Macquaries Road, Sydney NSW 2000 Daily 10am–4pm.

Lesley Sykes, Still Life with Grey Shirt, 2024, ink and acrylic on board, 90 x 90 cm.

28 June—19 July A Shifting Perspective Lesley Sykes In A Shifting Perspective, artist Lesley Sykes draws inspiration from a beautiful, light-filled studio at their home in Mongarlowe. Cluttered with collected objects and opening out to an overgrown garden and back creek, this environment provides the subject matter for Sykes’s paintings - interiors, still-life and the wild garden spaces.

The works showcase a sgraffito technique scratching into, rather than drawing on, the surface. Colour is applied and then rubbed back to become almost translucent.

Rather than presenting a photographic representation, the paintings evoke the idea of spaces and objects. Forms are distorted and planes tilted, objects intersect and overlap - shifting perspective.

28 June—19 July Resilience, reflection, renewal Sarah Richards

Evie Adasal, Ode to Sunset, synthetic polymer on poly cotton, 130 x 140 cm.

25 July—3 August Light and Space Evie Adasal

Inspired by the cycles of life and the wisdom they reveal, this collection explores the journey of resilience, reflection and renewal. Each piece captures the movement of time—sometimes vast and open, other times deep and uncertain. Through shifting colours, layered textures, and

Tully Arnot, Epiphytes, (detail), 2022.

Multi-sensory virtual reality artwork.

Created for the Mordant Family VR Commission, a partnership between ACMI and the Mordant Family.

7 August—6 September What Lies Beneath Ben Joseph Andrews & Emma Roberts, Tully Arnot, Robyn Backen, Denis Beaubois, Gail Priest and John Tonkin.

Curated by Robyn Backen and John Tonkin.

Submerge yourself in the idea of immersion in this exhibition curated by collaborative team Robyn Backen and John Tonkin. While the re-emergence of VR over the last ten years has led to a renewed interest in the notion of immersion, artists have long engaged with a diverse range of creative practices that might be considered immersive—writing, installation, soundscapes and so on.

What Lies Beneath features immersive works by artists that engage with physical and/or virtual spaces. There are other threads that run through the works. Many of them engage with perception and bring attention to the act of seeing and listening.

Spoken language and the recollection of memory are other common elements.

You can wander both physically and virtually through different multisensory somatic spaces imagined by seven Australian artists.

Opening Wednesday 6 August, 6pm–8pm.

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Scieppan Gallery

12 July—13 September Among Other Entanglements Jess MacNeil

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.

SteelReid Studio www.steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

See our website for latest information.

Emily Kame Kngwarreye, Awelye, 1991, synthetic polymer paint on canvas, 150 x 120 cm. Private Collection.

Michael Esson, Searching for Turtles in Paradise, 120 x 120 cm.

2 August—19 August Ugly and Beautiful, Old and New Michael Esson

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.

peers who add to the richness of and diversity of the broader Utopia community.

There are masterpieces in this exhibition that are well known as well as stunning works drawn from private collections that have never been seen publicly before. This is an exhibition that will thrill and surprise everyone and adds to the celebration of Emily Kame Kngwarreye now at the TATE. Exhibition presented in association with Utopia Art Sydney.

Left: Brian Reid, Lily and Bean, oil and pastel on paper. Right: Pennie Steel, Abelard and Heloise, work on paper.

South East Centre for Contemporary Art

Straitjacket

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.

Viewings and artworks by Pennie Steel and Brian Reid by appointment.

www.straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 See our website for latest information.

Until 27 July 2025 Salon des Refuses: the ‘alternative’ Archibald & Wynne Prize selection The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition.

Principal Sponsor: Holding Redlich.

Marina Ely drawing in situ at ‘the Barn’ at Bithry inlet. Image courtesy the artist.

12 July—13 September Bithry. Time.

Bonita Ely

19 July—10 August Objects may appear smaller in mirror Braddon Snape Including collaboration “Stab a painting with a sculpture” with James Drinkwater and Braddon Snape.

2 August—14 September Classics from the Golden Age of Utopia This exhibition showcases the explosion of talent that emerged from Utopia at the end of the 20th century. Emily Kngwarreye, Gloria Petyarre, Ada Bird Petyarre lead with major canvasses that were revolutionary at the time, and they are supported by many of their friends and

Braddon Snape, The Wrestle, 2024, polished mirror, air inflated stainless steel, welded and powder coated steel, Stainless steel hardware.

Opening Saturday 19 July, 11am—5pm.

Still from Jess MacNeil, Echolocation; Internal Echo, External Echo (working title) 2025, digital video with sound.

16 August—7 September Stories to tell - drawings and paintings from the suitcase Claire Martin Opening Saturday 16 August, 11am—5pm.

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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.

Michael Bell, The Lucky Rooster and Soi Dog, Hua Hin Beach, 2024, oil on canvas 80 x 112cm.

The Tin Sheds Gallery provides a platform for public debates about the role of architecture, art, design and urbanism in contemporary society through the production of innovative exhibitions, publications and related activities.

Tweed Regional Gallery & Margaret Olley Art Centre 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.

16 August—7 September The Goat Artist or Get me through the next five minutes Michael Bell Opening Saturday 16 August, 11am—5pm.

Sullivan+Strumpf Gadigal/Sydney www.sullivanstrumpf.com

Tomoko Hayashi, 2024, Photo by Yuna Yagi. Courtesy Tomoko Hayashi.

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

12 June—25 July Actions for Water

31 July—23 August Guwak - the ancestors Naminapu Maymuru-White 28 August—20 September Seth Birchall 28 August—20 September Maria Fernanda Cardoso

Artists and participants: Urbonas Lab (USA - MIT / LITH), Sao Sreymao (KH), Zarina Muhhamed (SG), Tomoko Hayashi (JPN), Mei Swan Lim (AU), Imani Jacqueline Brown (USA), Daniel Jan Martin (AU), Underfoot Collective (AU) By intertwining artistic practice with ecological advocacy, Actions for Water fosters a deeper understanding of our relationship with water and its vital role in sustaining life. Curated by Sharmila Wood.

Tamworth Regional Gallery www.tamworthregionalgallery. com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat & Sun10am–4pm.

10 May—3 August Maria Fernanda Cardoso: Spiders of Paradise An MCA Australia touring exhibition of video and photographic work by Maria Fernanda Cardoso. Spiders of Paradise presents the artist’s ongoing photographic series featuring the tiny Australian Maratus spider. It includes new works from this series as well as Cardoso’s acclaimed video work On the Origins of Art I-II (2016). Maria Fernanda Cardoso: Spiders of Paradise is an exhibition developed and toured by the Museum of Contemporary Art Australia, assisted by the Australian Government through Creative Australia, its arts funding and advisory body, and supported by the NSW Government through Create NSW. 9 May—10 August Gunimaa-Source Debbie Taylor-Worley and Sophie Taylor

Irene Perez Lopez, Disrupted WaterLand, 2023. Coutesy Irene Perez Lopez.

7 August—18 September WaterTalks

Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023, video still.

14 June—24 August Two Girls from Amoonguna Sally M Nangala Mulda and Marlene Rubuntja

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

Creative team: Irene Perez Lopez, Shellie Smith, Maria Cano Dominguez, Glenn Albrecht, Mia Tulumovic, Therese Keogh, Ananya Khujneri.

The exhibition highlights the central role of water in societies, particularly important for First Nations people, emphasising waters’ cultural, spiritual, and economic significance. Acknowledgements: University of Newcastle.

Regional artists Debbie Taylor-Worley and Sophie Taylor are mother and daughter artists from strong matriarchal Gamilaraay/European heritage. Their joint exhibition Gunimaa-Source visually expresses the source of their feminine power which they explore through a cultural lens.

9 May—10 August Key Rhythm Tamara Mendels Key Rhythm is an exhibition of new work by Northern Rivers artist Tamara Mendels exploring gesture, line and surface.

Spanning across painting and sculpture, Mendels’ unique forms are a result of working within her own processes and self-imposed boundaries.

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21 March—28 September Breast Plates Luther Cora Breast Plates is a personal photographic series by Bundjalung and Yugambeh Nation artist Luther Cora that delves into the intricate layers of history, culture, and colonisation impacting Australian Aboriginal peoples. The photographic collection serves as both a homage and a critique, exploring the weight of the past and the enduring and resilient spirit of Aboriginal people.

21 March—31 August Painting Life: Margaret Olley and Works from the Collection This exhibition celebrates vibrant still life paintings by Margaret Olley (1923-2011) in the Tweed Regional Gallery collection, together with contemporary responses to Olley’s home studio re-creation that is on permanent display at the Margaret Olley Art Centre.

7 February—26 October The Comfort of Home Tweed Regional Gallery collection The Comfort of Home presents works from the Tweed Regional Gallery collection that explore the home as a sanctuary – our own individual corner of the world.

Michelle Pulatuwayu Woody Minnapinni, Mickey Fogarty Wilson, Patrick Freddy Puruntatameri, Pedro Wonaeamirri, Raelene Kerinauia Lampuwatu, Timothy Cook, and Walter Brooks. The exhibition also includes a special presentation of pioneering artists Kutuwulumi Purawarrumpatu Kitty Kantilla, Mary Magdalene Tipungwuti, Maryanne Mungatopi, and Taracarijimo Freda Warlapinni. Curated

by José Da Silva with Jilamara Arts.

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 See our website for latest information.

For over 25 years, the University Gallery has been a site for cross-disciplinary collaboration and knowledge exchange, championing creative thinking and critical engagement, presented in contemporary exhibitions that engage and inspire.

UNSW Galleries

www.waggaartgallery.com.au Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 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.

10 May—31 August Life Story Aunty Fay Clayton & Uncle Bill Wallace Paintings by Wiradjuri elder, Aunty Fay Clayton, and Gamilaraay elder Uncle Bill Wallace. Depicting stories of their long lives.

10 March—7 September Bleak House: Dark Visions Bleak House: Dark Visions sets the stage for a journey into the less explored realms of human experience, where viewers are invited to confront the darker aspects of our inner world.

10 May—31 December 50 Years / 50 Treasures Wagga Wagga Art Gallery Collection

www.unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Wagga Wagga Art Gallery

Celebrate Wagga Wagga Art Gallery’s 50th anniversary, featuring treasures from the National Art Glass Collection, collected over the past 5 decades.

Carissa Paglino, Malang - Together, 2015, mixed media (design based on original artwork by Saretta Fielding).

30 May—12 July Malang: Indigenous Hunter Artists

3 June—7 September Paintings from the National Collection Clarice Beckett Paintings from the National Collection presents an intimate, rarely seen collection by one of the most original artists of early twentieth century Australia.

26 July—26 October Canberra vs the Government: Prints from the archive of Megalo Print Studio Megalo Print Studio Archive In celebration of Megalo Print Studio’s 45 anniversary, Canberra vs the Government brings together selected works produced at Megalo, Canberra by outstanding Australian printmakers. Guest curated by printmaker and Megalo founder, Alison Alder.

Dino Wilson, Warnarringa (sun), 2021.

Image courtesy of Outstation Gallery and Jilamara Arts & Craft.

24 May—10 August Parlingarri Amintiya Ningani Awungarra: Old and New at Jilamara Arts A major exhibition of new and recent works by leading Tiwi artists, including Arthurina Moreen, Columbiere Tipungwuti, Conrad Kamilowra Tipungwuti, Dino Wilson, Janice Murray, Johnathon World Peace Bush, Kaye Brown, Matthew Freddy Puruntatameri,

Belinda Street, KNOW MY ABSTRACTION, 2025, digital image 19 July—6 September Know My Abstraction Virginia Cuppaidge, Belinda Street, Lezlie Tilley, Patricia Wilson-Adams

Arthur Wicks, Yellow Thaw, 1974, acrylic on canvas, 168 x 3035 cm.

26 July—26 October Paintings 1967 - 1974 Arthur Wicks 20 9

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In glorious colour - rarely seen large abstract paintings from the personal archive of groundbreaking colour field artist Arthur Wicks.

Watt Space Gallery www.newcastle.edu.au/ wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

Lin Zhipeng, (aka No. 223), Layers, 2018, archival pigment print, 67 x 100 cm.

Image courtesy of the artist and the White Rabbit Gallery. der identities that have largely been forgotten. Queer pasts are actively erased so that queer futures may cease to exist. Today, despite growing constraints and “official pressure”, queer communities endure. Straight, queer, or undisclosed—together, the artists in Tender Comrade create an exhibition that breaks all the rules defining who we are and how we are perceived.

Laklak Ganambarr & Ritjilili Ganambarr (Yolŋu), (with permission), Ghost Baskets, Bathi (coiled basket), ghost net, gunga djäma (pandanus).

26 June—19 July Weaving Emergent Geographies

Greg Carosi, House of Cards, 2025.

Wollongong Art Gallery www.wollongongartgallery.au Dharawal Country, 46 Burelli Street, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

See our website for latest information.

26 July—26 October House of Cards Greg Carosi House of Cards explores the fragility of our human condition through a theatrical series of large-format acrylic on aluminium paintings, inviting viewers to become a “figure” in the landscape.

Wentworth Galleries www.wentworthgalleries.com.au 175 Pitt Street, Sydney NSW 2000 [Map 8] 02 9223 1700 Open 7 Days, 10am–5.30pm.

Peter Tilley, Botanic Gardens, 2025, digital photograph.

23 July—13 September Sculpture in the Botanic Gardens – Response III

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

See our website for latest information.

18 June—16 November Tender Comrade Group exhibition

Ken Knight, The Blue Pacific-Coogee, oil on board, 87 x 113 cm.

From 17 July The Great Australian Landscape

Chinese history wasn’t always straight.

While queerness may seem like a foreign import, its roots in China date back to ancient times. This was part of a broader history of same-sex relationships, non-normative sexualities, and transgen

Patrick Pound, Anonymous disbanded newspaper archive photograph, 2024, found photograph. Courtesy of the artist and Darren Knight Gallery.

17 May—16 November Dream Vitrine Patrick Pound Curated by Daniel Mudie Cunningham.

Imagine if artworks could dream. In Dream Vitrine, artist and collector Patrick Pound reimagines selected pieces from the Wollongong Art Gallery collection as ‘sleeping objects’, wondering what dreams might arise within them. A painting of the sky might envision endless blue expanses, while a historic watercolour of flames might produce visions of fire’s flickering allure and menace. Max Dupain’s famous 211

A major exhibition at the National Art School 11 July – 18 October NAS Gallery 11am–5pm (Mon-Sat) Free admission This is proudly supported by the NSW Government through the Blockbusters Funding initiative

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Redback Graphix, Michael Callaghan, Mary Callaghan, designer, Greetings From Wollongong Postcard – Version 1, 1979, colour screenprint on paper, 16.7 x 21 cm. Collection Wollongong Art Gallery.

Gift of Micky Allan 2020.

14 June—31 August Greetings from Wollongong Curated by Kaylene Milner with Louise Brand, Aneshka Mora and Daniel Mudie Cunningham.

Wollongong has long been a nucleus of social consciousness, where the power of grassroots activism meets the force of visual culture. The working-class roots of the Illawarra region, deeply intertwined with steel-city labour politics and diverse communities, have nurtured a vibrant political and creative scene. Greetings from Wollongong celebrates this rich history, highlighting the intersection of protest and politics with the vital energies of party and play. Wollongong-born designer, musician and WAH-WAH fashion label founder, Kaylene Milner, leads a curatorium to unpack this through the WAG collection rounded out with a selection of invited artists from beyond the Illawarra.

5 July—7 September Fafangu - To Awaken Adriana Māhanga Lear Fafangu: To Awaken is a new body of work by queer Tongan-Australian artist Adriana Māhanga Lear. The exhibition revitalises and re-imagines Tongan concepts and practices of ongo (sound), relating to mate (death), putu (funeral rites), and fonua (people and place). Using photography, video, sculpture, installation, sound and music, Lear interrogates the colonial archive to examine the legacies of Eurocentrism and heteropatriarchy on Tongan art forms. Commissioned by Casula Powerhouse Arts Centre.

Presented by Wollongong Art Gallery.

8 August—2 November FEVER FEVER immerses us in the disorientation of a capitalist, hyper-consumerist, and settler-colonial epoch - a fever-dreamed reality marked by ecological crisis and cultural violence. Through both rage and tenderness, the works in this exhibition offer complex reflections on First Nations identities, dispossession, custodianship, and resistance. FEVER centres Blak sovereign identities as deeply rooted in Country and situated in a time and space beyond settler imagination.

6 September—30 November Restless Legs Mitch Cairns Mitch Cairns’ striking paintings take inspiration from the world outside the Sydney artist’s inner-city studio, from nature and the built environment to the working lives of the people around him. They are immediately recognisable for their stylised imagery, refined brushwork and a restricted colour palette. Well-known as a portrait painter, having won the Archibald Prize in 2017, this exhibition reveals the full breadth of his practice and the diversity of his influences. An Art Gallery of New South Wales Touring Exhibition presented

by Wollongong Art Gallery.

13 September—23 November Here + Now 5: There’s No Place Like Home Curated by Matthew Grayson.

HERE + NOW 5: There’s No Place Like Home explores the complex, multi-dimensional idea of home as both a refuge and a site of conflict. It highlights the tension between home’s nurturing aspects and the discomforts it can bring. Home shapes identity, memory, belonging, and loss. HERE + NOW is a biennial exhibition series celebrating the creativity of local emerging curators and artists under 30.

This iteration will be the last in its current format before the platform is revitalised in 2027.

6 December—1 March 2026 Wollongong Art Prize The Wollongong Art Prize first dazzled the local arts scene in 1956, long before Wollongong Art Gallery was established in 1978, and continuing on-and-off until the present. Wollongong Art Gallery has carried the torch of this legacy, hosting the prize in various incarnations, including FLOW Contemporary Watercolour Prize. Now, the Wollongong Art Prize is making a triumphant return.

This reimagined competition embraces a bold, contemporary vision, welcoming artists across all mediums with a focus on access, inclusivity, and community.

Yarrila Arts and Museum www.yarrilaartsandmuseum.com.au Gumbaynggir 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.

See our website for latest information.

14 June—24 August Flowers and People − A Whole Year per Hour teamLab In this interactive video installation a year’s worth of seasonal flowers bloom over the course of an hour, continuously scattering and changing. Flowers are born, bloom, then in the course of time, they wither and die. The flowers are

teamLab, Flowers and People – A Whole Year per Hour, 2020, interactive digital work, 12 channels (6 channels x 2 rows), endless, sound: Hideaki Takahashi. © teamLab, courtesy Martin Browne Contemporary. eternally repeating the process of life and death. When people move in front of the artwork, the flowers scatter all at once.

But when people stand still, flowers bloom and grow more abundantly.

Patricia Piccinini, Safely Together, 2022 (detail), image courtesy of the artist, Roslyn Oxley9 Gallery and Tolarno Galleries; Caroline Rothwell, Red Picasso, 2021 (detail), image courtesy of the artist, Tolarno Galleries and Ames Yavuz.

14 June—24 August Interconnected Entities Patricia Piccinini and Caroline Rothwell This exhibition brings together two of Australia’s most celebrated female artists, Patricia Piccinini and Caroline Rothwell. Working across the shared themes of hybridity, transmutation, future technologies and biophilia, their works speak to humanity’s kindred and complex relationships with the plant and animal worlds, and our inherent connection with these species and each other.

14 June—24 August Shadows Make the Light Shine Brighter Juz Kitson Shadows Make the Light Shine Brighter is a ceramic and video installation that reimagines ancient Roman and Greek funerary urns, amphoras and female figurines. Meticulously hand crafted from porcelain and stoneware in real life and using photogrammetry to bring them to life in animation form, these sculptural objects merge historical reverence with a vision of a post-apocalyptic dystopian future.

28 June—10 August Airbourne Sara Bowen, Christine Courcier-Jones, Penelope Drawing from observation, microscopic life, and multiple environmental perspectives, the artists make the invisible visible through printmaking, papermaking, and suspended forms.

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Artisan www.artisan.org.au

28 June—14 September Neil Binnie: Architectonics and Observations

45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 Wed to Fri 10am–5pm, Sat 10am–4pm.

See our website for latest information.

Karike Ashworth’s Domestic Topography residency. Photograph: Stacey Lia. 5 July—14 September Karike Ashworth: Home

Fish Trap, Wanda Gibson, Birrangay Bulilil (leaves falling) - 2025 Hope Vale Autumn Collection, Linen. Photo: Hope Vale Arts and Culture Centre; Jellyfish, Jill Yantumba. 176 x 30cm. Photo: Pormpuraaw Art & Culture Centre; Bagu DM1126, Debra Murray, Ceramics, 34 x 12.5 x 6.5cm. Photo: Girringun Art Centre; 112-25, Paula Savage. Photo: Moa Arts; Kakan (Black Palm) Dillybag, Vanessa Cannon. Ceramic Tile. 225 mm diameter.

Photo: Yalanji Arts.

24 April—19 July The Shape of Time Art Centres: Hope Vale Arts & Cultural Centre, Girringun Aboriginal Art Centre, Yalanji Arts, Pormpuraaw Arts and Culture Centre and MOA Arts.

Artspace Mackay 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.

5 July—14 September Libris Awards 2025: The Australian Artists Book Prize

Neil Binnie, Untitled 2404, 2024, charcoal and gouache on paper, collage, image: 12 x 12 cm; sheet: 28 x 19 cm.

Image courtesy of the artist.

Bribie Island Seaside Museum www.moretonbay.qld.gov.au/ seaside-museum Kabi Kabi and Joondoburri Country, 1 South Esplanade, Bongaree, QLD 4507 [Map 13] 07 5433 2596 Wed to Fri 10am–4pm, Sat & Sun 10am–3pm.

10 May—3 August Ngā Pakiwaitara O Matariki Experience the rising of the Matariki star cluster, signifying the Māori New Year in Te Ao Māori. Immerse yourself in the heart of Matariki - remembering those lost to us over the past year, celebrating the present, giving thanks, and reaching out to the promise of the future. Explore each of the nine stars and their pakiwaitara/stories through the sharing of cultural knowledge and kupu tuku iho/histories, waiata/ song, mahi toi/visual arts, and kapa haka/ dance. Embrace the past present and future of Matariki in Moreton Bay. Kua haehae ngā hihi o Matariki. The rays of Matariki are glistening.

Caboolture Regional Art Gallery

Cindy Sherman (photographer), Ancienne Manufacture Royale (Limoges) (manufacturer), Madame de Pompadour née Poisson (1721-1764), 1989, hardpaste porcelain modelled after a Sèvres original, with Rose Pompadour ground colour, silver details and transferred photograph. Purchased 1990. Collection: Queensland Art Gallery | Gallery of Modern Art. © Cindy Sherman. of Modern Art (QAGOMA) Collection.

Drawing from QAGOMA’s Australian, Indigenous Australian, Asia Pacific and International collections, Looking Out, Looking In: Exploring the Self-Portrait highlights richly diverse approaches to the timeless artistic genre. Looking out, Looking In: Exploring the self-portrait is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.

Emily McDuff, Keep moving, or else, 2024, watercolour, gouache, and pencil on Arches paper (detail).

16 July—14 August The Hub Gallery: It’s me, it’s you, it’s me Emily McDuff Emily McDuff is an emerging artist and illustrator based in Meanjin/Brisbane.

www.moretonbay.qld.gov.au/ caboolture-gallery

16 August—16 September The Hub Gallery: AHA! Moments

Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

Art Lab is a platform for critical conversations about art and art making. It is a method for exploration and dialogue fostering meaningful connections between makers and enthusiasts alike.

21 June—6 September Looking Out, Looking In: Exploring the Self-Portrait Abdul Abdullah, Davida Allen, Fiona Foley, James Gleeson, Nora Heysen, George W. Lambert, Tracey Moffatt, Vincent Namatjira, Luke Roberts, Cindy Sherman and Madonna Staunton.

People’s persistent interest in self-image is explored in a new exhibition of work from the Queensland Art Gallery | Gallery

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.

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gympie.qld.gov.au/draa

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD 216

arthousenorthside.com

www.arthousenorthside.com

QUEENSLAND Caloundra Regional Gallery continued...

exploring the politics of Aboriginal art and culture, and provoking, subverting and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR addresses current socio-political, economic and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. OCCURRENT AFFAIR: JUSTICE NOW embraces the slippage between language and its associated readings to probe and present new narratives.

Gallery 48 www.gallery48thestrandtownsville.com Zartisha Davis, Mooloolah Middens, 2023, acrylic on canvas, 97 x 90 cm.

Image courtesy of the artist. Photograph: James Muller.

13 June—3 August From the sea, the land and the mountains: works by Kabi Kabi (Gubbi Gubbi) and Jinibara artists - NAIDOC 2025

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.

of Modern Art (QAGOMA) Collection. Joe Furlonger: Horizons is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art. 31 May—3 August Billy Missi’n Wakain Thamai Hervey Bay Regional Gallery is pleased to present Billy Missi’n Wakain Thamai, a national touring exhibition presented by NorthSite Contemporary Arts in partnership with Torres Strait Regional Authority’s Gab Titui Cultural Centre (TSRA), and toured by Museums & Galleries QLD.

To celebrate NAIDOC 2025, the Gallery will have on show From the sea, the land and the mountains: works by Kabi Kabi and Jinibara artists. This exhibition celebrates some of the First Nations artists from the traditional lands of the Sunshine Coast Region – the Kabi Kabi (Gubbi Gubbi) peoples of the shores and the northern hinterland, and the Jinibara peoples of the southern hinterland. Profiling up-andcoming Kabi Kabi artists, Kane Brunjes with assistance of Birrunga Gallery Hub in Gallery 1 and Zartisha Davis, with paintings and installation in Gallery 2 and in Gallery 3, under the guidance of Jason Murphy some of the Jinibara artists have been creating prints to share their stories.

Court House Gallery, Cairns

Joe Furlonger, Untitled, 1997, pigment with acrylic binder on canvas. Gift of Ray Hughes through the Queensland Art Gallery | Gallery of Modern Art Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program. Collection: Queensland Art Gallery | Gallery of Modern Art. © Joe Furlonger.

Billy Missi’n Wakain Thamai is an exhibition developed by NorthSite Contemporary Arts (Cairns) and touring Australia in partnership with Gab Titui Cultural Centre/Torres Strait Regional Authority (Thursday Island) and Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program.

31 May—3 August Regional Spotlight 2025 The Regional Spotlight initiative is an opportunity for Wide-Bay Burnett artists at any stage in their career, working in any

www.cairns.qld.gov.au/courthousegallery

Kristie Hammond, Aussie Grown, 2023, acrylic on canvas, 46 x 61 cm.

1 July—30 August Warmer Winters (continued)

38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Fri 9.30am–5pm, Sat 10am–5pm, Sun 10am–2pm.

Free admission.

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.

Jennifer and Josh Herd, BAMA. 24 May—7 September OCCURRENT AFFAIR: JUSTICE NOW proppaNOW Collective Established in 2003, proppaNOW is one of Australia’s leading cultural collectives,

24 May—3 August Joe Furlonger: Horizons One of Australia’s most respected landscape painters, Joe Furlonger came to prominence in the late 1980s with a series of large-scale figurative paintings. Drawn from the Queensland Art Gallery | Gallery

Billy Missi, Dhanghalah Thiyaik | Drifting for dugong, 2009, linoleum cut printed in black ink from one block, 707 x 1010 (print matrix). Courtesy of Editions Tremblay. © Billy Missi | Copyright Agency, 2024.

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— AUG 16

QUEENSLAND Hervey Bay Gallery continued... visual art medium, to receive mentorship and share their work at the gallery.

Regional Spotlight 2025 artists are: Jacob Bunt, Val McGrath, Lou Millen, Colin Reaney, Suzanne Roberts and Karen Stanton.

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. 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

portraits and rare manuscripts from literary legens in this Australian exclusive.

Ipswich Art Gallery

7 June—17 August National Gallery of Australia: Enjoy this Trip - The Art of Music Posters

www.ipswichartgallery.qld.gov.au

Drawn from the National Gallery’s expansive collection of Australian and international music posters spanning the 1960s to 1980s, Enjoy this trip: The art of music posters captures the spirit of the times as an era of experimentation.

Institute of Modern Art www.ima.org.au 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.

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich, QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm.

Free admission.

14 June—7 September Fantastic Forms Fantastic Forms showcases over 150 drawings and ceramics by Merric Boyd (1888–1959), often called Australia’s father of pottery. Featuring works from the Bundanon Collection, the exhibition connects Boyd’s playful, dynamic practice with contemporary artists Nabilah Nordin, Stephen Benwell, and Rubyrose Bancroft.

Fantastic Forms is a Bundanon Touring Exhibition. The 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.

22 June—21 June 2026 A Bigger View National Gallery of Australia Spanning decades and continents, each epic in scale and subject, these artworks demonstrate the various and unique approaches artists take to the landscape.

12 April—3 August Writers Revealed National Portrait Gallery of London and British Library Treasures from the British Library and National Portrait Gallery of London; explore 6 centuries of world-famous

Giselle Stanborough, Cinopticon, 2020.

12 July—20 September Desire Is a Machine Curated by Stephanie Berlangieri Featuring Graeme Doyle, Stuart Ringholt and Giselle Stanborough (Australia); Pedro França and Rodrigo Sano Calazans with Ueinzz Theatre Company (Brazil); Aurélien Froment (Scotland/France); Fritz Kahn (Germany); and Angela Melitopoulos (Greece/Germany) and Maurizio Lazzarato (France/Italy).

Mark Rothko, 1957 # 20, 1957, National Gallery of Australia, Kamberri/Canberra, purchased 1981 © Kate Rothko Prizel & Christopher Rothko. ARS/Copyright Agency.

17 November—10 November 2026 Sharing the National Collection

Max Athans, Breathform.

12 July—20 September Max Athans: Breathform Breathform is Athan’s first solo exhibition in a major institution, awarded as the 2025 recipient of the Institute of Modern Art’s Jeremy Hynes Award.

12 July—20 September Ayoung Kim: Delivery Dancer’s Sphere Paul Worstead, Jimmy Jones Souvenirs, Mental as anything - Creatures of leisure (Martin), 1982. National Gallery of Australia, Kamberri/Canberra, gift of the artist 1994 This work appears on screen courtesy of the artist © Paul Worsted / Copyright Agency, 2024.

Created during the Covid pandemic, when the gig economy and platform labour intensified in South Korea, Ayoung Kim’s video Delivery Dancer’s Sphere probes the accelerationist urge for body and time optimisation. On show in the IMA screening room.

Ipswich Art Gallery are the proud hosts of 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. 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.

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Jan Murphy Gallery www.janmurphygallery.com.au Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

24 June—12 July Ensemble Keith Burt 24 June—12 July Ghosts Laura Patterson 15 July—2 August Iluwanti Ken

the viewer on an experimental journey as she blurs the lines between the past and future to create speculative archives.

Lowry blends cabinets of curiosities, contemporary technology, as well as art historical and museological tropes to investigate our relationship with nature.

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.

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.

See our website for latest information.

18 July—6 September Love Logan Community art exhibition Love Logan is a community exhibition where residents of the City of Logan are invited to create a small artwork about something they love about the city. the churchie 2024. Image courtesy of Charlie Hillhouse.

26 July—9 August the churchie emerging art prize 2025 Finalists’ Exhibition

5 August—23 August Ekka Lucy Culliton 5 August—23 August Arenas Archer Davies 26 August—13 September Paul Davies

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.

18 July—6 September The piano keys of humanity Wu Zhipeng In the face of the unprecedented challenges brought about by the global Covid-19 pandemic, Wu Zhipeng uses his art to reflect on enduring themes that lie beneath the surface of incessant change.

The piano keys of humanity presents a suite of new paintings that utilise barcodes as a motif symbolic of both global trade and piano keys - serving as metaphor for capitalism and the intricate voices of humanity.

Kris Estreich, Mobile landscape, 2024, wire, artificial foliage, metal, plastic, string, and acrylic paint. Courtesy of the artist.

18 July—9 August Alchemy of materials Kris Estreich In her exhibition Alchemy of materials Kris Estreich whimsically explores how concrete, wood, plaster, wax and textiles can form poetic and evocative representations of animals, the environment, and our shared human experience.

18 July—9 August Taoyuan artist showcase: a City of Logan sister city exchange project 13 August—6 September Running Rivers: Pigments of Place Kuweni Dias Mendis

Christina Lowry, De mortuarum avium Bibliotheca (From the library of extinct birds), 2025, wood, glass, cardboard.

Courtesy of the artist.

18 July—6 September Ex Libris (from the library of) Christina Lowry In Ex Libris, artist Christina Lowry takes 220

Running Rivers: Pigments Of Place represents an intimate journey of waterways

by Kuweni whose need to feel at home in her body is linked to a sensory engagement with elements around her. 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.

Micah Rustichelli, That I Should Pray For Angels, 2025. Image courtesy of the artist.

22 May—12 July That I Should Pray For Angels Micah Rustichelli That I Should Pray For Angels is a sculptural exhibition that has a cheeky play with the world of preppers. Combining the materials of survivalists with queer culture and religious text, this project envisions a post-climate future of nylon, tarp, intimate abandon and apocalypse.

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.

QUEENSLAND

Liddy Walker Napanangka, Wakirlpirri Jukurrpa, 2008, acrylic on linen, 90 x 120 cm.

1 July—26 July Women of Yuendumu

you to its exhibition Freshwater Saltwater, a celebration of the diverse artistic expressions of Far North Queensland’s Aboriginal and Torres Strait Islander artists and communities. The name “Freshwater” symbolises the Aboriginal nations of Far North Queensland, where rivers flow across the land and through the rainforest from coastal Cardwell to the Cape York Peninsula. “Saltwater” represents the Island nations and Torres Strait people, who are surrounded by the oceans.

a wide array of items, many of which are second-hand or vintage. Each object holds memories, and now you can create your own. Micro Museum is generously supported by Ian and Cass George, and Holly and John Livingstone.

Museum of Brisbane

Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm.

www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm. Free entry.

NorthSite Contemporary Arts www.northsite.org.au

2 June—26 July Malu Mabaigal (Men of the Sea) Jymahl Savage, Tipoti Nona Exploring the deeply embodied relationship between the men of Zenadth Kes (Torres Strait), the Arafura and Coral Seas. It documents the remarkable synergy between the two Balas’ whose artwork brings it to life so vividly, artists Tipoti Nona and Jymahl Savage from Badu Island.

Boomaroo, Green British Airways Aeroplane, c 1940s, pressed steel toy.

Private Collection.

Try to Stay Calm #2, 2025, acrylic on canvas, 64 x 63 cm.

29 July–23 August Arwin Hidayat

Mulgrave Gallery, Cairns www.cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Tue to Fri 9.30am–5pm, Sat 10am–5pm, Sun 10am–2pm.

2 April—2026 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.

Marilyn Havini, Sea Mirror, 2022, oil on canvas.

30 June—26 July Cloud Series Marilyn Havini When you sit on the long open-air balcony of Marilyn’s home in Ngalkobul, on Buka Island, in Bougainville, the sky just opens out in front of you. The exhibition Clouds features paintings of these skies created between 2022 and 2025.

8 July—13 July Answer to the Call Taloi Havini An immersive twenty-two-channel soundscape Answer to the Call aims to revitalise the presence of many people through the use of sound.

Micro Museum. Museum of Brisbane.

Michelle Yeatman, Jilighi Sphere, 2025, ceramic.

27 June—23 August Freshwater Saltwater Umi Arts Marking its 20th year as a lead First Nations organisation, UMI Arts welcomes

22 March—2026 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

Brian Robinson, Kingdom Animalia: Curious Creatures, 2025, vinylcut.

7 July—6 September That Hint of Magic Brian Robinson 221

artguide.com.au Northsite continued...

Showcasing a compelling fusion of traditional printmaking with contemporary digital animation.

8 July—12 July CIAF Exhibition Stand Raidon Robinson, Kassandra Savage, Zane Saunders, Peter B Morrison, Roy Gray, Jo-Ann Beikoff.

Onespace Gallery

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.

Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Tue to Fri 10am–5pm,

25 July—23 August Darren Blackman: Post Truth Cairns Indigenous Art Fair: 11 July–13 July Onespace will proudly showcase Darren Blackman’s Post Truth at the 2025 Cairns Indigenous Art Fair (CIAF). The exhibition then returns to Brisbane after the Fair, ensuring Blackman’s poetic words are seen across Queensland. Post Truth responds to the 2025 CIAF theme Pay Attention! by embracing the call to stay alert, informed, and critically engaged with the political and social forces that shape our lives.

Blackman’s politically charged works are grounded in cultural practice and reimagined in succinct LED neon textbased sculptures. They disarm the viewer through wit, vibrancy and his unique play on words. Inspired by Tony Albert’s 2011 print Pay Attention, CIAF Artistic Director Teho Ropeyarn emphasises the power of artistic practice, stating that, “As artists, you hold the power to document, challenge, inspire, and innovate. Your work is a form of resistance, a means of survival, and a document of knowledge” (Teho Ropeyarn, 2025).

Blackman’s work not only continues this critique of alert autonomy, but also actively contributes to the strong political invitation embodied in Pay Attention!

Post Truth is shaped by Blackman’s solo exhibition Language of Intent (2023), the result of the 2023 Voice Referendum, and the newly elected Coalition Government’s axing of the Queensland Truth-Telling and Healing Inquiry for First Nations people.

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www.moretonbay.qld.gov.au/ pinerivers-gallery Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 3905 Tue to Sat 10am–4pm.

24 May—19 July Moreton Bay Art Prize 2025 The Moreton Bay Art Prize is an annual exhibition and prize held at Pine Rivers Art Gallery. The aim of the prize is to support and celebrate the diverse creative talent of local artists. Showcasing the shortlisted finalists, the exhibition is a calendar highlight.

www.onespace.com.au

Darren Blackman, Truth Hurts, 2024.

Leon Neon on black acrylic backboard, 65 x 100 cm, 2AP + Edition of 3. Image: Louis Lim. Courtesy of the artist and Onespace.

Pine Rivers Art Gallery

2024 Queen of Gems Jewellery and Design Awards, Rita Williams Design Cicada Cuff.

2 July—12 July Queen of Gems Jewellery and Design Awards Queensland Boulder Opal Association.

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.

See our website for latest information.

Merinda Davies, Earth Refuge 3000, (installation view), 2022-23, dual channel video 5:36 minutes, speculative performance and installation. Photograph: Louis Lim. 2 August—22 November Earth Refuge Merinda Davies What will Earth look like in the year 3000?

Earth Refuge prompts us to consider what will happen to us after we lose our connection to the natural environment. What will we miss most from our planet? How will we remember this place? Exhibition developed by City of Moreton Bay.

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.

24 August—13 July Say Our Name: Australian South Sea Islanders

Jun Chen, Red magnolia and village, 2025, oil on canvas, 136 x 160 cm.

24 June—19 July Jun Chen 22 July—19 August William Robinson 22 July—19 August John Honeywill

The histories and lived experiences of Australian South Sea Islanders are intricately woven into the tapestry of this country’s diverse cultural landscape.

However, this part of Australia’s story remains relatively unknown.

27 June—19 April 2026 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.

QUEENSLAND Until 17 August Discovering Ancient Egypt

31 May—16 August skeletons Judy Watson

Journey back through time to explore the mysteries, artistry and rituals from one of the world’s most captivating civilisations.

The Australian tour of the Discovering Ancient Egypt exhibition is a partnership between the Rijksmuseum van Oudheden, Queensland Museum, the National Museum of Australia and the Western Australian Museum.

Mark Wilson, Hairy Dog, fashion label 1990-1993, from the Mark Wilson Collection, Queensland Museum Collection.

Nick Cave, United States b.1959, HEARD, (detail) 2012 / 15 wearable sculptures (six parts each) OR as a performance, 15 wearable sculptures (six parts each), choreography, musical score and video, dimensions variable. Purchased 2016 to mark the tenth anniversary of the Gallery of Modern Art with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: QAGOMA, Brisbane. © Nick Cave. Photograph: James Prinz. Image courtesy: The artist and Jack Shainman Gallery, New York.

5 September—19 July 2026 Make a Scene: Fashioning Queer Identity and Club Culture in the 90s 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.

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.

Danie Mellor, Ngadjon-jii/Mamu peoples, Australia b.1971, Dark star waterfall, (still) 2023–24, digital projection. Courtesy: the artist. © Danie Mellor.

15 March—3 August Danie Mellor: marru | the unseen visible Queensland Art Gallery | Free

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 13] 07 3883 5670 Tue to Sat 10am–4pm.

28 June—8 November Blak Creatives Exchange City of Moreton Bay Art Galleries have partnered with Munimba-ja’s Blak Creatives Program for an exhibition of fresh perspectives of the City of Moreton Bay Art Collection. Exhibition developed

by City of Moreton Bay in collaboration with Blak Creatives and Munimba-ja.

Blak Creatives is supported through the Creative Industries Investment Program and is jointly funded by ArtsCoast through Sunshine Coast Council’s Art and Heritage Levy and the Regional Arts Development Fund in partnership with Queensland Government.

Archie Moore, Mīal, 2022/23, (detail), Purchased 2023. © Archie Moore.

16 August—8 November Mīal Archie Moore A major self portrait by contemporary artist, Archie Moore (Kamilaroi/Bigambul) will be on view in Redcliffe for the first time. A celebrated multidisciplinary artist, Moore became the first Australian to win the Venice Biennale’s prestigious Golden Lion award for best national participation in 2024. Supported by the National Portrait Gallery, Mīal will be exhibited at regional venues nationally in 2025 and 2026.

27 August—22 November Spirits in the Ink

Queensland Art Gallery | Gallery of Modern Art

This exhibition showcases the extensive archive of Djumbunji Press, a hub for printmaking by Aboriginal and Torres Strait Islanders in Far North Queensland.

The press was active from 2009 to 2014.

Spirits in the Ink is a collaborative exhibition between City of Moreton Bay and NorthSite Contemporary Arts.

Curated by Aven Noah Jr.

www.qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

28 June—6 October Wonderstruck Gallery of Modern Art | Free

skeletons is an invitation to explore an alternative national narrative. Responding to the Queensland State Archives collection, Waanyi artist Judy Watson opens the closet doors to Australia’s skeletons.

She uncovers buried evidence within the archives, bringing light to undisclosed happenings, validating the mistruth of terra nullius, subsequent colonial conflicts, and the continuation of Aboriginal resistance. skeletons will also feature a new work commissioned by City of Moreton Bay examining Redcliffe’s own history. The exhibition is curated by Amanda Hayman of Blaklash, supported

by Milani Gallery, and commissioned by Queensland State Archives.

Judy Watson, bones, (detail), 2021.

Courtesy of the artist and Milani Gallery.

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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.

pended in the Atrium Gallery a geometric form catches light and creates shadows, shifting and morphing throughout the day and night, overlayed with a colour-coded animation of transformed communitysubmitted poetry texts. The Weight of Experience encourages audiences to reflect on the life experiences we each carry within us, and the Queer experience of vigilantly reading and interpreting code to assess safety and belonging.

22 February—17 August Abdullah M. I. Syed: Cabinet of Curiosities Creative interventions transform sporting objects and memorabilia into poetic curiosities, transcending personal, geographical, linguistic, and cultural barriers. While reflecting his migratory experiences and global observations, Syed explores the unifying force of sport in bridging cultures and fostering dialogue. Reminiscent of a trophy cabinet, Cabinet of Curiosities embodies personal memories and narratives showcasing familial lifelong engagement with sport and physical activity.

Qing Huang, Hanbing Lu and Anitha Menon.

Bringing together the art practices of several artists, Artists in CQ: Of the Region presents a multi-disciplinary conversation about national identity and the acknowledgement of Asian cultures as an enduring component of Australian culture.

19 April—24 August RMOA Collection: Made in Japan Made in Japan explores highlights from Rockhampton Museum of Art’s significant holdings of 19th and 20th century Japanese artworks and objects. Featuring decorative kimonos, the impressive Samurai Suit of Armour (Nimai-do) c. 1700s and golden standing screens, this display reflects on the legacy of cultural exchange in the Rockhampton region. Curated by Robert Connell and Emily Wakeling.

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.

Luke Roberts, Stradbroke Island (Blue pines), 2002, synthetic polymer paint on canvas. Redland Art Gallery Collection.

Gift of the Artist, 2003. Photograph: Carl Warner.

15 June—26 August Headlands Revisited Featured artists include: Paul Andrew, Di Ball, Leonard Brown, Jo Fay Duncan, Easton Pearson (Pamela Easton & Lydia Pearson), Lisa Iselin, Colin Millar, Simon McLean, Nick Olsen, Rosslynd Piggott, Barbara Piscitelli, Ian Quiller Orchardson, Luke Roberts and Bronwyn Searle.

Apparition Loom, installation view Rockhampton Museum of Art, 2025, silk, painted fabric, wood, thread, ceramic, resin, chain, rope, acrylic paint and ink, MDF, plastic flowers and bolts. Photo: Mad Dog Productions.

5 April—3 August Artists in CQ: Of the Region Ping Carlyon, Jacky Chan, Remy Faint, Colleen Sam in The unbroken spirit of the Kalkadoons exhibition, 2025, photo by Joe Ruckli.

An exhibition to celebrate the joyful history, colourful characters and creative significance of Headland’s Chalet, an oasis for arts communities, artist run initiatives and queer arts collectives, based on Minjerribah/Stradbroke Island from 1989–2015.

Until 24 August The unbroken spirit of the Kalkadoons Colleen Sam

Tanks Arts Centre, Cairns www.tanksartscentre.com

Rockhampton Museum of Art

46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 [Map 14] 07 4032 6600 Mon to Fri 9am–4.30pm, Sat & Sun 10am–2pm. Free admission.

www.rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

22 February—28 September Lincoln Austin: The Weight of Experience Assisted by Artist Chelsea Jewell, Lincoln Austin, presents a new, site-specific sculptural, tensegrity and light-based work The Weight of Experience. Sus224

Various makers, helmet attributed to Fusanobu Minamoto, Samurai suit of armour (nimai-do) c. 1700, iron, gilt, leather, gold and red lacquer, red and white silk cords and tassels, fur boots, with original wooden storage box. Purchased with Rockhampton Art Gallery Trust Art Acquisition Fund 2009.

Libby Sterling, winner Beauty of the Great Barrier Reef, 2024 Competition.

QUEENSLAND 19 July—9 August Nautilus Scuba Club Cairns 2025 Underwater Photography Awards This exhibition showcases underwater images captured by members of the Nautilus Scuba Club for their annual 2025 Underwater Photography Competition.

The images provide the viewer with a glimpse into the beautiful and dramatic scenery of the underwater world, with its fascinating and diverse creatures.

Inspired by the Great Barrier Reef, our members also dive and capture images around our Indo-Pacific region and beyond. The photographs are displayed in themes to match the competition categories, such as Portrait, Behaviour, Wide Angle and Macro. There are specific categories to showcase the Beauty of the Great Barrier Reef and the skills of our members, with Portfolio Categories where photographers enter a set of five images that demonstrate their range of skills across several styles and techniques.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag Jagera, 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.

Archie Moore, Mīal, (detail), 2022/23.

Purchased 2023. © Archie Moore.

31 May—3 August Mīal Archie Moore On tour from the National Portrait Gallery’s collection, Mīal is a fractured self-portrait by Archie Moore (Kamilaroi/ Bigambul). Comprising 34 pieces relating to colours of the artist’s body parts, it continues Moore’s practice exploring the politics of identity, racism and languages systems.

other previous exhibitors such as Pippin Drysdale, Vipoo Srivilasa and Greg Daly.

SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program. The Visions of Australia regional exhibition touring program supports audience access to Australian arts and cultural material, with a particular focus on tours to regional and remote Australia.

2023 Award Winner Zoë Veness, Wreath, 2023, neckpiece: archival paper, stainless-steel cable, sterling-silver tubing, 42 x 42 x 4cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 2417. Purchased 2023 with funds donated by Toowoomba Gallery Society Inc., 2018. © Zoë Veness.

30 August—23 November Contemporary Wearables 25 Showcasing some of Australia’s most prominent and emerging contemporary makers, this exhibition is the focus of Toowoomba Regional Art Gallery’s contribution to promoting excellence in contemporary adornment. The award is a forum for innovative contemporary jewellery and object practice.

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.

16 August—12 October SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 ADC On Tour: An Australian Design Centre national touring exhibition. SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 is a special Australian Design Centre On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary.

This major exhibition will showcase the work of twenty-two acclaimed ceramic artists from across Australia, including Toowoomba’s own Dan Elborne, and

13 June—27 July Shirozatō to Shinju (White Sugar and Pearls) Elysha Rei Nikkei Australian artist Elysha Rei brings important histories from North Queensland to the fore, using archival records that document the Japanese migration and labour in harvesting industries as the basis for hand-cut washi paper artworks.

Sylvia Ditchburn, Moss Garden Carnarvon Gorge No. 2, 2024, acrylic on canvas, 91.4 x 121.9 cm.

Photograph: Ken Ditchburn.

13 June—27 July In Plain Sight Sylvia Ditchburn For her latest body of work, Sylvia Ditchburn balances her ongoing reverence for the natural environment with a focus on its vulnerability.

13 June—27 July Young Indigenous Printmakers Northern Beaches State High School and Kirwan State High School students The Young Indigenous Printmakers program provides local First Nations high school students the chance to develop linocut prints and to further connect with their Culture. This collaborative outreach project is a partnership with Townsville City Galleries.

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery Kabi Kabi Country, UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm.

16 May–3 August Transfer Arahmaiani (ID), Cian Dayrit (PH), Patricia Perez Eustaquio (PH), Yee I-Lann (MY), Mella Jaarsma (ID), Eko Nugroho (ID), Moe Satt (MM) and Jakkai Siributr (TH).

Elysha Rei, Uprooted and stripped, 2025, hand cut sugar cane washi paper, variable dimensions. Photograph: Elysha Rei.

Transfer focuses on contemporary visual artists with connections to Southeast Asia who explore textiles as a medium.

Spanning embroidery, stitching, sculptural installations, film, wall-based works, performance and participatory pieces, the exhibition showcases a proliferation of textiles and fibre art practices that aim to reinterpret cultural heritage through a 225

artguide.com.au University of the Sunshine Coast continued...

the goal to create space for two-way listening and learning for mutual exchanges of beneficial energy and support to all involved. For ANAT SPECTRA 2025: Reciprocity, UniSC Art Gallery presents a major exhibition of Australian artists whose artistic practice intersects and deeply engages these ideas.

UQ Art Museum www.art-museum.uq.edu.au

Eko Nugroho, Undecided Century 2024, embroidered painting, 278 x 292 cm.

Courtesy the artist. contemporary lens at the intersection of art and life. The selected artists are recognised as important figures in this conversation, offering work that reimagines and elevates deeply personal practices while transmitting cultural experiences and traditions. Curated by Rachael Vance.

(MY), Mella Jaarsma (ID), Eko Nugroho (ID), Moe Satt (MM) and Jakkai Siributr (TH).

16 August—25 October Reciprocity Tully Arnot, Tega Brain, Michael Candy, Lyndon Davis, Janet Lawrence, Eugenia Lim, Sara Morawetz, Anna Madeleine Raupach and Yandell Walton.

Reciprocity—the response of a positive action with another positive action—is the theme for ANAT SPECTRA 2025, reflecting

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays.

Neil Black, Pamela Brooks, Walter Brooks, Brenda Bush, Doriana Bush, Michelle Bush, Timothy Cook, Colin Heenan-Puruntatameri, Nancy Kerinauia, Raelene Kerinauia Lampuwatu, Raylene Miller White, Edwina Moreen, Mary Elizabeth Moreen, Bernadette Mungatopi, Gerry Mungatopi, Jimmy Mungatopi, Janice Murray Pungautiji, Tina Patlas, Geraldine Pilakui, Aileen Puruntatameri, Barbara Puruntatameri, Colleen Freddy Puruntatameri, Marie Claire Puruntatameri, Patrick Freddy Puruntatameri, Rachel Puruntatameri, Irene Tipiloura, Pius Tipungwuti, Pedro Wonaeamirri, Michelle Woody Minnapinni), Numbulwar Numburindi Arts (Rose Wilfred, Joy Wilfred, Megan Wilfred, Virginia Wilfred, Jangu Nundhirribala, May Wilfred, Jocelyn Wilfred, Nicola Wilfred) Brian Robinson and Lucy Simpson.

Nici Cumpston, Oh my Murray Darling, 2019, archival pigment print on Hahnemühle paper. Image courtesy of the artist and Michael Reid Galleries.

Rainforest meets reef next 800m, sign at Mission Beach, Djiru Country. Image courtesy Rachel O’Reilly.

22 July—6 December to come together as water Solomon Booth, Nici Cumpston, Megan Cope, Heather Koowootha, Napuwarri Marawili, Jimmy John Thaiday and Keiran James, Jilamara Arts (Martina Baxter,

22 July—6 December WE CALL YOU! Sisters! Mothers! Workers!

Petra Bauer.

22 July—6 December NORTHERN WATERS Rachel O’Reilly

Beyond the Surface Joint exhibition Paul de Zubicaray, Ben Lucas and Herman Pekel July and August

RED HILL GALLERY Turrbal and Yuggera Country, 61 Musgrave Road, Red Hill, Brisbane, Queensland 4059 redhillgallery.com.au 07 3368 1442 Daily 10am-4pm.

Paul de Zubicaray, Rainbow In The Dark, 2025, oil on canvas, 60 x 90 cm. Courtesy of the artist and Red Hill Gallery.

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AU S T R A L I A N C A P I TA L T E R R I T O R Y

A–Z Exhibitions

Australian Capital Territory

rochegallery.com.au

JULY/AUGUST 2025

artguide.com.au

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.

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.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au

Carlos Barrios, Bestiary, mixed media on linen, 124 x 184 cm.

We proudly have “Art for everyone”, in a newly refurbished exciting art space.

We are glad to have been part of the cultural fabric of Canberra for over 25 years. We describe our collection as rich and eclectic. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our Indigenous artists. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best of which Australia has to offer in art. Open 7 days and by appointment in the evening, find us in Federation Square, Nicholls, Canberra, ACT, Australia.

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.

See our website for latest information.

6 July—13 July Elegance in Heritage: First Nations Jewellery Unveiled Thomas Coen Bonson As a proud Jawoyn and Kala Lagaw Ya man, Thomas Coen is one of Australia’s only Aboriginal and Torres Strait Islander qualified jewellers and Canberra’s only First Nations Master Jeweller. The exhibition showcases Aboriginal and Torres Strait Islander inspired jewellery, celebrating culture and wearable art, in a vibrant display held during NAIDOC Week 2025.

www.artistshed.com.au

Belco Arts www.belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

Footsteps Through Country Jazz and Kristal Matthews – Wilay Designs

Hilary Wardhaugh, Gaza stripped, 2024.

16 July—3 August You Cannot Trust an Open Sky Hilary Wardhaugh

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A hullabaloo is a state of commotion and excitement. Ceramic sculptures by Molly Desmond and paintings by Sophia Childs embrace this term. Through process, intuition and play, the works of Desmond and Childs reveal what materiality is possible when you have a hullabaloo.

Yerrabi Yurwang presents the Yarwarj Mara – Strong Pathways Arts Collective. A group of proud Aboriginal people who engage and participate in community facing programs held at Yerrabi Yurwang Child and Family Aboriginal Corporation.

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.

A private gallery by award-winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art

6 August—23 August Hullabaloo Sophia Childs and Molly Desmond

11 July—24 August Yawarj Mara: Strong Pathways Megan Daley, Maurice Shipp, Narelle Hutchings and other local Aboriginal community members who participated in Yerrabi Yurwang Women’s Circle.

Artists Shed

Margaret Hadfield, The Waterfall on Norfolk Island, 152 x 122 cm.

Molly Desmond, Fast Women X, 2023, earthenware and glaze dimensions variable.

You Cannot Trust an Open Sky is a series of works produced by means of cameraless photography made between November 2023 and late 2024. Using various techniques to create images by manipulating light, objects and matter, including digitising, seven works have been created in response to the artist’s reaction to the recent conflict affecting the people of Palestine.

This exhibition is a celebration of connection, growth and the strength found in culture, community and Country. Each artwork shares a personal and collective journey – shaped by Country, guided by our Old People and inspired by lived experiences filled with learning, strength and care.

11 July—24 August Home Dominika Cady, Shawnah Cady, Hannah Langford, Eva-Lee Williams Presented by Yurauna CIT Cultural Arts Students, Home explores the varied and deeply personal meanings of the word, through the eyes of four aspiring student artists. Each work in this exhibition reflects an individual interpretation –

AU S T R A L I A N C A P I TA L T E R R I T O R Y Using industrial glass and elements, the exhibition reflects his journey of crafting cultural objects while examining the degradation of his ancestral landscape.

As part of his solo exhibition, Aidan will also be presenting a Cultural Workshop alongside Shane Herrington.

21 August—26 October Will Lynes

Hannah Langford, A Child’s Love. ranging from physical spaces, kinship, childhood memories and identities.

A classically trained gilder, Will Lynes explores the historical and artistic relationship between glass and painted lettering, rooted in traditional signwriting techniques such as reverse glass painting and gilding, blending art and advertising.

Sidney Nolan, The Male, (Lyrebird) costume from The Display, 1964. On loan from the Australian Performing Arts Collection, Arts Centre Melbourne, gift of the Australian Ballet, 1998.

Until 8 March 2026 A Total Work of Art: Sidney Nolan and the Stage Sidney Nolan

Craft + Design Canberra www.craftanddesigncanberra.org Bradley Mapiva Brown, Djinindira, (detail).

Bronte-Cormican Jones, Of Line, 2024.

Photograph by Kevin Miller.

11 July—24 August Djinindira (Ginninderra) Bradley Mapiva Brown

21 August—26 October Bronte Cormican-Jones

This work reflects the moment when Bagariin (the sun) touches Nadjung (the water), creating Djinindjinindiri, (Sparkling ray of light) that dances across the surface, alive with meaning. It is a reminder that Country is always speaking, if we take the time to see and listen.

Canberra Glassworks www.canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 19 June—10 August Fulcrum Aidan Hartshorn Walgalu/Wiradjuri artist Aidan Hartshorn explores the ongoing colonial disruptions to Walgalu connections with the land.

Emerging glass artist, Bronte CormicanJones responds to the architectural space of the Glassworks Smokestack Gallery. Interested in our physical responses to the infrastructure around us, her practice is primarily sculptural, exploring spatial practice through object, installation, performance, and photography.

Canberra Museum and Gallery (CMAG) www.cmag.com.au 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.

Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

Julie Bartholomew, detail of Glacial Melt, 2024. Photography Adam McGrath.

12 June—26 July UNRESOLVED watching…waiting…

Maggie Douglas, Kabi Kabi, Nicola Ingram, Palawa / Wiradjuri, Shanysa McConville, Eastern Arrernte Precarious Proximity Robyn Campbell, Dr. Julie Bartholomew and Jo Victoria Honouring Country Judith Nangala Crispin, Bpangerang | Kayannie Denigan, Luritja | Tahlia Duncan-Kring, Jaywon | Krystal Hurst, Biripi | Jennifer Kemarre Martiniello OAM, Lower Southern Arrernte | Jessika Spencer, Wiradjuri | Rechelle Turner, Wiradjuri |

Enrico Taglietti in his studio in Griffith Canberra, c1976. Photo Ted Richards.

7 June—22 February 2026 Taglietti: Life in Design Enrico Taglietti Until 16 November Outer Space: Stromlo to the Stars Will Lynes, 2024. Courtesy of the artist.

Permanent Exhibition Canberra/Kamberri, Place & People

Svenja Kratz, Divided (Together) #1, 2017, clay, resin, laser engraved acrylic, LED lights. Panel detail. Courtesy of the artist.

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7 August—20 September Material Transformations Emma Bingham, Svenja Kratz and Sarah Stubb holy arm gauntlet Tom Campbell

Civic Art Bureau

Jenny Gibson, Molonglo, 1993. Courtesy the artist.

www.civicartbureau.com Melbourne Building, Upstairs Smiths Alternative, 76 Alinga Street, Canberra City, ACT 2601.

0488 056 988 5 July—26 July Opgelicht Wouter Van de Voorde

11 July—3 August Inside the Outside Jenny Gibson Nicola Dickson, Woodland resident-Silvereye, 2025, 45.7 x 45.7 cm, oil on linen.

17 July—3 August Under-Stories Nicola Dickson This exhibition tells some of the lesserknown stories from the box gum grassy woodlands that once blanketed much of south-eastern Australia. Paintings and drawings depict small, elusive woodland birds, some of the diverse understorey vegetation comprising this ecosystem and the weeds invading it to tell tales of a complex, fragile biodiversity. Patterning is combined with imagery of birds and plants to point to the impact of European settlement on these woodlands while the reattribution of the Wiradjuri name to images of native plants speaks to the alternate ways of understanding and relating to this ecosystem that exist.

Merryn Lloyd, Soft painting, 2025, calico, linen, cotton, nylon, elastane, netting, screen printing ink, silk, tencel, ribbon, stonewashed cotton, beeswax and pigment, sew easy bamboo batting, DMC perle cotton thread.

19 June—6 July Lush Gatya Kelly Gatya Kelly’s vibrant oil paintings convey the delicateness and strength of this medium to suggest the elusive quality of light and express nuance. “Even in the deepest darkness there is light.” Kelly’s chiaroscuro still lifes are an intimate dialogue between the painter and the painting, which becomes “a dance when the work finds its own presence, when the air of the arbitrary vanishes, and the painting is liberated from the artist. I’m looking for a sense of rightness in the combination of drama, colour and technique to create balance, truth, serenity.”

23 0

Opening Thursday 10 July, 6pm–8pm.

Brenda Hine, Home, 2024. Image courtesy the artist.

8 August—31 August Testamur 7 Canberra Art Workshop

In Awe Daniel Allam Opening Thursday 7 August, 6pm–8pm.

National Gallery of Australia

Grainger Gallery Ngunnawal Country, Bldg 3.3, 1 Dairy Road, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm.

INTO THE VOID Annie Lok

The Second Year Kelsie White

2 August—24 August Hot, Cold, Heavy, Light Dionisia Salas, Jacqueline Bradley, Rosalind Lemoh, Merryn Lloyd

www.graingergallery.com.au

Intermundius Project Mandy Evans and Robyn Veneer Sweeney

Melinda Giblett, What remains, 2025, 124 x 156 cm, oil acrylic and metallic pigment on polyester.

14 August—31 August Heart Shaped Stone Melinda Giblett This significant exhibition is a result of a residency spent in the Molise region of Italy during the spring of 2024. Artist Melinda Giblett explores the conceptual and technical possibilities of her painting and drawing practice on country of a different kind, bridging the divides of location and origin.

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.

www.nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

31 May—21 September Cézanne to Giacometti: highlights from Museum Berggruen / Neue Nationalgalerie The first time works from this internationally significant collection will be seen in Australia. This exhibition examines the moments of contact and exchange between groundbreaking European artists and their Australian counterparts.

The avant-garde visions of Paul Cézanne, Pablo Picasso, Georges Braque, Henri Matisse, Paul Klee and Alberto Giacometti shaped twentieth-century modern art in Europe. Australian artists such as Russell Drysdale, Grace Cossington Smith, John Passmore, and Dorrit Black brought their ideas and style back to Australia, transforming Australian art in parallel.

AU S T R A L I A N C A P I TA L T E R R I T O R Y

National Library of Australia

National Portrait Gallery

www.library.gov.au

www.portrait.gov.au

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6262 1111 Mon to Sun 9am–5pm.

See our website for latest information.

Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Pablo Picasso, Woman in a multicoloured hat (Tête de femme au chapeau), 1939, Museum Berggruen, Neue Nationalgalerie―Stiftung Preußischer Kulturbesitz © Succession Picasso/Copyright Agency, 2025, photo: © bpk/ Nationalgalerie, SMB, Museum Berggruen/Jens Ziehe.

14 September—24 August Ever Present: First Peoples Art of Australia Following a national and international tour, this exhibition returns to Kamberri/Canberra for its final showing at the National Gallery.

21 September—6 July Masami Teraoka and Japanese Ukiyo-e Prints From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him.

HMAS Melbourne departs Sydney on its last cruise, 1928, nla.obj-162850919, courtesy National Library of Australia.

Thom Roberts, Dinkie is Thom's Friend, 2024. Collection of Freudenberg Home and Cleaning Solutions Australia. © Thom Roberts / Courtesy Studio A.

25 October 2024—February 2026 Lindy Lee

12 April—20 July The Immersive World of Thom Roberts Thom Roberts

One of Australia’s most accomplished contemporary artists. To complement the unveiling of Ouroboros, Lee’s major new public art commission for the National Gallery, this exhibition brings together highlights from across the artist’s career as well as a monumental new installation and works on paper.

This is the first solo exhibition for multidisciplinary contemporary Australian artist Thom Roberts. Roberts’ bold portraits morph people with trains and buildings, inviting audiences to see the world through his eyes.

From 17 April Know My Name: Global Presenting works of art by living women artists who have pushed the limits of artistic practice through experimentation with form, colour and spatial innovation from the 1960s to the present day.

From 22 March Know My Name: Kee, Jackson and Delaunay

Jean Thompson sits in her Type 37A Bugatti between races, 1930, nla. obj-157983478, courtesy National Library of Australia.

Showcasing two of Australia’s leading fashion designers: Linda Jackson and Jenny Kee, in conversation with international, multidisciplinary artist Sonia Delaunay (1885–1979).

27 February—20 July Fit to Print: Defining Moments from the Fairfax Photo Archive Selected by Mike Bowers.

From July Proofs & Processes: The Kenneth Tyler Collection To celebrate the release of Tyler Graphics Catalogue Raisonné 1986—2001 in June 2025 the National Gallery will present Proofs & Processes: The Kenneth Tyler Collection – a selection of works from the catalogue alongside associated proofs and archival material that unpack their creation.

The Library has invited renowned Australian photojournalist Mike Bowers to select some of his favourite images from the Fairfax Photo Archive. With images printed from the original glass-plate negatives the exhibition explores how the pioneers of press photography in Australia developed their storytelling skills while also creating a lasting record of Australian society in the opening decades of the twentieth century.

Jesse Lizotte, Jimmy and Jane Barnes, 2020. Purchased 2021 © Jesse Lizotte.

31 May—19 April 2026 In Bloom In Bloom explores how flowers have long been used in art to express emotion and convey messages of personal, cultural and religious significance.

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A–Z Exhibitions

Tasmania

JULY/AUGUST 2025

TA S M A N I A

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.

Matt Calvert, Trace, 2025, laminated plate glass and timber elements, dimensions variable.

4 July—26 July Traversing Greg Wood

24 May—12 July Trace Matt Calvert

Salvatori Zofrea (1946 Italy, arr Aust 1949- ). Lot#32 (Seated Man), oil on board, 142 x 114 cm (fr).

Locust Jones, smoke & mirrors, ink on paper, 154 x 200 cm.

4 July—26 July Smoke and Mirrors Locust Jones

This work is a reflection on movement— of people, vessels, and time—centred on the rhythmic flow of traffic in and out of the city, and the presence of the Mersey River as both threshold and thoroughfare. This exhibition borrows from, and is informed by, research into the Mersey River, the history of the Victoria Bridge, and the evolving identity of Devonport itself. Undertaken as part of the development process for the Entrance Markers commissioned by Devonport City Council, this body of work explores the narratives, materials, and symbolism that emerged through that research and fed into the final public installation.

Clifford How (1974 - ), Icon (Cradle Mountain), 2018, oil and wax on linen, 122 x 152 cm (stretcher).

12 August Online Auction: Fine Art

Devonport Regional Gallery www.paranapleartscentre.com.au

Rex Greeno, 2025, mixed media on paper.

1 August—23 August Greeno Uncle Rex Greeno, Aunty Lola Greeno, Dean Greeno, Vanessa Greeno, Charlyse Greeno, Harrison Greeno, Sheridan Greeno.

Colville Gallery www.colvillegallery.com.au 30 Collins Street, Hobart, TAS 7000 [Map 17] 03 6224 4088 Open Thu and Fri, 10am–5pm.

See our website for latest information.

8 July Online Auction: Estate of Richard King Art photographs and antiquities.

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.

1 February—17 January 2026 Little Gallery Emerging Artist Program This program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice.

The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2025 selected artists: Aleks Crossan, 1 February 2025 – 15 March 2025; Emily-Rose Wills, 22 March 2025 – 3 May 2025; Esther Touber, 10 May 2025 – 21 June 2025; Ashlee Hambleton and Rebecca Cannon, 28 June 2025 – 9 August 2025; Freya Tripp, 22 November 2025 – 17 January 2026.

Bruce Reynolds, Wedgewood Cuirass, 2018, Hydrocal and pigments, 85 x 60 x 8 cm. Courtesy of the artist.

5 July—16 August How Soon is Now? Bruce Reynolds Bringing together a selection of Bruce Reynolds’ exquisite cast relief works with two-dimensional collaged linoleum works, to celebrate a physicality that is frequently overlooked in today’s growing digital environment. How Soon is Now? is a Museums & Galleries Queensland touring exhibition presented in partnership with the artist, Bruce Reynolds. This project has been assisted by the Australian Government’s Visions of Australia program; and is supported by the Queensland Government through Arts Queensland.

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26 July—13 September All in.

The Devonport Regional Gallery invites you to our second annual community exhibition, All in. The exhibition features artworks by creative locals of North West Tasmania, representing all ages and all abilities.

Handmark www.handmark.com.au Nuenonne Country, 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

Madeline Gordon Gallery www.madelinegordongallery.com.au Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm.

Other times by appointment.

1 July—30 July Print Council Australia Group Show Nina Hanley.

9 August—1 September Pussy Galore Nina Hanley Gallery closed July.

20 June—21 July New works Emily Blom and Katina Gavalas

Plimsoll Gallery www.utas.edu.au/creative-arts-media/events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Tue to Sat, 11am–4pm.

Sonja Brough, Past Pleasures.

1 July—30 July Past Pleasures Sonja Brough

Peter Gouldthorpe, Business as Usual, oil on linen, 168 x 186 cm.

25 July—11 August Celebrating National Tree Day Handmark artists

Jonathan Partridge, Bliss, oil on linen, 106 x 182 cm.

15 August—1 September New paintings and prints Jonathan Partridge

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.

15 February—16 February 2026 MIRRORSCAPE Théo Mercier 23 4

Gordon Hookey, A MURRIALITY, installation view at UNSW Galleries.

Credit Jacquie Manning.

Vicki West, River reed and blak crows.

1 August—30 August mina ningina Nina Vicki West 1 August—30 August Shelf Jenny McDuff OAM

Gordon Hookey, A MURRIALITY, installation view at IMA, 2022.

Image by Joe Ruckli.

5 June—16 August Gordon Hookey: A MURRIALITY

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.

Gallery closed in July.

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]

TA S M A N I A

03 6323 3777 Daily 10am–4pm. Free admission.

13 July 2024—20 July Queen Victoria Museum at Inveresk: This Vanishing World: Photography of Olegas Truchanas This Vanishing World is the story of a man who loved Tasmania and its wild places.

For twenty years, Olegas Truchanas explored Tasmania’s wild places, pushing his body and practice to the limit. Motivated by a love of nature and natural beauty, his legacy is a story told in images.

exclusively to QVMAG in Tasmania, featuring exceptional images that capture fascinating animal behaviour, spectacular species and the breathtaking diversity of the natural world.

Schoolhouse Gallery, Rosny Farm www.clarenceartsandevents.net 22 Rosny Hill Road, Rosny Park, TAS 7018 03 6217 9607 Wed to Sun, 10am–4pm.

Oliffe Richmond (1919–1977), Self Portrait, 1940, sanguine and white chalk.

Presented by Joan Buckie, 1986.

Matt Warren, ClusterF, 2023, video still.

27 June—27 July Cluster Matt Warren 1 August—24 August The Interloper Damon Bird

Sam Jinks, Woman and Child, 2010 (detail). Image courtesy of Sullivan + Strumpf.

An exhibition of works by Oliffe Richmond (1919–1977) who was a Tasmanian-born sculptor who built a distinguished career in Britain, working alongside Henry Moore before becoming a sculpture teacher at Chelsea School of Art. The Tasmanian Museum and Art Gallery holds a significant collection of his works on paper, spanning from the 1940s to the 1960s.

These drawings trace the evolution of his artistic practice, from early explorations of form to studies reflecting his mature sculptural vision.

23 March—27 July The World of Beetles

14 June—19 October Queen Victoria Art Gallery: Sam Jinks || Mortal Reflections

The World of Beetles exhibition celebrates the incredible diversity, beauty, and scientific importance of beetles. At the heart of the exhibition is the work of George Bornemissza (1924–2014), a pioneering entomologist whose introduction of dung beetles to Australia revolutionised pasture management and reduced bushfly populations. His passion for beetles extended beyond research, leading to the creation of Forest Beauties of the Beetle World.

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.

6 December 2024—21 September On Island Duncan Hose, Snake Grace, 2024, ink on paper.

1 August—24 August The Thirty-Thousand Graces Duncan Hose

Tasmanian Museum and Art Gallery © Hikkaduwa Liyanage Prasantha Vinod, Wildlife Photographer of the Year.

www.tmag.tas.gov.au

7 June—7 September Queen Victoria Art Gallery: Wildlife Photographer of the Year 60

Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Tues to Sun, 10am–4pm.

Free admission.

The world-renowned exhibition, now in its sixtieth year and on loan from the Natural History Museum in London, returns

23 May—12 October Oliffe Richmond

An exhibition of artworks that respond to Lutruwita/Tasmania from a wide range of perspectives.

11 July—24 August re/JOY Vipoo Srivilasa Presented by the Australian Design Centre On Tour, a major exhibition by the award-winning ceramic Thai-born Australian artist Vipoo Srivilasa comes to TMAG. re/JOY honours and celebrates the multi-layered personal migration stories of people from all over the world who, like Vipoo, have made Australia their home.

This project has been assisted by the Australian Government’s Visions of Australia program and Creative Australia.

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A–Z Exhibitions

South Australia

JULY/AUGUST 2025

S O U T H AU S T R A L I A

Adelaide Contemporary Experimental → Mark Valenzuela in his studio, 2024. Photograph: Rosina Possingham.

Adelaide Contemporary Experimental 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.

1 July—30 August Bernadine Johnson Kemarre Bernadine Johnson Kemarre (Santa Teresa, NT) is gaining recognition for her vibrant and precise paintings. She masterfully depicts Bush Flower and Medicine Leaves, using bold colours and intricate brushwork. Her works are celebrated for their dynamic compositions and cultural depth, making her a sought-after artist in contemporary Aboriginal art.

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.

2 August—20 September Bantay-Salakay Mark Valenzuela

Art by Farquhar www.farquhar.art 1070 South Road , Edwardstown, SA 5039 0434 957 371 Mon to Fri, 930am–4.30pm, Sat, 10am–1pm, Sun, 12noon–3pm.

Debra Nangala McDonald, Women’s Body Painting, 184 x 200 cm.

Bernadine Johnson, Kemarre Bush Flower collection.

Grace Crowley, born Cobbadah, New South Wales 1890, died Sydney 1979, Les baigneuses (The bathers), 1928, Paris, oil on canvas on hardboard, 45.2 x 64.2 cm.

Gift of the artist 1979. National Gallery of Australia, © estate of the artist.

1 July—30 August Debra Nangala Mcdonald

24 May—7 September Dangerously Modern: Australian women artists in Europe 1890-1940

Debra McDonald (Papunya, NT) is a highly respected and sought-after artist whose work ranges from bold, vibrant compositions to minimal, refined designs— showcasing her versatility and deep ties to her ancestral stories and traditions.

The first major exhibition to focus on the vital role of Australian women in the development of international modernism, Dangerously Modern explores the art and lives of fifty trailblazing artists.

Book tickets online.

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Flinders University Museum of Art www.flinders.edu.au/museum-of-art 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.

Mary-Jean Richardson (born 1964), Barroco Slump, 2024–2025, limewash, oil on glassine paper. On loan from the artist, Flinders University Museum of Art, Adelaide © the artist. Photograph: Grant Hancock.

12 May—5 September Crosscurrents A Flinders University Museum of Art exhibition curated by Dr Belinda Howden, presenting newly commissioned works by Brad Darkson, Chris De Rosa, Honor Freeman, Michael Kutschbach, Sonya Rankine, and Mary-Jean Richardson.

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 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.

31 May—3 August Three Echoes – Western Desert Art Eunice Napanangka Jack, Coral Napurrula, Marlee Napurrula, Katungka Napanangka, Narputta Nangala Jugadai, Daisy Napaltjarri Jugadai, Mitjili Napurrula, Alice Nampitjinpa, Long Tom Tjapanangka, Charlie Tarawa (Tjaruru) Tjungurrayi, Anatjari Tjampitjinpa, Billy Stockman Tjapaltjarri, Tommy Lowry Tjapaltjarri, Dr George Tjapaltjarri, Ronnie Tjampitjinpa, Pinta Pinta Tjapanangka, Timmy Payungka Tjapangati, Turkey Tolson Tjupurrula, George Tjungurrayi, Warlimpirrnga Tjapaltjarri, Willie Tjungurrayi, Nolan Tjapangati, Ray James Tjangala, Charlie Ward Tjakamarra, Mick Namarari Tjapaltjarri, Maudie Petersen Nungurrayi, Takariya Napaltjarri, Yinarupa Nangala, Tjunkiya Napaltjarri, Makinti Napanangka, Kayi Kayi Nampitjinpa, Tatali Nangala, Nyurapayia Nampitjinpa, Walangkura Napanangka, Pantjiya Nungurrayi, Inyuwa Nampitjinpa, Wintjiya Napaltjarri, Elizabeth Marks Nakamarra, David Ross Pwerle, Charlie Jones Petyarre, Terry Rumble Petyarre, Ollie Kemarre, Edie Holmes Akemarr (Kemarre), Wendy Mbitjana, Gloria Petyarre, Emily Kame Kngwarreye, Gladdy Kemarre, Lena Pwerle, Rosie Pwerle, Polly Nelson Ngale, Nora Petyarre, Gloria Petyarre, Ada Bird Petyarre, Rosemary Petyarre, Jeannie Pwerle, Joy Petyarre, Hilda Pwerle and Lena Skinner.

Three Echoes – Western Desert Art showcases Australian Aboriginal art spanning the first 30 years of the Western Desert art movement, with works from 57 artists, curated by Djon Mundine OAM FAHA. Three Echoes – Western Desert Art is an initiative of Museums & Galleries Queensland developed in partnership with Karin Schack and Andrew Arnott, and curated by Djon Mundine OAM FAHA. 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.

design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.

Aunty Ellen Trevorrow, Portrait, 2025.

Photograph: Connor Patterson.

18 July—14 September JamFactory ICON 2025 Aunty Ellen Trevorrow: Weaving Through Time

JamFactory at Seppeltsfield 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.

9 August–7 September Refugee Week Youth Poster Awards Presenting handmade posters from primary, secondary and tertiary students from across South Australia. The Annual SA Refugee Week Youth Poster Awards Exhibition is powerful, poignant and heart warming. The posters encourage deep reflection on empathy, kindness and how we can make a difference.

JamFactory www.jamfactory.com.au

Ronnie Tjampitjinpa (born c.1943), Pintupi language group, Untitled, 1996, acrylic on linen, 122 x 122 cm. Photograph

by Andrew Curtis. © the artist. Aboriginal Artists Agency Ltd. 23 8

Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

See our website for latest information.

JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and

Jess Dare, Impermanence, 2024, installation (detail), porcelain, mild steel, 36 x 180 x 72 cm. Photograph: Grant Hancock.

2 August—28 September Beautiful Tensions: Gray Street Workshop Celebrates 40 Years

S O U T H AU S T R A L I A

Newmarch Gallery

these Elders have been photographed in their favourite and most sacred spaces around the region to be shown together leading up to and throughout NAIDOC week 2025.

www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 [Map 18] 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun closed.

Laura Wills, Information that Moves, 2024, digital drawing, 50 x 34 cm.

13 June—12 July Information that Moves Laura Wills and William Cheesman An ephemeral installation investigating the science and stories of the underground. We will explore the world of fungi and mycelium as a metaphor for different ways of thinking, systems and behaviours.

21 June—24 August Almost Here, Almost Now Drawing from the collections of The Riddoch Arts and Cultural Centre and the National Gallery of Australia, the Riddoch presents Almost Here, Almost Now: a far-reaching exhibition that pulls together works from public collections to hone in on existential questions of belonging and identity. This exhibition is supported by MM Electrical Merchandising through the National Gallery of Australia’s Regional Initiatives Program.

Josh Fartch, Kanawinka No. 1, 2008, oil and charcoal on canvas. Collection of The Riddoch Arts & Cultural Centre.

26 November—17 August Flight Mode In collaboration with District Council of Grant, The Riddoch Arts and Cultural Centre presents Flight Mode, an exhibition of works from the Riddoch collection now on display at The Hangar Gallery, Mount Gambier Regional Airport. The exhibition welcomes and farewells travellers to the region, telling a story of it’s natural surroundings while reflecting on the sense of journey from one place or state to another.

14 June—20 July Portraits of our Elders

Photo: John Nieddu.

In collaboration with Burrandies Aboriginal Corporation, Mount Gambier, The Riddoch Arts and Cultural Centre presents a group of portraits reflecting on the lives of Elders, shining a light on their histories, achievements and connection to place. Familiar faces in our community,

18 July—16 August 26th Prospect Community Art Show The Prospect Community Art Show showcases artworks made by the people of Prospect or those with a strong connection to our city.

Julie Blyfield is a South Australian jeweller and metalsmith whose ever-evolving practice is inspired by her research into botanical specimens, historical silver collections and the rich diversity of the Australian landscape. Predominantly working in silver and copper, Blyfield interprets botanical motifs using the traditional metalsmithing techniques of chasing and repoussé to create intricately patterned jewellery and objects.

JamFactory ICON Julie Blyfield: Chasing a Passion is inspired by Blyfield’s experiences of the Great Barrier Reef and Daintree Rainforest in far-north Queensland. In developing work for this exhibition, Blyfield has drawn on the marine collections of the South Australian Museum as well as resources she collected during her visit.

Serving as a poetic metaphor for life and loss in a time of increasing environmental peril due to climate change, Blyfield’s masterful renderings immortalise the natural beauty of vulnerable species of delicate corals and threatened ancient forests. JamFactory ICON Julie Blyfield: Chasing a Passion is a JamFactory touring exhibition.

9 August—26 October I own a Phil Riley Phil Riley

22 August—20 Sepember CHASSIS Matt Fortrose Reliability, durability and efficiency. In this exhibition of painting and sculpture, artworks suggest the vehicle as metaphor for visual transportation along the complex journey, from point A to point B.

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.

See our website for latest information.

9 August—26 October JamFactory ICON Julie Blyfield: Chasing a Passion

Fiona Hall, Macromia splendens / splendid cruiser, 2009-2011, military camouflage material, paint, mixed media.

National Gallery of Australia, Canberra.

Purchased 2016. © Fiona Hall/Copyright Agency, 2025.

If you happen to glance down on the wrist of a local in Mount Gambier you will not be surprised when your eyes fall upon the knots of gold or silver of a Phil Riley bracelet. Riley’s bracelets mark the marriages, birthdays, and sentiments of so many loves and losses – the jeweller’s handiwork has become iconic to the place itself. Riley works by commission and his work is at the service of the community, the bracelets are a conduit for connection and, in a way that only jewellery can, brings light to the thousands of stories and personal connections between people. His works have become global conversation starters and identifiers for Mount Gambier. Looking at Riley’s work through that lens of connection, I own a Phil Riley picks up on a collection of pieces loaned from the community to present their stories alongside the fantastic and familiar bracelets we know so well.

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Samstag Museum of Art www.unisa.edu.au/connect/ samstag-museum/

sculptural nature of his practice, this exhibition celebrates Bauer’s continued innovation by premiering large-scale works in metal and light.

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

the ArtHitects (Gary Carsley and Renjie Teoh), Gate and Fence (Government House North Terrace, Adelaide), 2025.

Image courtesy the artists.

Frank Bauer, Lichtbilder, 2024, Goodwood.

Photograph by Sia Duff.

20 June—26 September Frank Bauer—designer, jeweller, silversmith and artist Over a career spanning 45 years, German-born, Tarntanya/Adelaide-based Frank Bauer’s cross-disciplinary practice is hallmarked by exceptional quality and breadth of skill. Focussing on the

20 June—26 September North Terrace: worlds in relief Andrew Burrell, Allison Chhorn, Natalie Harkin, Louise Haselton, the ArtHitects (Gary Carsley and Renjie Teoh).

This exhibition casts a critical eye over Tarntanya/Adelaide’s cultural boulevard through its familiar and lesser-known aspects. Curated by Jasmin Stephens in association with UniSA’s Architecture Museum.

11 July—2 August 2025 Positively Blooming Recent paintings by Don Rankin 24 0

Don Rankin, Blumen Abstraktes #35 (after Tiepolo), 2025, oil on canvas, 150 x 120 cm.

156 Halifax Street, Adelaide, SA 5000 Tue to Fri 10:30—5pm, Sat 2—5pm 0421 311 680 art@bmgart.com.au www.bmgart.com.au

bmgart.com.au

© Bernie Shore, Rifleman Stare (detail).

Finalist in the Animals in Nature category.

30 August–1 February 2026 Australian Geographic Nature Photographer of the Year

A–Z Exhibitions

Western Australia

JULY/AUGUST 2025

lintonandkay.com.au

Kate Elsey Embodied

14 August—1 September Subiaco

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

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

lintonandkay.com.au

Kate Elsey, Face of Time, 2025, oil on linen, 182 x 122 cm.

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

Opens 28 June Elise Blumann: music in motion

www.artcollectivewa.com.au

This artist in focus exhibition pairs State Art Collection artworks by Elise Blumann with rarely displayed works from her later career. Elise Blumann: music in motion works with archival materials to examine Blumann’s treatment of the human figure, particularly through two series, The Surfer and The Conductor, while also highlighting Blumann’s evolution in materials and forms over her career.

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.

28 June—2 August Warm Trees Antony Muia Exploring the searing heat and towering eucalypts of Western Australia’s south west, Warm Trees is a new body of work by Antony Muia. Through delicate layers of watercolour, ink and pencil, Muia conjures dreamlike treescapes where native and introduced animals appear in strange, contemplative tableaux – at once surreal and quietly profound. These evocative works navigate the porous boundary between landscape and imagination, tracing the emotional undercurrents of place.

Until 17 August Revivification

Cathy Blanchflower, Kanok VI, 2025, acrylic and oil on canvas, 60 x 50 cm.

9 August—13 September Aeon Cathy Blanchflower Cathy Blanchflower unveils a series of new paintings alive with movement, colour, and light. Flecks and pools of pigment drift across layered gestural marks, forming organic, ever-shifting fields that hover between stillness and flux. The exhibition brings together recent works from her ongoing Lithic series and paintings created during a 2025 residency in Bangkok, Thailand – each one tracing a quiet dialogue between sensation, memory and form.

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.

Mark Tweedie, Olivia Terrace #1, 2025, oil and acrylic on canvas, 29 x 15 cm.

In a world leading first AGWA showcases an extraordinary immersive exhibition combining sound and cutting-edge biological innovation to bring to life the musical genius of a deceased composer. Four years in the making, Revivification, developed by artists Guy Ben-Ary, Nathan Thompson and Matt Gingold with neuroscientist Stuart Hodgetts, delivers a historic first: the invitro (external) ‘brain’ of the late composer Alvin Lucier (1931-2021) creating a new work in real time, as a live performance over the duration of the exhibition.

Until 31 August The West Australian Pulse WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in.

This year’s exhibition celebrates 33 years and features 61 works by 2024 Year 12 Visual Arts graduates from 37 schools across WA. The 2025 exhibiting artists examine themes ranging from exploration of self-identity, including cultural intersections, neurodiversity, sexuality, mental and neurological health challenges through to processing loss, environmental concern, racial and societal inequality, and social pressures of conforming and performing through ATAR and beyond.

Sam Contis, Dust in the Road, 2014, silver gelatin print, 86.4 x 106.7 cm (image).

Courtesy of the artist. © Sam Contis.

28 June—2 August The Good Life Mark Tweedie

Until 28 September Sam Contis: Moving Landscape

In The Good Life, Mark Tweedie returns to Carnarvon, the coastal town of his childhood, revisiting its sun-bleached streets and layered memories after three decades away. Developed during a 2024 residency, this body of work traces the emotional contours of place – where personal histories, fading dreams and quiet acts of remembrance converge.

Drawing on family memories, recurring dreams and fragments of local ephemera.

In an Australian first, AGWA presents Sam Contis: Moving Landscape, an exhibition by internationally acclaimed US artist Sam Contis. This stunning exhibition brings together three main bodies of work – Deep Springs, Overpass, and Cross Country – giving us a view of the artist’s practice over twelve years and 85 works.

The three series unfold across distinct landscapes, each offering a careful view into the long and complicated

Elise Blumann, Surf, 1939-1946, oil and gouache on masonite, 74 x 65 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased 1985.

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David Giles, Chapmans Pool, 100 x 85cm, acrylic on canvas, $3500.

Representing more than 30 WA artists David Giles Art Gallery 49b High St, Fremantle, WA Open 11am-4pm, Thursday - Sunday Studio 11 Art Gallery 11 Captains Lane, Fremantle, WA Open 11am-4pm, Thursday - Sunday www.davidgilesartgallery.com

W E S T E R N AU S T R A L I A Art Gallery of Westwern Australia continued... relationship that photography holds with human attachments to place.

Until 28 September Cast in bronze This State Art Collection exhibition explores the evolution of Modernist bronze sculpture, from the mid-to-late nineteenth century to the mid-to-late twentieth century, offering a fascinating glimpse into the development of sculptural practice during a period of profound transformation in the art world. Featuring iconic works from renowned artists like Auguste Rodin, Marino Marini and their contemporaries, the collection highlights the technical mastery and emotional depth of figurative sculpture, showcasing the enduring influence of these groundbreaking artists on the trajectory of modern art.

Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Artitja Fine Art Gallery www.artitja.com.au Exhibiting at Earlywork: 330 South Terrace, South Fremantle, WA 6160 [Map 20] 0418 900 954

Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag 64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

Amanda Bell. connections to Country, Community, and Culture. Featuring newly commissioned and existing works by Wendy Hubert (Yindjibarndi – Juluwarlu Art Group), Harriette Bryant (Pitjantjatjara – Mimili Maku Arts), Kaylene Whiskey (Yankunytjatjara – Iwantja Arts), Jazz Money (Wiradjuri and Irish), Yabini Kickett (Bibulmun/Noongar), and Amanda Bell (Badimia and Yued Noongar).

Exhibition opening event, artworks pictured (left to right): Delphine Schwarze, Landscapes on Noongar Country (Boodjar), 2025, acrylic on canvas; Dawn Alone, Our Sacred Waterholes, 2025, acrylic on canvas.

29 March—20 July Noongar Country 2025 Group exhibition Celebrating Continuing Connection to Noongar Boodja.

14 June—13 July SEVEN SISTERS | The Collector’s Show “This is the most remarkable exhibition of the Seven Sisters songlines I have seen since the original major one….”

— Professor Margo Ngawa Neale.

26 August—7 September My Country Stays in My Dreams Janet Dreamer The late Janet Dreamer was a unique artist. Her joyous, vibrantly coloured works depict the flora, fauna ceremonial practices and creation ancestors of her East Kimberley lands – offering first-hand insight into an all but forgotten world.

Offering artists from all disciplines the opportunity to explore and develop works and ideas, working in a studio located at MBAS. Join the seven current residency artists as they show new work made during their residency experience.

Opening Saturday, 28 June, 2pm at Moores Building Art Space, 46 Henry Street, Fremantle.

Fremantle Arts Centre www.fac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Fremantle Arts Centre is a creative campus committed to fostering a community of innovation and inspiration, collaboration and curiosity, risk taking and rigour.

We are both a cultural and a learning precinct situated in Walyalup (Fremantle) on Whadjuk Nyoongar Boodjar in the centre of a city celebrated for its innovation, culture and creativity, shaped by the many communities who call it home.

Angkaliya Curtis, Cave Hill, acrylic on linen, 200 x 166 cm. Courtesy the artist, Tjungu Palya and Artitja Fine Art Gallery.

29 June—13 July Moores Building Art Space | Studio Residency Program Exhibition

26 April—27 August Night Fishing with Ancestors Karrabing Film Collective NO STORYBOARD NO SCRIPT WE MAKE OUR FILMS FROM OUR LIFE AND LANDS FOR OUR LIFE AND LANDS. This artistic manifesto describes the collective’s technique and approach to filmmaking.

In Night Fishing with Ancestors, the filmmakers are asking what other history could have been possible if the Europeans had never invaded and if Indigenous people and Macassans had continued to trade foods, stories, and other things.

3 May—3 August It’s Always Been Always It’s Always Been Always centres the voices of Blak women, celebrating their powerful

David Shrigley, Tennis Ball Exchange.

4 August—7 September David Shrigley: Tennis Ball Exchange The evolving installation Walyalup I Fremantle Tennis Ball Exchange transforms the two spaces of Ngoorlak and Karrak Galleries. Visitors are invited to bring an old ball to swap with a new one from the numerous shelves that line the walls.

Gradually the rows of yellow spheres are replaced with misshapen and discoloured forms that represent the joy of trade.

16 August—21 September 47th Walyalup Fremantle Arts Centre Print Award The 47th Walyalup I Fremantle Arts Centre Print Award returns in 2025 – Australia’s premier acquisitive exhibition of work using any printing process. The WFAC Print Award is Australia’s most prestigious, longest running print prize.

The award and exhibition, which has been running for more than 40 years, boasts a national judging panel and $30,000 in prize money. The exhibition presents the best work from established, emerging and cross-disciplinary artists living in Australia aged 16 years and older. Opening Friday, 15 August, 6pm.

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Goolugatup Heathcote www.melvillecity.com.au 58 Duncraig Road, Applecross, WA 6153 08 9364 5666 Wed to Sat 12noon–4pm.

as tributes to what underpins nature and our intimate relationship with the wild world. Her relentless dedication to perfection shines in each of the paintings she presents, each at once a memory and a reflection.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag

Jimi DePriest, Critical Mass. Courtesy of the artist.

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.

26 July—7 September The world is all cut-outs then Marcus Camphoo, Clara Joyce, Michael Snow, Jimi DePriest & Nate Wood.

Lines in the Sand: Women from the West foregrounds work by Western Australian women artists, drawing on the strong holdings of the Cruthers Collection of Women’s Art, The University of Western Australia Art Collection and the Berndt Museum.

www.midlandjunctionartscentre. com.au

www.lintonandkay.com.au

276 Great Eastern Highway, Wajuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

31 May—30 August Lines in the Sand: Women from the West

Midland Junction Arts Centre

Linton & Kay Galleries

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time.

Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring and Outreach Program. LWAG is proud to be the only WA venue touring this exhibition.

11 May—13 July A Sense of Place Silvana Ferrario Agnes Goodsir, The Parisienne, c.1924.

National Gallery of Australia, Kamberri/ Canberra © Agnes Goodsir.

31 May–30 August KNOW MY NAME: Australian Women Artists

Exploring how physical environments shape our experiences and identities through the medium of glass. This collection reflects the connection between space and personal perception with a particular focus on the Perth hills, the sea and the striking colours of Italy.

Know My Name: Australian Women Artists tells a new story of Australian art. Looking

Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300

Kate Elsey, Water currents, cloud waves and dancing trees, 2024, oil on linen, 183 x 300 cm.

14 August—1 September Subiaco: Embodied Kate Elsey Kate Elsey, working from her Melbourne studio, creates her signature paintings 24 6

Carol Igglesden, Belonging, 2023, mixed media. Image courtesy of the artist.

Yoshiko Tsushima (now Gunning), Self Portrait, 2004, pastel on paper, 74.5 x 55 cm. Cruthers Collection of Women’s Art, The University of Western of Western Australia, © the artist.

11 May—13 July Land ((Word)) Journey Tineke Van der Eecken, Natalie D’Napoleon, Sharyn Egan,

W E S T E R N AU S T R A L I A Carol Igglesden, Lakshmi Kanchi An exhibition of visual poetry by artists and poets exploring identity and connection to language and place from diverse perspectives. Artists reflect on their uneasy connection as migrants, descendants of the stolen generation, and a descendant of settler colonialists of this occupied land, using the device of poetry as it connects with this and their country of birth.

19 June—19 July Shape Shifters – Painted Transformations Ian Williams, Marion Borgelt, Lisa Wolfgramm, Jacobus Capone, John Young

There they are geometry, colour and ambiguity the foundations on which my work is built.

A selected exhibition presenting painters who bring transmutational force and possibility to their works. Anchored by John Young’s large-scale Aeneid I (Fair-weather Transformation VII), 2016, the exhibition combines works that embrace digital processes with works that are painted with natural hand-made matter or produced through the purity and power of a chromatic palette.

16 August—27 September Omens Abdul-Rahman Abdullah

Claire den Hollander, Are we there yet?, 2024, oil paint and high gloss varnish on board, 80 x 105 cm.

25 July—24 August HyperVision I Reflect Time to reflect on past, present, and future. Young artists aged 12–25 explore what ‘Reflect’ means to them. Presented by the City of Swan, HyperVision is part of the Hyper Series, a youth-led program celebrating arts and culture in the community.

A solo exhibition of new and recent sculptures that further the artists interests in folkloric narrative and social metaphor, especially alluding to that which is ominous. On view for the first time will be drawings accompanying his remarkable figurations in wood.

Mossenson Galleries

Shane Pickett, Dreaming Path of the Milky Way (Moorndaam), 150 x 120 cm, 2006.

www.mossensongalleries.com.au

16 July—6 August Thirty - Two

115 Hay Street, Subiaco, Western Australia 6008 0413 803 998 Saturday 12noon–4pm and by appointment.

Celebrating thirty-two years, Mossenson Galleries presents a retrospective exhibition highlighting the artists that have shaped the Gallery and left a legacy on the Australian art scene. For over three decades a vast array of artistic talent has been nurtured, exposed and rewarded.

MOORE CONTEMPORARY

Mundaring Arts Centre

www.moorecontemporary.com

www.mundaringartscentre.com.au

Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

7190 Great Eastern Highway, Wajuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Col Jordan, Borderlines 8, 140.5 x 140.5 cm, acrylic on canvas, 2025.

4 June—12 July TO OP WITH THANKS Col Jordan In October I will be ninety. I had been committed to abstraction from the start but until I saw optical painting I suspected all imagery, including abstraction originated in a figurative source, albeit hidden from all but the most perceptive viewer.

Optical painting demonstrated this was a fallacy.

Ian Williams, Material Support, 2025, oil on canvas, 180 x 120 cm. Courtesy the artist and MOORE CONTEMPORARY.

But for all my fascination with the characteristics of optical painting, I am not an Op artist. I would apply the principles I discovered in optical painting for the rest of my career, but they are a means to an end not the end itself. The end in my sights was the exploration of the space created by geometry rendered in optically adjusted colour and the fascinating ambiguity which is the outcome.

Ric Burkitt, April Drifter, 2025, acrylic on linen, 101 x 76 cm.

21 June—10 August Far Horizons

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artguide.com.au Mundaring Arts Centre continued...

Ric Burkitt An exhibition of landscape paintings reflecting observations in the urban environment within an hour’s drive from the artist’s home. Works originate from the emotive response to the sky and land as they meet at the horizon, of the perfection of nature and the beautiful sprawl of man-made paddocks and farmland.

7 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.

Jarrad Martyn, Surface, 2024, oil on linen, 171 x 209 cm. Image credit: Photography by Simon Strong. and legacy in response to a series of photographs his father took while working in Antarctica in 1985. Through using analogous subjects and by collapsing the distinctions between figuration and abstraction, Martyn questions our relationship to how we engage with the environment.

Stacy Gardoll, Cherry Pie, 2025, oil on canvas, 50 x 60 cm.

21 June—10 August The Flora of Western Australia – An Artistic Impression Stacy Gardoll A bold collection of botanical paintings, celebrating the beauty, resilience, and diversity of Western Australia’s flora.

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.

See our website for latest information.

7 February—21 December F = m•a (five ways to make a rainbow) Amanda Bell Awarded the 2025 Judy Wheeler Commission, Amanda Bell uses sunlight, sound and language to respond to the PICA building’s location, acknowledging its construction on unceded land, a moment marked by colonial dispossession and violence.

Tom Duffy, Djagats (The Newly Arrived Native Dignity), 2024. Photograph by Tom Williams.

2 August—5 October Hatched: National Graduate Show 2025 Charlotte Rose Jeffrey-Bannister (SA), Chloe Catto (TAS), Clara Chanisheff (VIC), Ebony Maurice-Wilmott (VIC), Elsa Mona (WA), Germaine Chan (WA), Gosha Heldtz (NSW), Grace Yong (WA), Isabella Rose Cort (QLD), Jade Power (VIC), Karen Zipkas (VIC), Litia Roko (ACT), Madi Jones (NSW), Maelyse Xinh Leculier (NSW), Mandana Eizadi (WA), Marcus C. Payne (VIC), Mim Kowner (WA), Nicole Goode (VIC), Pippini Niamh (SA), Rosemary Tamas-Cao (QLD), Samuel Chan (NSW), Silki Wong (SA), Tom Duffy (NSW).

Marking the 34th edition of PICA’s iconic annual exhibition. Showcasing recent art school graduates from across Australia, Hatched is the only national survey of its kind, which highlights the diversity and creativity of some of the country’s most promising new artists.

STALA Contemporary www.stalacontemporary.com.au 11 Southport Street, West Leederville, WA 6007 0417 184 638 Wed to Sat 10am–4pm and by appointment.

Tyrown Waigana, Cement Frogs the Ghost of a Swamp, Annual Mural Commission 2025, Perth institute of Contemporary Arts (PICA), 2025.

Photos: Edwin Sitt.

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26 July—16 August Under the Weather the Storm Jarrad Martyn Under the Weather the Storm uses painting to investigate Melbourne-based artist Jarrad Martyn’s relationship to memory

Eryc Hynynen, Wild At Heart, 2025, acrylic on canvas, 101 x 101 cm.

29 August—20 September WILD AT HEART Eric Hynynen WILD AT HEART is a celebration of life and our intimate relationship with Nature.

The exhibition showcases experimental works, as well as new paintings from Hynynen’s Duochrome series.

Digital screens have diverted our attention away from reality and each other. These meditative works invite connection and reflect the oneness of all things in our natural world. The exhibition is an immersive, thoughtprovoking experience that encourages you to down all screens, go outside and be wild at heart.

Eric Hynynen is an award winning Finnish-Australian artist, whose works are collected locally and internationally.

Eric captures a humanity that connects people with art and is best known for his bold, thought-provoking paintings and videos. Drawing from Eric’s years residing in Finland, his work is informed by Nordic minimalism.

A–Z Exhibitions

Northern Territory

JULY/AUGUST 2025

artguide.com.au

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm.

Pip McManus, Saw Points, 2025, cross saw, laser cut Corten steel, wood, 54 x 190 cm.

27 June—17 August Saw Points: Pip McManus Pip McManus is a local Mparntwe/ Alice Springs artist who has been reflecting on the timeless issues of dispossession and migration. Saw Points encompass a selection of new artworks alongside matured installation from years of refined reflection with outstanding pieces drawn from the Araluen Arts Centre collection.

“You will find here a wide selection from my art practice, pieces ranging from silk screened ceramic tablets to multimedia assemblages and recent video works.

While often exploring serious subjects, both near and far away, it’s the universal elements of human struggles that most interest me. But this dealing with the dark stuff necessitates a flip side. I take most pleasure in playing with the piles of abandoned detritus which find their way to my studio.

The dark edges of our world are leavened by any creations that might provoke a glint of laughter in people’s eyes. For decades I’ve been eyeing off an old cross saw which has been kicking around my yard until it finally sprang into action with a sharp enough idea for repurposing. Nearly all the wood featured in recent pieces, is sourced from driftwood thrown up onto a remote and wild beach in Kangaroo Island. I love the salty surface, so perfectly pickled by months or years tossing about in the Southern Ocean. Cutting into the outer crust you never know what manner of seasoned timber might emerge. “ Pip McManus, 2025.

1984, writing, painting, drawing and carving tables with Australiana motifs.

“Australia’s relationship with its First Peoples, following the pattern of European countries worldwide, has been contentious since colonisation. How this relationship was unfolding in Central Australia occupied my attention from the get go. My creative work concerning this relationship has ineluctably attracted attention in town and far beyond.

The drawings, re-describing country close to home, have strong affiliation with the figurative social commentary. It is after all the same country that I’ve walked, hunted and camped in with the families staffing the paintings. The drawings are uniformly grey. While they celebrate with loving detail specific places the tone intends to alert the viewer that our environment is not as pristine and healthy as it appears.

I’m fully enlivened when drawing: physically, intellectually, emotionally intense, though calm. My excitement and satisfaction derives from bringing the look and feel of something into existence that creates the illusion of a parallel world.

Graphite has been a favoured medium from the beginning. My first Melbourne solo show in 1978 was comprised of drawings, close to the eye, of gardens housing surreal objects. Hyperreal or surreal elements persist in these meditations on rocks. But Buffel grass, which provides verdancy to the Centre’s soils and rhythm to many drawings, isn’t surreal in any sense as the text of the accompanying catalogue makes clear.” Rod Moss, 2025.

21 June —13 July Beanie Festival: Sport Headgear This year marks the 29th anniversary celebrations of the famous Beanie Festival in Mparntwe/ Alice Springs. From 100 beanies and a band of friends in 1997, to 8000 beanies and thousands of beanie lovers from around the world!

This year’s Beanie Festival exhibition, Sport Headgear, showcases a wild array of fantastic beanies made from an array of textiles by makers from across Australia and the world.

See the winners of the National Beanie Competition and cast your vote for the Centred in Choice People’s Favourite Beanie Award.

Artback NT www.artbacknt.com.au Showing at New England Regional Art Museum, 106-114 Kentucky Street, Armidale, NSW.

Rod Moss, Moon Havoc Fell Upon The Soil With Sacred Sadness, 2023, graphite on Waterford paper, 116 x 187 cm.

27 June—17 August Moon Havoc: Rod Moss Rod Moss has lived in Alice Springs since 25 0

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.

Photography by Georgina Campbell.

Ongoing Cyclone Tracy When Cyclone Tracy took an unexpected turn on Christmas Eve in 1974, it changed the course of a city.

Small but deadly, Cyclone Tracy destroyed Darwin, leading to the largest evacuation and relief effort in Australian history.

The Museum and Art Gallery of the Northern Territory was also destroyed that night. Since then, it has become the home of the Cyclone Tracy story through its much-loved exhibition, which has been redeveloped for the 50th commemoration of the disaster.

Explore a classic 1970 elevated home, monitor the cyclone at the desk of the Darwin Bureau of Meteorology office much as it looked in 1974, experience the real sound of Tracy brought to life through new technology and remastered sound in a new sound booth and explore 50 years of stories.

Over the last decade, MAGNT has received donations of family photo albums and treasured objects from residents who experienced Cyclone Tracy; some of these are on display for the first time. See the ‘Raggedy Andy’ doll featured on the iconic cover of The Australian Women’s Weekly, a Christmas tree that was salvaged from Tracy’s wreckage, a dress worn for days in the aftermath, a treasured survivor t-shirt and the iconic ‘Tracey You Bitch’ replica, embodying the dark humour that fuelled the resilience of Darwinites in their darkest hour.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

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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260

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Queensland R O C K H A M P TO N

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1 263

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LAST WORD

“Ideas are born from a bud. Sometimes they close, sometimes they blossom.

When they blossom, it is extraordinary to see how one thing becomes something else, and then something else again, and opens possibilities that were initially obscure and hidden in the deep of the unconscious.”

— A RCA NGELO SASSOLINO

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