Art Guide Australia — November/December 2025

N OV E M B E R / D E C E M B E R 2 0 2 5 $9

C OV ER S T ORY Agus Wijaya on being with tension

PLUS Olafur Eliasson and the respiratory life of the studio PLUS The Long View: Ghosts in the Machine

EX HIBITION LISTINGS

2

V IC

NSW

QLD

AC T

TA S

SA

WA

NT

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

A Note from the Editor

Chloé Wolifson PR EV IEW

F E AT U R E

Sense of Self: HOSSEI

Camilla Wagstaff

Ride on, shine on: The East Kimberley Art Movement

STUDIO

Steve Dow

Jo Higgins

Gabriella Bisetto: Skin Deep

F E AT U R E

Sophia Halloway Westwood | Kawakubo

Shonae Hobson Kate Mitchell: Set States

Josephine Mead Generational

Briony Downes Too Deadly: Ten Years of Tarnanthi

Shonae Hobson A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul in collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid

Josephine Mead Super Kaylene Whiskey

Sophia Halloway Fremantle Biennale: Sanctuary

Steve Dow All That is Alive

Briony Downes

Olafur Eliasson

Weathering the Storm: After the Rain, the 5th National Indigenous Art Triennial

Maya Hodge Fault Lines: Hale Tenger

Rosamund Brennan 20 Questions: Agus Wijaya

Anna Carlsson Written on the Body: Nan Goldin

Jonno Revanche What Lies Beneath: Joel Sherwood Spring

Louise Martin-Chew In Hand: Caleb Shea

Peter Hill THE LONG V IEW

Ghosts in the Machine

Stephanie Wood F E AT U R E

Take Two: Thomas Demand

Oliver Giles

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

3

8 Wall Gallery

Aarwun Gallery

Alcaston Gallery

Adelaide Contemporary Experimental

Annandale Galleries

Ararat Gallery TAMA

Anna Schwartz Gallery

Artbank Melbourne

Art Gallery of Ballarat

Artbank Sydney

Art Gallery of New South Wales

Artists Shed

Araluen Arts Centre, Mparntwe

Art by Farquhar

Artitja Fine Art Gallery

Australian Galleries

Arts Project Australia

Australian Galleries

Art Leven

Artpuff

Belco Arts

Bett Gallery

Bayley Arts

Blacktown Arts

Brunswick Street Gallery

Canberra Glassworks Castlemaine Art Museum

Bundanon

Caboolture Regional Art Gallery Campbelltown Arts Centre (CAC) Cascade Art Gallery

Ceramic Break Sculpture Park

Cowra Micro Gallery

Broken Hill City Art Gallery

Bundoora Homestead Art Centre

Canberra Museum and Gallery (CMAG)

CBD Gallery

Barometer Gallery

Beechworth Contemporary Artspace

Caloundra Regional Gallery

City of Perth Council House Gallery

Court House Gallery, Cairns

Bankstown Arts Centre

Blue MountainsCity Art Gallery

Burrinja

Caelene Nee Glen Art Advisory and Gallery

City Gallery

Australian Tapestry Workshop (ATW)

Bayside Gallery

Bunbury Regional Art Gallery

Bunjil Place Gallery

Artspace Mackay

Australian National Capital Artists (ANCA) Gallery

Bank Art Museum Moree (BAMM)

Bathurst RegionalArt Gallery

Artisan

Australian Centre for Contemporary Art (ACCA)

Australian National University Drill Hall Gallery Australian War Memorial

Art Collective WA

Art Gallery of South Australia

ArtSpace at Realm and Maroondah Federation Estate Gallery Art Space on The Concourse

Adelaide Town Hall Gallery

Civic Art Bureau

Charles Nodrum Gallery

Colville Gallery

Cowra Regional Art Gallery

correspondences

Craft + Design Canberra

Craft Victoria

Darren Knight Gallery

Devonport Regional Gallery D’Lan Contemporary

David Roche Gallery

Djaa Djuwima –First Nations Gallery

East Gippsland Art Gallery

Federation University Post Office Gallery Five Walls Gallery & Projects fortyfivedownstairs & Gallery Australia

Flinders Lane Gallery

Gladstone Regional Art Gallery & Museum Goolugatup Heathcote

Grace Cossington Smith Gallery

Grainger Gallery

Hervey Bay Regional Gallery

Horsham Regional Art Gallery

Ivanhoe Library & Cultural Hub

JamFactory

King Street Gallery on William La Trobe Art Institute

Glen Eira City Council Gallery

Goulburn Regional Art Gallery

Heide Museum of Modern Art HOTA

Koorie Heritage Trust

Hellenic Museum

Islamic Museum of Australia

JamFactory at Seppeltsfield Jump Left

Handmark

Hyphen—Wodonga Library Gallery

Ipswich Art Gallery

Jewish Museum of Australia: Gandel Centre of Judaica

Gallery76

Gippsland Art Gallery

Griffith Regional Art Gallery

Hazelhurst Arts Centre

Institute of Modern Art

Gallery 48

Gertrude

Glasshouse Regional Gallery

Hawkesbury Regional Gallery

Incinerator Gallery

Flinders University Museum of Art

Geelong Gallery

Gosford Regional Gallery

Everywhen Art

Fiona and Sidney Myer Gallery

Fremantle Arts Centre

Gallerysmith

D’Lan Contemporary

Eloise Cato Gallery

Fellia Melas Gallery

Frankston Arts Centre

Gallery LNL

Deakin University Art Gallery

Jan Murphy Gallery

Kelli Lundberg Art

Kingston Arts

Korean Cultural Centre Australia

Latrobe Regional Gallery

Lauraine Diggins Fine Art

Lavender Bay Gallery

Lawrence Wilson Art Gallery & Berndt Museum

Leighton Contemporary

Lennox St. Gallery

Liminal Gallery + Lab

Linden New Art

Linton & Kay Galleries

Liverpool Powerhouse

Logan Art Gallery

LON Gallery Mailbox Art Space

M16 Artspace

Macquarie University Art Gallery

Maitland Regional Art Gallery

Manning Regional Art Gallery

Manly Art Gallery& Museum

Martin Browne Contemporary

McClelland Sculpture Park + Gallery

Mildura Arts Centre

Monash University Museum of Art | MUMA Mornington Peninsula Regional Gallery Mulgrave Gallery, Cairns

Museum of Brisbane Nasha Gallery

NGV International

Penny Contemporary

One Star Gallery

Museum of Australian Photography (MAPh)

PIERMARQ*

Project8 Gallery

Museum of Old and New Art (Mona)

Outsider Gallery

Queensland Museum Kurilpa

NorthSite Contemporary Arts

OTOMYS

Parallel Projects

Outback Arts Gallery

PARKER Contemporary

Perth Institute of Contemporary Arts (PICA)

Pine Rivers Art Gallery

QDOS Fine Arts

National Gallery of Australia

National Portrait Gallery

Ngununggula

Orange Regional Gallery

Penrith Regional Gallery

Philip Bacon Galleries

Murray Bridge Regional Gallery

National Art School NAS Gallery

Newmarch Gallery

Outback Regional Gallery, Winton

Mossenson Galleries

Mundaring Arts Centre

The Ian Potter Centre: NGV Australia

New England Regional Art Museum Onespace Gallery

MOORE CONTEMPORARY

Museum of Contemporary Art Australia

National Anzac Centre

Metro Arts

Mitchell Fine Art

Mosman Art Gallery

Museum and Art Gallery of the Northern Territory

Manningham Art Gallery

Mary Cherry Gallery

Melbourne Holocaust Museum

Midland Junction Arts Centre

Mudgee Arts Precinct

Madeline Gordon Gallery

Platform Arts

PG Gallery

Potter Museum of Art

Queensland Art Gallery | Gallery of Modern Art

Queen Victoria Museum & Art Gallery

QUT Galleries and Museums

RACV Goldfields Resort

Redcliffe Art Gallery

Redland Art Gallery, The Mezz RMIT Design Hub Gallery Rockhampton Museum of Art

Rex-Livingston Art + Objects RMIT First Site Gallery

Roslyn Oxley9 Gallery

Sauerbier House Culture Exchange S.H. Ervin Gallery

Shivers Gallery

Studio A

The Lock-Up

The Maritime Museum

Stanthorpe Regional Art Gallery Stockroom Kyneton

The Torch

The University Gallery

UNSW Galleries

Town Hall Gallery

UQ Art Museum

Walker Street Gallery and Arts Centre

Wentworth Galleries

White Rabbit Contemporary Chinese Art Collection Yarrila Arts and Museum

The Hive Gallery

Umbrella Studio Contemporary Arts

Wagga Wagga Art Gallery

Watt Space Gallery

Straitjacket

TarraWarra Museum of Art

Toowoomba Regional Art Gallery

University of the Sunshine Coast Art Gallery

Whitehorse Artspace

Shepparton Art Museum

Sullivan+Strumpf Naarm/Melbourne

Tweed Regional Gallery & Margaret Olley Art Centre

Wangaratta Art Gallery

Samstag Museum of Art

The Art Gallery of Western Australia

Tolarno Galleries

VAS Gallery – Victorian Artists Society

Roberson Art Gallery

South Australian Museum

SteelReid Studio

Tanks Arts Centre, Cairns

Tasmanian Museum and Art Gallery

Tin Sheds Gallery

Scieppan Gallery

SOL Gallery

Sullivan+Strumpf Gadigal/Sydney

The Ken Done Gallery

RMIT Gallery

Stala Contemporary

State Library of Queensland

Tamworth Regional Gallery

Riddoch Arts & Cultural Centre

Rusten House Art Centre

SCA Gallery

South East Centre for Contemporary Art State Library of NSW

Redland Art Gallery, Cleveland

Zig Zag Gallery

West Space Wyndham Art Gallery

JOHN NIXON

ARTIST OF THE MONOCHROME 1968 - 2020

18 October - 13 December 2025

ANNA SCHWARTZ GALLERY Untitled, 2014, enamel on MDF, 76 x 75 cm

Patricia Piccinini October – November 2025

Roslyn Oxley9 Gallery

8 Soudan Lane Paddington NSW 2021 Sydney, Australia +612 9331 1919 roslynoxley9.com.au

Image — Claire Healy and Sean Cordeiro, Psychopomp, 2025, production still. Image courtesy the artists, N. Smith Gallery and MAGMA Galleries.

WIRLTUTI SEASON

THUR 16 OCTOBER — FRI 5 DECEMBER

Wirltuti Sean Cordeiro and Claire Healy: Psychopomp, AFF Expand Moving Image Commission: 5 STEPS FOR BETTER LIVING, MAXIMUM GAINS AND MANIFESTING YOUR MOST OPTIMISED SELF!!

— and Ryan Presley: Daydreamer.

SAMSTAG MUSEUM OF ART —

FREE ENTRY / ALL WELCOME

Free exhibition State Library of Queensland 6 December 2025 – 8 February 2026 slq.qld.gov.au Jowett Javelin automobile n.d., William Arthur Jones. Image no. 31557-0001-0133, Acc. 31557. W.A. Jones & Co photographs.

John Oxley Library, State Library of Queensland.

Fiona Connor

November—December

Yona Lee

January—February

Fine Arts, Sydney 23 Hampden Street Paddington, NSW 2021 Sydney, Australia +61 (0) 2 9361 6200 email@finearts.sydney www.finearts.sydney

A Note From the Editor

November/December 2025

The work of Sydney-based multidisciplinary artist Agus Wijaya graces the cover of this issue. An Indonesian artist of Chinese background, Wijaya’s intensely-hued artworks draw on numerous perspectives and influences, and explore the inherent tensions of such multiplicity through the use of traditional and new media.

This issue also highlights a multitude of perspectives, taking us from Southeast Asia to Europe, from a storm cloud to deep underground, and into an uncertain future of artificial intelligence.

Writer Jo Higgins takes us into the Berlin studio of Olafur Eliasson on the eve of the Icelandic-Danish artist’s exhibition Presence, opening in December at the Queensland Art Gallery | Gallery of Modern Art. Eliasson muses on the origins and inner workings of this workspace, and lets us in on the thinking behind his new series of works exploring polarisation.

As our editor-at-large Neha Kale observes, this year has seen a tipping point in the relationship between artificial intelligence and creative labour.

In the second essay in Art Guide’s series The Long View, acclaimed feature writer Stephanie Wood draws on her own perspective, as well as those within the visual arts, to investigate the forces that define this moment.

Elsewhere, Maya Hodge speaks with curator Tony Albert about the intention and potential of After the Rain, the 5th National Indigenous Art Triennial opening at the National Gallery of Australia in December; Jonno Revanche reflects on the enduring power and significance of photographer Nan Goldin’s The ballad of sexual dependency, on show at the Bank Art Museum Moree; and Louise Martin-Chew talks to Wiradjuri artist Joel Sherwood Spring, whose work draws out connections between Indigeneity and mining practices.

We hope you enjoy this issue and are inspired to visit some of the terrific exhibitions taking place around the country.

Chloé Wolifson Print Editor, Art Guide Australia

25

Editorial Team ED I TOR–AT–LARG E

PRINT E D I TOR

Neha Kale

Chloé Wolifson

ASSOCIATE EDITOR

Anna Carlsson

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

Minna Gilligan DESIGNER

Jack Loel BOOKSTORE MANAG ER

Jackson McLaren P R OD UCTI ON ASS ISTANT

Madeline Walling L I STI N GS AS S ISTANT

Arthur Foulkes CONTR I BUTO RS IS SU E #158

Rosamund Brennan, Anna Carlsson, Steve Dow, Briony Downes, Oliver Giles, Sophia Halloway, Jo Higgins, Shonae Hobson, Peter Hill, Maya Hodge, Louise Martin-Chew, Carla McRae, Josephine Mead, Jonno Revanche, Camilla Wagstaff, Stephanie Wood 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.

PA PE R

Pacesetter Satin T YPE

Bookmania Garnett Contacts E D I TOR IAL

Paul Sutherland

editors@artguide.com.au

P R I NTI NG

A DV E R T ISIN G

Postscript Printing P UBL I SHE RS

Graham Meadowcroft Kim Butterworth

Graham Meadowcroft advertise@artguide.com.au SU B S C R IP T IO N S

artguide.com.au/subscribe G E NE R AL E N Q UIR IE S

info@artguide.com.au D I ST RI B UT IO N

Art Guide Australia is distributed through galleries, museums, independent bookstores, newsagencies and art supply retailers.

Cover artist: Agus Wijaya

Art Guide Bookstore The Art Guide Bookstore is a curated collection of the best contemporary art books. It is located at 43-47 Simpson Street, Northcote, Victoria 3070 and open Wednesday to Saturday, 9am–5pm.

S H OP O N L IN E bookstore.artguide.com.au

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

ISSN: 091 091 593 Agus Wijaya, Nari nanarian, (detail), 2024.

Ex pa nsion Hoa r ding Commission, Newcastle A rt Ga llery, Austr a li a. © the a rtist.

26

Issue 158 Contributors R O S A M U N D B R E N N A N is a Fremantle, Western

Australia-based freelance journalist and photographer focusing on culture, travel and society. Her work has appeared in publications including The Guardian, The Australian, Al Jazeera, The Sunday Telegraph, Qantas Magazine and Delicious, among others.

A N N A C A R L S S O N is a writer born in South Korea,

raised in Warrnambool but now resides on Wurundjeri land. She has a background in publishing with an arts and cultural focus and is co-writer of the Substack, Pleasure Principle.

S T E V E D OW is a Melbourne-born, Sydney-based

arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault.

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 spent time studying art history through Oxford University.

O L I V E R G I L E S is an arts writer based in Naarm/

Melbourne. His work has been published

by The Guardian, CNN, Forbes and the South China Morning Post, among many others.

S O P H I A H A L L OWAY is an art critic and writer

based in Kamberri/Canberra. She has written for publications including Art Monthly Australasia, Art Almanac, and others.

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.

P E T E R H I L L is an artist, writer and independent

curator. He has exhibited in the Sydney Biennale (MCA), and his book Stargazing: Memoirs of a Young Lighthouse Keeper (Penguin Random House) was read on the BBC by actor David Tennant.

S H O N A E H O B S O N is a Southern Kaantju, Umpila,

and Kuuku Ya’u woman from Coen, Cape York Peninsula. She is a distinguished curator of First Nations art, fashion and design.

M AYA H O D G E is a Lardil and Yangkaal emerging

writer and curator based on the lands of the Kulin Nation. Her practice is dedicated to disrupting colonial narratives and centering First Nations storytelling and sovereignty. Maya is published in Meanjin, Kill Your Darlings, Craft Victoria, Art Collector, Art Edit and Overland.

L O U I S E M A R T I N – C H E W is a freelance writer. Her

most recent book is Margot McKinney: World of Wonder, published Museum of Brisbane, 2022.

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

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.

J O S E P H I N E M E A D is a visual artist, writer,

curator and arts worker, living and working on unceded Wurundjeri Woi Wurrung Country.

J O N N O R E VA N C H E is a writer currently

living in Kings Cross, Sydney.

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.

S T E P H A N I E WO O D writes for publications

including Good Weekend magazine and The Guardian. She is the author of Fake: A Startling True Story of Love in a World of Liars, Cheats, Narcissists, Fantasists and Phonies which was adapted for a Paramount+ television series. Stephanie has worked as an editor at newspapers including The Independent and The Asian Wall Street Journal.

She writes a weekly Substack newsletter.

27

Previews W R ITERS

Steve Dow, Briony Downes, Shonae Hobson, Sophia Halloway, Josephine Mead

Adelaide/Kaurna Country Ride on, shine on: The East Kimberley Art Movement South Australian Museum Until 14 December The late Kukatja/Wangkajunga painter Rover Thomas is the most famous of the East Kimberley art movement founders, but beside him were generations singing up their Country on canvas boards with local ochres, bush gum and occasional acrylic binders, their songlines committed to memory while working stock routes.

Working in the remote Warmun community, Queenie Nagarra McKenzie (Mingmarriya), Thomas’s influence can be seen in paintings by younger 1915-1998, The Resurrection, c. 1997, artist Freddie Timms and older artist Queenie Nakarra local ochres on canvas, 41 x 51 cm.

McKenzie. In the 1950s, McKenzie, who was Thomas’s classificatory mother in the kinship system, saved his life when he was scalped by a kicking horse; she boiled a needle and stitched his head up without anaesthetic.

“The surgeon commented her stitches were beautiful,” says independent curator Erica Izett, who knew McKenzie. “So, Rover said, ‘You’re my Mum.’” Years later, at Warmun, McKenzie watched Thomas paint, and he encouraged her to pick up a brush.

Fourteen paintings created between 1989 and 1994 at Warmun by artists who have all since passed—McKenzie, Timms, Jack Britten, Birrbi Mungnari and Hector Jandany—are on show at the South Australian Museum alongside loaned prints by Thomas.

These canvases had to be restored. Artlab Australia director Sarah Feijen says the restoration approach, guided by what museum custodians know about the works’ cultural significance and the artists’ intentions, began with a full examination and documentation of their condition, under principles of stabilisation and minimal intervention.

“With those beautiful ochres and the gum, they are vulnerable and fragile, particularly the paint surfaces,” she says. “We were seeing extensive flecking and areas of loss, some scratches on the surface and warping of [some] canvas boards.”

An adhesive typically used in paper conservation was chosen, which was strong but had a low sheen and was unlikely to discolour in the future. Then, a painstakingly microscopic process began to carefully push the flecking paint back down using brushes of size zero or less.

Moisture was applied to the back of those canvas boards that were warped, to help them relax, with careful pressure applied while they dried. Quality linen strips were adhered to the edges of the back of some canvases, wrapped around new timber stretchers to hold the works flat.

Minimal retouching of areas of loss with pigments in a conservation-grade varnish ensued, to reduce the ‘distractedness’ of scratches. “Out of respect, the intention is to make them integral works again, so that they can be fully appreciated.” — S T E V E D OW

28

Freddie Timms (Ngarrmaliny), 1946-2017, Lake Argyle, c. 1990, local ochres and bush gum on canvas board, 46 x 61cm.

29

Canberra/ Ngambri Country Gabriella Bisetto: Skin Deep

Canberra Glassworks 6 November—25 January 2026

The practice of Adelaide-based glass artist Gabriella Bisetto has been sustained by the enigmatic perplexity of the human body. Growing up on a farm in regional New South Wales, where Bisetto’s family raised and slaughtered their own animals, the artist had an early acquaintance with anatomy and the transitory states of life and death.

Bisetto’s earlier practice was characterised by a fascination with the internal workings of the Gabriella Bisetto, Under my skin # 2. body, particularly the breath, making this invisible lifeforce tangible through the process of glassblowing.

More recently, Bisetto has transitioned her focus to the exterior of the body, shifting her practice to kiln-forming to produce a series of ‘skin’ works that will comprise the exhibition Skin Deep at the Canberra Glassworks.

“My aim is to capture the qualities of human skin as a reference point to how we understand our own skin as we change and grow,” says Bisetto. “I’m thinking about my own skin as I age, but also that of my adolescent daughter. I’m interested in how we continuously transition from one state to another.”

Bisetto’s conceptual focus is echoed beautifully by her medium. “Glass has a lot of interesting material qualities which mimic our human body,” says Bisetto.

As curator Aimee Frodsham puts it: “Glass is a state of matter unto itself, not a liquid, not a solid, not a gas. It can continually change form with temperature.”

The reflective nature of Bisetto’s works—figuratively and literally—invites a certain reverence, both for Bisetto’s mastery of her medium and the deeply contemplative effect of her work.

Don’t be fooled by the title. The idiom ‘skin deep’ usually refers to something superficial in nature. Bisetto’s ‘skins’ are anything but. — S O P H I A H A L L OWAY

Melbourne/Naarm Westwood | Kawakubo

National Gallery of Victoria 7 December—19 April 2026

Comme des Garçons, Tokyo (fashion house), Rei Kawakubo (designer), Look 28, from the 2 Dimensions collection, autumn–winter 2012.

Paris, 3 March 2012. Im age © Comme des Ga rçons.

30

A world-premiere exhibition at the National Gallery of Victoria (NGV) brings into dialogue, for the first time, two of contemporary fashion’s most influential figures: British designer Vivienne Westwood and Japanese designer Rei Kawakubo, founder of Comme des Garçons.

Born a year apart, both challenged conventions of taste, gender, and beauty, redefining what clothing could be.

Featuring more than 140 garments—including 100 from the NGV Collection alongside major loans from The Metropolitan Museum of Art, New York, the Victoria & Albert Museum, London, Palais Galliera, Paris and Vivienne Westwood Heritage, London—the exhibition traces the convergences and divergences of their practices from the mid-1970s to today. It explores key ideas of punk and provocation, historical reinvention, tailoring and menswear, the politics of the body and fashion as protest.

As NGV’s senior curator of fashion and textiles Katie Somerville notes, “Neither woman was formally trained, and this opened a radical degree of freedom and experimentation in their work. It comes as no surprise to learn that the designers held a deep respect for one another. In 2002, this manifested as a little-known collaboration. Kawakubo selected designs from Westwood’s archive that she admired. These were then made up in Westwood’s studio using Comme des Garçons fabrics, and the small range of garments was sold with a custom label featuring both designers’ names.”

The exhibition highlights pivotal moments: Westwood’s theatrical reworkings of 18th-century silhouettes, traditional tailoring, and British dress codes with political bite; and Kawakubo’s groundbreaking Lumps and Bumps collection of 1997, where exaggerated padded forms pioneered a new language of conceptual fashion. Westwood’s playful, satirical approach to the body—through corsetry, bustles and exaggeration—contrasted with Kawakubo’s austere distortions, which obscured form and challenged assumptions of beauty.

Together, Westwood and Kawakubo reveal how two uncompromising visions redefined the possibilities of fashion—and continue to inspire future generations.

— SHONA E HOBSON

Wollongong/ Dharawal Country Kate Mitchell: Set States

Wollongong Art Gallery 8 November—22 March 2026

Set States at Wollongong Art Gallery (WAG) presents video works by Kate Mitchell, celebrating constructed sets, performative/absurdist gestures, and the levity that is synonymous with Mitchell’s practice. Co-curators Kate Mitchell, I Am Not a Joke, 2007, single channel Daniel Mudie Cunningham and Louise Brand have video, standard definition, 16:9, audio, 5 minutes 30 connected Mitchell’s works to works from WAG’s seconds. Set build by M a r ley Dawson. Courtesy of collection. This process of bringing artworks into the a rtist a nd Ch a lk Horse. dialogue gave Brand a chance to consider the, “shifting psychological states and states of play in Kate’s practice”.

The exhibition centres around Hypnotised into Being (2016). After being hypnotised off-camera, Mitchell responds to a series of prompts describing artworks, such as, “a bronze bust”. Brand explains, “she performs a bodily gesture or facial expression to replicate the prompt.” Brand has selected works from the collection that echo the prompts. ‘A minimalist painting in blue’ is reflected in Blue (1976) by David Aspden. Notions of hypnosis are reflected in what Brand describes as, “a real strength of the collection—hypnotic abstract works from the 1960s and 70s representing the fashion of hard-edge abstraction at that time”.

Mitchell’s In Time (2015) shows the artist propped up on a large-scale clock for 24 hours. Julian Day’s kinetic sculpture Twinversion (lovers) I (2012) is presented in response. Brand explains, “the sculpture consists of two keyboards that expel sound like a drone. Representing time droning on, this responds to the durational aspect of In Time.”

Brand describes Mitchell’s I am Not A Joke (2007) as, “a set up! Kate stands on a raised floor, sawing a circle around her feet, until she falls through.” This work is paired with artworks showing voids, portals and holes, such as Lizzie Buckmaster Dove’s photograph of a sculptural intervention, titled Full (Blue) Moon (2013).

Set States allows a re-activation of works from the WAG collection, while celebrating moments of labour, control, collapse and humour. This exhibition is testament to the power of curators creating dialogue between cross-generational practices. — J O S E P H I N E M E A D

31

Launceston/Stoney Creek Country Generational

Madeline Gordon Gallery 5 November—29 November

For curator Madeline Gordon, the connection between mothers and daughters is a powerful source of inspiration and creativity. “This bond, shaped by shared experiences and generational knowledge, frequently finds its way into artistic expression,” she says. “Whether through writing, painting, sculpture, or other mediums, the complexities and nuances of their connection offer rich material for exploration and reflection.”

To explore how these familial bonds might influence creativity, Gordon has brought together three pairs of creative mothers and daughters—Genevieve de Couvreur and Bertie Blackman, Margie and Katie Peggy Pedley, Threads of Light #15, 2025, Stackhouse, and Peggy and Sue Pedley. “For some, art woollen tapestry, 190 x 155 cm. becomes a language through which they communicate, bridging generational gaps or expressing emotions that can be difficult to voice. Collaborations may reveal influences and techniques passed down or adapted, as well as themes of identity, heritage and transformation. Even when working independently, daughters may echo their mothers’ themes or styles, either as homage or as a way of processing and redefining inherited narratives.”

In the collaborative installation Threads of Light (2025), Tasmanian artist Peggy Pedley has created a series of abstract stitched woollen tapestries that reflect her lifelong love of colour and pattern, while her daughter Sue exhibits cyanotypes made from plants gathered while tending her mother’s summer garden.

Here, the connection of creativity between mother and daughter speaks softly of unconditional nurturing and quiet growth, both personal and creative.

As Gordon explains, it is a common thread that extends across the exhibition. “The resulting works not only showcase individual talents but also illuminate the ways familial relationships can shape and enrich artistic voice and vision. This dynamic ensures their art remains deeply personal, often resonating powerfully with audiences through themes of love, struggle and the ongoing dialogue between generations.” — B R I O N Y D OW N E S

Adelaide/Kaurna Country Too Deadly: Ten Years of Tarnanthi Wendy Hubert, Yindjibarndi people, Western Australia, born Red Hill Station, Guruma Country, Western Australia 1954, Nyun-nhuu-nha, 2024, Ieramagadu (Roebourne), Western Australia, synthetic polymer paint on canvas, 98 x 79 cm.

Acquisition through Ta r na nthi: Festi va l of Contempor a ry A bor igina l & Tor r es Str a it Isla nder A rt supported by BHP 2025, A rt Ga llery of South Austr a li a, A dela ide, © Wendy Hubert, Courtesy of J ulu wa r lu.

32

Art Gallery of South Australia Until 18 January 2026

This October, the Art Gallery of South Australia (AGSA) marks a milestone with Too Deadly: Ten Years of Tarnanthi, a major survey celebrating a decade of bold, community-led Aboriginal and Torres Strait Islander art.

Since its inception in 2015 under the artistic direction of Nici Cumpston, Tarnanthi has become a national platform—commissioning groundbreaking works,

Sue Pedley, Threads of Light #2, 2025, cyanotype, A3.

33

elevating emerging voices and sharing First Nations culture with audiences across the country.

Featuring more than 200 works, the exhibition revisits landmark projects from the past decade while sparking new conversations. Highlights include Garry Sibosado’s intricately carved pearl shells In the Back of My Mind (2021) and Darrell Sibosado’s towering steel sculpture Aalingoon (Rainbow Serpent) (2019), which greets visitors in AGSA’s vestibule. Paintings by leading women artists such as Angkuna Baker, Betty Campbell, Raylene Walatinna and Betty Chimney will also feature prominently. “A highlight is a recent acquisition of two paintings by Wendy Hubert, which captures the warmth of family life and her first encounter seeing a plane flying over the Pilbara,” notes Cumpston.

Equally important is Tarnanthi’s expansive partner exhibition program, featuring artist talks, workshops, and extending well beyond Adelaide through the Regional Tarnanthi exhibition, curated by Marika Davies. Woven within Stars launches in Port Augusta before heading to Fabrik Art + Heritage, in Lobethal in November. A solo presentation by Janette Murunggun (Numbulwar Arts), whose woven baskets and ghost net works exemplify innovation and resilience, will also feature at Fabrik. This is the second Regional Tarnanthi exhibition following the 2023 Saltbush Country exhibition, which is touring South Australia and is currently at The Riddoch Arts and Cultural Centre in Mount Gambier. “Tarnanthi isn’t just about what happens in the gallery—it’s about building connections with communities across South Australia and giving regional audiences the chance to experience contemporary Aboriginal art first-hand,” says Cumpston.

— SHONA E HOBSON

Sydney/Gadigal Country A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul In collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid Museum of Contemporary Art Australia Until 15 February 2026

For A Conversation with the Sun (Afterimage), Thai artist Apichatpong Weerasethakul presents an installation, created with Rueangrith Suntisuk and Pornpan Arayaveerasid, at Museum of Contemporary Art A Conversation with the Sun (Afterimage): Australia (MCA). Working between mediums, Apichatpong Weerasethakul in collaboration with Weerasethakul has produced a meditation on light, Rueangrith Suntisuk and Pornpan Arayaveerasid, considering the impermanence of images. MCA senior 2025, installation view, Museum of Contemporary curator Jane Devery remarked, “he is one of those artists Art Australia, Sydney, 2025. im age courtesy a nd © A pich atpong Weer aseth a k ul, Ruea ngr ith who can occupy two worlds: visual art and cinema.”

Suntisuk a nd Por npa n A r ayav eer asid.

Weerasethakul grew up in Northern Thailand. The photogr a ph: Za n W imber ley. young artist would play with flashlights in the dark. There was a disproportionate number of cinemas in his town, and it was from these two experiences Weerasethakul’s interest in cinema grew.

A Conversation with the Sun (Afterimage) stemmed from work created during Covid-19 in the forests of Chiang Mai. Devery explains, “he was questioning everything and connecting with nature, driven by elemental forces.”

Weerasethakul is rarely without a handheld camera, capturing footage that ranges from friends, mothers and lovers, to nature and dogs. For this project, Weerasethakul used footage from 10 years of video diaries. 140 video clips play in random order, ensuring the viewer never has the same experience twice.

The video is projected onto a slow-moving curtain-screen. The barely perceptible movement is a choreographed sequence, providing a hypnotic experience.

A nine-channel atmospheric sound-sequence—parts of which are played at random—furthers the in-flux nature of the work. Accompanying the exhibition is a screening program of rare short films from the artist’s archive.

34

Seeing the three artists collaborate, Devery noted, “they had an unspoken knowing of each other’s needs, working seamlessly together, with Suntisuk and Arayaveerasid contributing static images from Indonesia. The humble nature of the material is celebrated through their collective expertise, creating something that is poignant and poetic with simply a curtain, projection and light. Images morph as the curtain moves and it is the curtain that unites them.”

— JOSEPH IN E M EA D

Canberra/ Ngambri Country Super Kaylene Whiskey

National Portrait Gallery 15 November—9 March 2026 It’s no secret that Kaylene Whiskey is a big fan of Dolly Parton—and we’re all fans of Kaylene Whiskey. Her work has been projected onto the sails of the Sydney Opera House and her collaborations with knitwear label WAH-WAH and beauty behemoth Mecca have seen Whiskey’s name and visual lexicon become instantly recognisable. This momentum Kaylene Whiskey, Anangu Barbie Girl, 2024. reaches a crescendo in Whiskey’s first major Pr i vate collection. © K ay lene Whisk ey. survey at a public institution, Super Kaylene Whiskey at the National Portrait Gallery.

Super Kaylene Whiskey tracks the last decade of the artist’s prolific career through the lens of portraiture with kungka kuṉpu (strong women) at its centre. “Portraiture is about identity. When we think of First Nations portraiture, historically, portraits were created of people, not with them or by them,” says curator April Phillips. “There’s a lot of self-portraiture in this exhibition. It’s a cool provocation in that way—Kaylene is taking charge, expressing her identity, her culture, her story. She’s leading the charge, and she wants us to join her.”

Working across painting, video work and installations, Whiskey joyfully remixes Aṉangu culture and the iconography of celebrity with her characteristic wit. “Her work is smile-inducing, but it also leaves you with something to take away,” says Phillips. The exhibition will include key works such as Kaylene TV, Whiskey’s 2018 Sulman Prize winning painting, her 2021 triptych Seven Sistas Story and a newly commissioned portrait.

“The exhibition feels like a reunion of all the ideas that have sustained Kaylene’s practice. I’m anticipating an explosive energy,” says Phillips. “Never before have so many works by Kaylene been in the same room at the same time. The whole world is going to feel the rumble of that.” — S O P H I A H A L L OWAY

Fremantle/Walyalup Fremantle Biennale: Sanctuary 13—30 November

For its fifth iteration, Fremantle Biennale organisers chose the theme sanctuary, wanting audiences to feel “stimulated, empowered, perhaps challenged and accountable as well” when engaging with site-responsive art in collective spaces, says artistic director Tom Mùller.

“We wrote a provocation to really elicit and stimulate artists’ thinking around what sanctuary means to them,” he says. “It’s not about folding into a particular brief.”

35

In Pool of Content, Wona Bae and Charlie Lawler are using crystalline salts and a natural dye to create a “surreal” pink lake for Old Customs House, inspired by the bubblegum hues of Lake Hillier east of Esperance and Hutt Lagoon north of Geraldton, caused by salination and particular microorganisms.

Considering the history of the Fremantle port being forced upon the landscape, the pink lake artwork becomes “emblematic” for how the Derbarl Yerrigan, or the Swan River, once a closed river system, has been subjected to saline incursion after a sand bar was demolished for harbour access in the late 19th century.

Himali Singh Soin and David Soin Tappeser’s work Bruno Booth, shot for Fremantle Biennale 2025.

Microfictions asks audiences to recline in hammocks Photogr a ph: Dunca n W r ight. while performers create a sand topographical map beneath them. In Room Service, 40 artists will occupy some 31 rooms in the disused P&O Hotel, due to be redeveloped, with sculpture, sound, poetry and installation.

Meanwhile for Some Sounds of Some Summer, by Fremantle artist Bruno Booth, the sonics of the city become an instrument: Booth recorded five key local locations, remixing them into an “audio epicentre”, collapsing time and place.

“It feels really strong,” says Mùller of the Biennale, which launched in 2017.

“There’s a sense of expectation building, and it belongs to the people.” — S T E V E D OW

Sydney/Gadigal Country All That is Alive

UTS Gallery, Sydney Until 12 December La Trobe Art Institute, Bendigo 25 February—10 May 2026

A multi-disciplinary exhibition co-commissioned by UTS Gallery & Art Collection and La Trobe Art Institute, All That is Alive presents a collection of work that considers what sustains and defines life.

Curators Connie Anthes, Stella Rosa McDonald, Jacqui Shelton and Amelia Wallin have commissioned 11 new works in addition to several loans from artists and collectives. Embracing the mediums of dance, weaving, printmaking, sculpture and publishing, the themes of regeneration and growth are common threads throughout the exhibition as artists explore living systems, whether biological, technological, cultural or social.

As Shelton explains, connections are made across history through the transference of knowledge and the use of culturally significant materials. “In Dabiyil Bajara (Water Footprints) (2021), Sonja and Elisa Jane Carmichael work with natural fibres and dyes to create woven forms that embody the rhythms of Country. Their practice positions weaving as a living system—one that transmits cultural knowledge and sustains connection to land and water through generations of Quandamooka women.”

Contrasting with this is Tully Arnot’s Silicon (2025), a work firmly planted in today’s technological revolution. “Silicon reimagines a robotic vacuum cleaner as a sentient being,” Shelton says. “It humorously yet poignantly questions what it means to be alive, and what forms of consciousness might emerge from technology.”

Also highlighting environmental sustainability, the exhibition features a catalogue printed and bound on site by audience members and bio-signage made from algae-based materials. “Across the two iterations of All That is Alive, works will enlarge, pickle, shrink, double, hibernate and reorient,” says Shelton. “While some will appear unchanged, their programming or internal elements will be reconfigured in response to architecture and environmental context.” — B R I O N Y D OW N E S

Tully Arnot and Chris Luscri, Silicon, moving image still, 2024. Courtesy the a rtists.

r ight Elisa Jane Carmichael, Shell Memories, 2023.

Courtesy the a rtist a nd Onespace Ga llery, Mea njin/Br isba ne.

36

37

Sense of Self HOSSEI’s installations, sculptures, costumes and performances brim with colour and spectacle.

Yet beneath the riot lies a quiet ethos of care and togetherness.

Creating from his Sydney studio, HOSSEI is often thinking about ants.

“It feels like I’m making a space for ants,” he reflects. “Ants that have entered a human home, where everything is really large and abstracted, and they feel really small. They’re discovering textures, collecting little treasures, taking them back home. That’s what I love to do with my work—invite people into a space they haven’t been before, where they get to discover something new about themselves.”

It’s a strange and playful metaphor, but one that helps to illuminate this warm, world-building practice.

HOSSEI’s installations, sculptures, costumes and performances brim with colour and spectacle.

Yet beneath the riot lies a quiet ethos of care and togetherness.

That ethos is deeply personal. A decade ago, HOSSEI became his mother’s full-time carer, a role that shifted the trajectory of his life and art. “Taking on that title really changed me as a human,” he says.

“It took this idea of care to the next level.” For five years he stepped away from art making, uncertain if he would return. “To leave the art world and then come back again—it’s only for the brave. But when I did, the art world had open arms.”

When he re-emerged, it was with a conviction that art could carry healing. He began to make costumes that worked like weighted blankets, that released a purifying vapour from their nipples. He created his ongoing LOVEKNOTS series—braided ropes worn across the chest like a seatbelt—into which he whispers blessings, embedding talismanic qualities.

38

W R ITER

Camilla Wagstaff

“I loved the idea of producing something that I could imbue with healing properties,” he says. “So, when the person wears it, they can feel those qualities.”

This approach finds its fullest expression in what the artist calls his “sister shows,” a trilogy mapping body, mind and spirit. O (2023) suspended healing costumes from bungee cords, fragmenting them into a bodily dreamscape from space. The show exhibited at UTS Gallery & Art Collection where the artist was in residence during 2022 and 2023. THUNDERBLOOM (2023) told the story of HOSSEI’s mother through a visual album, conjuring clouds in the mind. The show debuted at Melbourne’s West Space before it was transformed into THUNDERBLOOM:LIVE, a performance for Liveworks (2024) at Performance Space, Carriageworks. Finally, ESSSENSSSE touches down on sand and sea, stripping away the bodily to reveal the soul.

A humble sea creature provided the landing path.

“I came across the sand dollar a few years ago and thought it was such a fascinating little thing,” HOSSEI recalls. “It has a mouth, an anus, and that’s kind of it.

I realised that if you remove all the physical characteristics of a human body, what you’re left with is also a mouth and an anus. An O.” The O, a shape that recurs throughout his practice, is both visual and sonic: a portal, a breath, a sound. In ESSSENSSSE, it becomes a metaphor for cultivation—what you let in to nourish you, and what you release. “It made me think about the tenacity of the human spirit,” he says. “If O was about the body, and THUNDERBLOOM about the mind, then it only made sense that ESSSENSSSE would be about the soul.”

HOSSEI, ESSSENSSSE, 2025, installation view, Bathurst Regional Gallery. Photogr a ph y by Kendelle Wat ts.

39

“To leave the art world and then come back again—it’s only for the brave.

But when I did, the art world had open arms.”

— HO S SE I

HOSSEI, ESSSENSSSE, 2025, promotional image, Verge Gallery. photogr a ph y by jacquie m a nning.

40

HOSSEI, ESSSENSSSE, 2025, promotional image, Verge Gallery. photogr a ph y by jacquie m a nning.

The exhibition was initially presented at Verge Gallery with the support of the University of Sydney Union in 2023 and is currently touring with the support of Museums & Galleries of NSW, opening at Yarrila Arts and Museum in late November. It unfolds as an aquatic ecosystem, where sea-inspired costumes are first activated through live performance and then suspended in the gallery space.

Each costume is created for a particular performer— usually a friend or collaborator—so that the garment captures their spirit or essence. Now that the show is on tour, that dynamic has shifted. “It’s been so powerful to see someone else wear the work,” HOSSEI reflects. The costumes have become shells, a new soul making a home there, like a hermit crab. “The work takes on another form, another essence.”

Music, too, is integral. In ESSSENSSSE, the shimmering resonance of musician Niki Johnson’s vibraphone became the voice of the performance.

“It felt so right musically,” HOSSEI says. Across the trilogy, collaborators have helped shape the work—Harri Harding co-developed the songs of THUNDERBLOOM; producer Tanja Mijan brought the costumes across all three shows to life; curator Tesha Malott’s vision at Verge Gallery propelled ESSSENSSSE onto its national tour.

“Nothing I do is ever just me,” HOSSEI insists.

“It’s always we.”

For HOSSEI, this blend of collaboration, ritual and care is rooted in his Persian, Turkish and Russian heritage. Born Hossein Ghaemi, he has long been called HOSSEI by close friends. When he returned to art, he chose to formalise the name. “It felt like reinventing myself,” he explains. “I’m serious about being silly, about having fun. HOSSEI just felt so much more like me. Honestly, everyone has been calling me that for so long, it was kind of another full circle moment. Another O.” In the O, HOSSEI finds a symbol for resilience and reinvention—a reminder that endings are also beginnings. Like an adventurous ant, his practice moves through unfamiliar spaces, collecting treasures. Like an O it loops back and forward, rolling into infinite possibility.

HOSSEI: ESSSENSSSE

Yarrila Arts and Museum (Coffs Harbour/Gumbaynggirr Country) 22 November—1 February 2026

41

42

STU DIO Olafur Eliasson

AS TOLD TO Jo Higgins

With an internationally recognised practice that includes installation, film, paintings, photography, architecture, research and climate-focused social enterprises, Icelandic-Danish artist Olafur Eliasson’s work explores the scientific, poetic and bodily experiences of light and geography.

Over the last three decades, the Berlinbased Eliasson’s work has also examined the role and relevance of art in the world at large. Ahead of his major exhibition at Queensland’s Gallery of Modern Art (QAGOMA) in December, we visited Eliasson in his Berlin studio, where he spoke to us about gardening, dwelling in uncertainty, the nature of perception and why sometimes you just need to dance disco.

n ext spr e a d, lef t to r ight

At Studio Olafur Eliasson, 3D scanning a block of ice harvested for Ice Watch, 2015. Photograph: Ru na

M aya Mør k H u ber / Stu dio Ol a fu r Eli asson.

At Studio Olafur Eliasson, mock-up of Your unpredictable path, 2016. Photograph: M ar í a del

Pil ar Garcí a Ay ensa / Stu dio Ol a fu r Eli asson.

Olafur Eliasson, Riverbed, 1994, installation view, QAGOMA.

PHOTOGR A PH: Russell Sha k e spe ar e.

At Studio Olafur Eliasson, testing Space resonates regardless of our presence (Wednesday), 2017.

Photograph: M ar í a del Pil ar Garcí a Ay ensa / Stu dio Ol a fu r Eli asson.

43

“The studio also has a kind of life of itself. Sometimes this life is tangible and it feels alive. Other times it’s more academic or about thought processes, but that pendulum swing is the respiratory life of the studio and I’m so proud of it and so inspired by it.”

OLA FU R ELI ASSON

PL ACE

44

O L A F U R E L I A S S O N : I came to Berlin in 1994 as a starving student from Denmark. When I started my studio there was no internet— the mobile phone had just arrived. But I still know the people I met then. A lot of them who started working in the studio with me in ‘95, ‘96—they’re still here.

Berlin has taught me so much.

Germany, historically, because of World War II and the need to acknowledge that trauma, put a significant bet on culture being important.

In 2008, during the financial crisis, this building came on the market under certain city regulations. The Berlin government wanted to do something for artists—to prevent gentrification—to keep them in the city. It was the deal of the century.

There are four floors but we could only fill three then. I’d been invited to become a professor at the Universität der Künste and said yes on the condition that the department was here on the empty floor.

They had to rent it from me for one euro a year and I gave my salary to two assistants who ran this fantastic school for five years.

It was an experimental, cross-disciplinary science and art program. We had 35 students and they’d come and hang out in the kitchen [between workshops]. So we filled the building out pretty well.

We still run a lot of workshops directly related to the development of artworks: psycho-sonic workshops, slowness workshops, workshops on numbness or the senses or other perception-related things that you don’t see when you walk into the studio thinking, “Nice ceramics.”

PROCESS

O L A F U R E L I A S S O N : I’m not a renaissance artist because the studio and I are not the same thing. There are whole [specialist] teams [here] that are very good at walking the talk and they’re important, and I’ve learned a lot from them, but it’s not a collaboration; we’re not a collective.

It’s also not about subscribing to the mythologisation or romanticisation of the artist. At the end of the day I am setting the course, but I acknowledge there are things I’m not good at and they are better, and so I listen to them and they say things that change my mind.

The studio also has a kind of life of itself. Sometimes this life is tangible and it feels alive. Other times it’s more academic or about thought processes, but that pendulum swing is the respiratory life of the studio and I’m so proud of it and so inspired by it.

[In building the studio the way I did] I realised it’s about the interconnectedness of everything. It’s about putting linear, rational problem solving behind us and— as the philosopher Bayo Akomolafe says— arriving at a more entangled, relational mode of being. Or Donna Haraway, the fantastic feminist theorist who says that rather than trying to resolve uncertainty, we must dwell in it, often with community, to create new experiences.

[As the artist] I myself have come about as the result of structural impacts from outside [the studio], such as money—I need to pay my staff so they can pay for their kids’ clothes—so that means we need to have a place in the economy, which is the ‘compost’. Caring economics is a critique of capitalism, but to take care of the studio means accepting a mild version of capitalism existing in the studio. But we need a free space where capitalism is not and that’s what we call ‘the garden’. That’s why the compost is important, because it fertilises the garden.

The garden is a space for experimentation: on listening, on movement, on dance performance—if we feel like dancing, anything from contact improv to disco— it’s all valid. It always sounds so alternative but sometimes we are just fucking dancing disco. It doesn’t have to be a science experiment to be welcomed into the garden.

Once a project is for a gallerist or a museum or a commission, or for somebody outside the studio, then it’s not in the garden.

But we embrace the labour that comes with experiencing, it’s something we generate. There is a space before intuition— because once we call it intuition there’s a whole philosophy around it, right?— And I’m actually very interested in: where does an idea come from?

How on earth do I know what to do for [QAGOMA curator] Geraldine [Kirrihi Barlow]’s exhibition? Well, I don’t. I work really hard to find out.

So, to keep that space clean, we call it a garden.

It’s hard work to actually even have a garden and keep it alive because the transport company, say, keeps filling it with boxes because it looks empty.

But it’s not empty, it’s busy being undefined.

45

PROJECTS

O L A F U R E L I A S S O N : [For my new series of

works exploring polarisation] it all starts, in this case, in the less mythologised space of natural sciences, namely my long interest in light.

There’s something very ocular when it comes to polarisation and now the word is used in social sciences [to describe] two counter points that push each other further and further away—when you feel so taken over by your feelings that the opposite of what you think becomes a stronger driving force than your own thoughts.

That is the poetic, beautiful element of the word, but in the natural sciences, we are still at the beginning of looking into the phenomena [because] the polarisation of light has nothing to do with the rainbow, it’s not a spectrum.

We had Professor Maria Chekhova, from the Max Planck Institute [for the Science of Light] come to the studio for a few days to do a workshop—this is a good example of a garden workshop—she came in and we had set up all these questions and of course, she had a very scientist-type response to it.

Olafur Eliasson, Your lost lighthouse, 2020, lighthouse lens (c.1900), colour-effect filter cylinder, halogen light bulb, fluorescent / 217 x 96 x 96 cm. Cou rte sy: The artist; n eugerr iemschn eider , Ber lin;

a n d Ta n ya Bona k dar Ga llery, N ew Yor k / Los A ngele s / © 2020 Ol a fu r Eli asson / Photograph: J ens Ziehe.

46

The interesting thing is, you can still see light when it’s polarised. It’s almost like finding a new colour that’s suddenly visible. It’s almost magic. I am so fascinated by the limits of what our eyes and brains have already agreed to being the ups and downs and ins and outs of reality, and what happens when you suddenly see something that does not fit into that. And now [with] the beauty of the way the word polarisation resonates in society [it adds a whole other meaning].

What fertilises polarisation in society?

That’s a tough question. I think one of the greatest threats today is that we take for granted that things are stable and nonnegotiable, like democracy. This is so dangerous because that deprives us of choice and if we have no choice, we are not free.

My working title for the [QAGOMA] show has been the slow show. It’s now called Presence, but it’s about slowness.

There’s another Akomolafe quote: “The times are urgent, let us slow down.”

That’s Geraldine’s DNA right there. Slowing down is about lingering in places we’re not used to. It’s about this deceleration but also about deepening the intensity of the moment.

The artwork we have made specially for QAGOMA, it has a sequence of seeing, unseen, seeing, unseen. [The polarising effect] is just so incredible you need to quickly unsee it to make sure that what you saw is the reality.

Riverbed (2014) [which is also in the exhibition] is about the absence of presence. What you see is what is not there…

Some of the glacier works are also holding space for almost nothing. It’s all very much about not taking things for granted. If you can see the structure of being polarised, whether in natural or social science, you are also able to claim back your—flow is maybe a little esoteric—but yourself.

[In Presence] Geraldine has masterfully composed this constellation of many years of work and there’s an element of retrospective in that all 30 years are in the show, but they’re all very contemporary.

If you look at Beauty (1993) which is the oldest piece, it couldn’t be more contemporary, not because of the rainbow being what it is, but because it’s happening today.

Olafur Eliasson, Riverbed, 2014, installation view, GOMA, 2019, water, rock (volcanic stones [blue basalt, basalt, lava], other stones, gravel, sand), wood, steel, plastic sheeting, hose, pumps, dimensions variable. Pu rchased 2021. The Josephin e U lr ick

a n d W in Sch u bert Char ita ble Trust / Collection: The Josephin e U lr ick a n d W in Sch u bert Char ita ble Trust, Qu eensl a n d A rt Ga llery | Ga llery of Moder n A rt / © 2014 Ol a fu r Eli asson / Photograph: N H arth © Q AGOM A .

Olafur Eliasson: Presence

Queensland Art Gallery | Gallery of Modern Art (Brisbane/Meanjin) 6 December 2025—12 July 2026 47

In a post-referendum nation where hope and healing can feel out of reach, the 5th National Indigenous Art Triennial grounds audiences in Country, community and storytelling.

WRITER

Maya Hodge

W E AT H E R I N G T H E S T O R M 48 48

Grace Kemarre Robinya, Western Arrarnta/Arrernte/Anmatyer/Luritja people, Kwatjala nhama timela (Raining time), 2024–2025. © Grace Kemarre Robinya, courtesy the artist and Tangentyere Art Centre.

Over the past few years, a cultural shift within contemporary arts across so-called Australia has become both visible and deeply felt. With a title like After the Rain, the 5th National Indigenous Art Triennial explores themes of rebirth and cycles of cleansing—a fitting frame for this moment in history, as Aboriginal and Torres Strait Islander artists lead the conversation.

This Triennial will showcase 10 large-scale immersive works under the direction of Tony Albert (Girramay/Yidinji/Kuku-Yalanji peoples), one of the country’s leading contemporary artists. Having witnessed past Triennials from mentors such as Brenda L. Croft, Carly Lane, Tina Baum and Hetti Perkins, Tony reflects, “What is the current state of contemporary Indigenous art within this country and nationally? What does the future hold? The After the Rain theme is about new beginnings and nurturing those seeds that were planted in the first Triennial ‘Culture Warriors’, nearly two decades on. It speaks to this ongoing commitment, engagement and opportunity for First Nations artists to try new and innovative things. That’s where this thought for After the Rain came from–this chance for a restart and a reset through this iteration of the Triennial.”

The exhibition features newly commissioned works from First Nations artists across the continent.

This year’s artists include Alair Pambegan, Aretha Brown, Dylan Mooney, Vincent Namatjira, Jimmy John Thaiday, Naminapu Maymuru-White, Thea Anamara Perkins, Grace Kemarre Robinya and Warraba Weatherall. The exhibition also includes works from artists from Blaklash, Hermannsburg Potters, Iltja Ntjarra Art Centre and Yarrenyty Arltere Artists.

Each contributes works resonating with the themes, creating critical space for new ideas and practice.

After the Rain plants seeds during a politically charged time. The artists’ works respond to themes of rebirth and cleansing, past, present and future, all linked through what may come afterwards.

Tony elaborates: “After the Rain is embedded in culture and Country. Grace Kemarre Robinya paints rain clouds and rain and she knows when storms are coming; that intrinsic nature of our old people. No one understands that. But what does After the Rain mean in the context of a year after the referendum? Could the referendum be seen as this storm or is this rain cloud the aftermath? It’s a title I feel gives a great curatorial diversity for artists to respond to. There are so many different things that you can glean from After the Rain, like taking it very much from what’s happening on Country through climate change, but also what’s happening politically in this country as well.”

His approach centres on ambition, depth and time for artists rather than scale. Tony states, “What I really wanted to do was create a very immersive experience for the Triennial and give less artists more to work with, and that’s where the 10 projects came from,” he continues, “While I say it’s 10 projects, inclusions with collectives and collaborations, like House of Namatjira, the Triennial ends up featuring about 60 artists. So in one way, it’s the smallest Triennial, and in another way, it’s the biggest.”

House of Namatjira, which brings together members of Albert Namatjira’s family and community, highlights the intergenerational ways our people work.

49

lef t Irene M. Entata, Western Aranda/Luritja peoples, Mission days: Albert Namatjira’s ute and Rex Battarbee, 2010. Nationa l Ga llery of Austr a li a, K a mber r i/ Ca nber r a, gif t of Gor don a nd M a r ily n Da r ling 2012. Donated through the Austr a li a n Gov er nment’s Cultur a l Gif ts Progr a m © Ir ene Mbitja na Entata /Copy r ight Agency 2025. r ight Jimmy John Thaiday, Kuz/Peiudu peoples, and Tony Albert, Girramay/ Yidinji/Kuku-Yalanji peoples, at Erub Arts. Courtesy Erub A rts, Erub. below Albert Namatjira’s House on Lhara Pinta/Finke River, Ntaria/ Hermannsburg. Reproduced w ith per mission from Tj u wa npa Outstation Resource Centr e.

50

“But what does After the Rain mean in the context of a year after the referendum? Could the referendum be seen as this storm or is this rain cloud the aftermath?

— T ON Y A L BER T

51

r ight Aretha Brown, Gumbaynggirr people, Rise!, (detail), 2023. © A r e th a Brow n, courtesy the a rtist a nd Gr eenpeace, Sy dney.

Naminapu Maymuru-White, Manggalili people, Milŋiyawuy River of Stars, 2021. Nationa l Ga llery of Austr a li a, K a mber r i/Ca nber r a, purch ased in celebr ation of the Nationa l Ga llery of Austr a li a’s 40th a nni v ersa ry, 2022 © Na mina pu M ay muru-White, courtesy the a rtist, Buk uLa r r nggay Mulk a A rt Centr e.

52

Tony shares, “We’re in such an interesting generation where though we will always learn from our Elders, they can also learn from young people, particularly with advancing technology. We’re in a unique time where everyone can learn from everyone and I really wanted to make sure that that was represented in this exhibition.”

Gumbaynggirr artist Aretha Brown’s ongoing project, THE TEACH BLAK HISTORY PROJECT, continues with a major new mural, THE BIRTH OF A NATION: THE TRUE HISTORY OF AUSTRALIA, transforming the space into a mapping of truthtelling, accompanied by an immersive soundscape.

She explains, “The process has been visiting lots of first contact sites. My mural is essentially a timeline of colonisation, stretching from the Dreaming, first contact, pre-Cook, the 1930s, 1960s protest era, the 1990s and 2000s, and then today—and also the future, a Black future.”

Being the youngest exhibiting artist, this moment is significant for Aretha as she states, “I’m painting alongside all my heroes, so I feel like I’m truly standing on the shoulders of giants.”

Tony also threads the legacy of Albert Namatjira with the work of Blaklash, a First Nations design studio and social impact enterprise led by Troy Casey and Amanda Hayman. Blaklash focuses on Country-led architecture, art and design. Their new installation, ALWAYS remember the rain, invites reflection and rest. Tony explains, “Blaklash’s work is a great example of our own people really leading the way with Aboriginal enterprise. That inclusion also of

Albert alongside the House of Namatjira I think really emphasises, at very different points in time, the initiative and incredible way in which Aboriginal people under their own autonomy have been utilising art in a number of different ways.”

Jimmy John Thaiday (Kuz/Peiudu peoples) presents Just Beneath the Surface, an installation incorporating past film works and a flight of ghost net waumer (frigate birds). His work speaks to climate change in Zenadth Kes (Torres Strait) and the damage caused by cast-off fishing nets on marine life. His practice is a call to preserve Country. Jimmy shares, “My work is based on awareness for future generations. Doesn’t matter how we try to set a path towards a cleaner planet, climate change is still coming,” he continues, “I would like the future generation to use these movies as a platform to inspire themselves and others about better, cleaner living—to preserve and care for land and sea.”

In a post-referendum nation where hope and healing can feel out of reach, After the Rain grounds us in Country, community, and storytelling.

As Tony says, “If we’re going to go down this idea of artist-led and First Nations voices first, then let’s really start to work with artists in meaningful ways of creating change.”

5th National Indigenous Art Triennial: After the Rain National Gallery of Australia (Canberra/Ngambri Country) 6 December—26 April 2026

53

FAU LT LIN E S

WRITER

Rosamund Brennan What do borders really protect—or confine?

Turkish artist Hale Tenger’s first museum survey at the Art Gallery of Western Australia probes the fragile lines between power, violence and freedom.

54

Hale Tenger, I’d rather open my heart than become comfortably numb, 2024, installation with sound ready-made nickel, tama (Greek Orthodox votive plaque) and unique handmade silver-plated brass tama, iron nail, brass hanging bracket, directional speaker and sound (2’17”), various tama dimensions: 4.7 x 11.8 cm, 6.4 x 8.3 cm, 8.3 x 6.4 cm. Electro/acoustic, a dv iser :

H a k a n K u rşu n, Dimensions var i a ble, Produced w ith the su pport of DEO Proj ects, Cou rte sy of H a le Tenger a n d Ga ler i N ev, Ista n bu l. Photograph: N ikos A lexopou los.

55

Hale Tenger, Where The Winds Rest 2007, single-channel video installation (black and, white, 30”, loop), 16 floor fans, black cables, rotating video projector device, each fan ø: 51 cm, h: 58 cm, Installation dimensions: 600 x 800 cm. A rter Collection, Ista nbul.

Photogr a ph: La leper Ay tek .

A winding corridor of backlit negatives glows with scenes of protest, grief and defiance. Faces emerge pale against a field of black; mourners beside coffins, crowds filling public squares, a child holding a sign marked Neden? (Why?). The images form a luminous post-mortem of Turkish unrest, guiding visitors through decades of political turbulence.

This is I Know People Like This III (1992) by Turkish artist Hale Tenger, a labyrinthine installation of 731 press photos printed on X-ray film. The work compresses half a century of political violence in Turkey into a single spectral passage. Walking its length is like tracing a nation’s exposed nerve endings, history rendered as a diagnostic scan.

This monumental corridor of photographs forms the threshold to BORDERS / BORDERS, Tenger’s first ever museum survey, presented at the Art Gallery of Western Australia (AGWA). Born in İzmir in 1960, she came of age amid the political turbulence of the 1970s and the 1980 military coup d’état. Over more than three decades she has built immersive installations where sound, image and language invite audiences to feel the contradictions of violence and beauty, oppression and tenderness.

For the exhibition’s curator Rachel Ciesla, its timing feels urgent: “It feels like the right moment for a survey show… Even if the show was five years earlier it wouldn’t have resonated in the same way, which is saddening but also gives the show its power.”

56

Entering the exhibition from the intense maze of photographs, a quieter side room opens onto Where the Winds Rest (2007). The room hums with the oscillation of standing fans and a soundscape of fragmented voices, while the words “We didn’t pull the body from underwater” by Turkish poet Edip Cansever circle the walls. Created in the wake of Turkish-Armenian journalist Hrant Dink’s assassination, the installation is a meditation on grief and complicity that resonates today as journalists continue to be targeted and killed in Palestine.

“I love creating such spaces… magnetically pulling people in,” Tenger says.

In the following space, a modest timber hut stands encircled by high barbed-wire walls. Inside, faded postcards of sunlit Turkey line the walls while sentimental songs from Tenger’s childhood drift through the air. This is We didn’t go outside; We were always on the outside / We didn’t go inside; We were always on the inside (1995/2015), a work that extends the exhibition’s tension into physical form. At first it feels like a nostalgic refuge, but the wire and the music’s melancholy create a tightening sense of surveillance and entrapment. “That interior world… is always based on the exclusion of something or someone,” Ciesla observes. The piece captures the illusion of choice under authoritarian rule, showing how private space can become a prison even as it pretends to be home.

“At its core my work is about standing against patriarchal hierarchical power games.”

— H A L E T ENGER

Hale Tenger, I Know People Like This III, 2013, dry laser printing on x-ray film, 731 digitally, processed photographs compiled from press, archives, plexiglass sheets, 22 aluminum LED, light modules functioning as negatoscopes, module height: 208.6 cm, total length of the, modules: 43 meters; x-ray film dimensions: 35 x 43 cm, 26 x 36 cm, 20 x 25 cm; installation, dimensions: 720 x 615 cm. A rter Collection, Ista nbul. Photogr a ph: Mur at Ger men.

These works, while diverse in form, share an underlying rhythm: an insistence on presence and an acute sensitivity to how power operates across time and place. In Ciesla’s words, BORDERS / BORDERS is “an invitation to be more attuned to those physical, psychological borders that we all create ourselves, that we inhabit on a daily basis, and that we enforce onto others or retreat from.”

The exhibition concludes with I’d rather open my heart than become comfortably numb (2024).

Small metal votive plaques carry images of hearts, eyes, a tree, a bird, the Earth and a single strawberry, chosen as a symbol of Palestinian resistance.

Children’s laughter rises and falls, then fades to silence. “You can listen to the children laughing, while also be aware that there is genocide going on,” Ciesla reflects. “You don’t have to close your heart off to that.”

A final wall text deepens the call, describing today’s violence in Palestine as “the outcome of decades of intentional, systemic, State-organised erasure and dispossession”, and warns against “the burden of relativism”—the temptation to weigh

Hale Tenger, We didn’t go outside; we were always on the outside / We didn’t go inside; we were always on the inside, 1995/2015, wooden guard house, printed matter, radio, teacup, fan, barbed wire fence, sound, 240 x 1400 x 600 cm. A rter Collection, Ista nbul. Photogr a ph: Vehbi Dileksiz.

atrocities against one another until moral clarity dissolves. “If we become numb,” the text cautions, “we are no good to those who are suffering and we’re no good to those around us.” As Tenger reminds us, “at its core my work is about standing against patriarchal hierarchical power games.”

Rather than a mere catalogue of works, BORDERS / BORDERS becomes what Tenger calls “notes on what’s going on all around me. Not only in Turkey, but all around.” In Perth, far from Istanbul yet entangled in its own histories of contested land and migration, the survey reads as both a career milestone and a timely meditation on the porous, persistent boundaries—national, psychological, ecological—that shape our world.

BORDERS / BORDERS Hale Tenger

Art Gallery of Western Australia (Perth/Boorloo) Until 8 February 2026

57

20 QU E STIONS W ITH

Agus Wijaya

58 58

AS TOLD TO

Anna Carlsson

Multidisciplinary Indonesian artist of Chinese background Agus Wijaya is used to straddling multiple worlds—through his identity but also through his work. Exploring the tensions that exist within influences, cultures and beliefs, Wijaya’s practice draws from sacred places, everyday things, and his childhood in Cianjur, a small town in West Java, mediated by living in Australia.

Ahead of his solo show at Sydney’s Stanley Street Gallery, we asked Wijaya 20 questions about his first art discoveries, what ‘seeing’ and ‘knowing’ mean to his craft and what we can expect from his upcoming exhibition Red Milk.

Describe your practice in seven words?

Questions, coded, not real, meaningmaking, self-taught, personal.

Agus Wijaya, Is that an iris? A chant?

An offering bowl? Tf do all these mean?, 2024, clear resin on painted canvas.

Your first art love?

Probably endless doodling as a kid.

I had two first ‘art teachers’. Kang (a respectful way to address an older man in Sundanese) Asep noticed how much I loved it and told mum, “Try to make him a doctor or engineer, you can’t.” This is to highlight my supposed love for art, not lack of intelligence.

When is the best time of day for creating?

At night or in the morning before the day starts.

It’s my sleeping time, so there’s less pressure.

Do you have any rituals that you do before you start your practice?

I’ll eat a little something, have my coffee, then start.

When did you first discover anaglyphs (stereoscopic photographs that superimpose two images with contrasting colours to produce a ‘stereo’ effect)?

Probably Nobody’s Boy: Remi, a Japanese anime based on a French novel dubbed in Indonesian. We got our glasses from a kids’ magazine. It was quite hyped then.

left

Agus Wijaya, Pan, 2022, hand-detailed digital sculpture with archival pigment printing on art canvas mounted on customised perspex.

How did this lead you to working in your signature red and green colour palette?

The starting point was more incidental: a children’s song stuck in my head. “Red means stop, green means go.” I thought that in-between of stopping and going is when I either make work or worry about the themes in the work. I then looked them up and of several things I liked was its link to the stereoscopic anaglyph. I like how it plays with limitations, the illusion of 2D and 3D. As for the saturation of the red and green, my mother-in-law years ago said it’s because I’m from a small town. She’s probably right.

59

You work across two-dimensional prints, and sculpture—how do you decide the form for a specific work?

The work, and the space, sometimes does some of that. Sometimes it asks to be small, almost invisible; sometimes it insists. I try to follow that even when it makes little sense.

How do you develop the figures, creatures and landscapes that appear in your works?

A few from returning images, but still, they’re made up, drifting between what’s identifiable and not.

At first it was to reclaim what I grew up with, then it became a place where I could edge closer to things that felt sensitive. Jejadian, which means a bad version of something, was the title of one work, but in a way it runs through the rest. The landscapes are abstracted data, maps or photos, where I sometimes leave the context—the ‘background’.

I have read that your work is informed by growing up in Cianjur, West Java. In your artist biography for your show, ~/a_love_letter_to_kala (2025) at Passage Gallery, you’ve stated your work is a “place for reconciliation”. Can you talk to us more about this?

It was initially about reconciling the different influences, cultures and beliefs, accepting them as a whole. Now it’s also making sense, or peace, with what happened or is happening. So, less a resolution than a practice of being with those tensions.

At best, I’d love to offer those who’ve lived something similar a way to share and reconcile together.

I also like the word because it feels opposite to divide et impera, which were the first fancy words many Indonesians of my generation learned at school. Funny how ‘divide and conquer’ translates into everyday language so differently there, versus here.

You have spoken of your use of multiple dimensions as a nod to your “cultural belief that beings are able to manifest in other planes and dimensions”.

Can you talk further about how this belief informs your work?

It shaped how I understand things before it influenced the process and the work. My use of forms and dimensions isn’t about literally mapping spiritual planes. More a way of playing around with what’s real, what’s felt and how all, named or not, coexist. Not always comfortably.

Beauty or politics?

Politics is not beauty, yet what we consider beauty often is.

Orders or chaos?

Order, but I’ve resigned myself to chaos now.

Wu wei.

60

An art experience that’s stuck with you?

Not sure they’d be considered art; some don’t have the usual markers. But sacred places, old sites of worship stay with me. So do everyday things: a shirt hung on a fence, an offering at a gate, stools stacked just so. They might as well be installations.

Favourite tool?

Brush, physical or digital. It’s present in almost all my works, visible or not.

Your work has been described as an exploration of “bridges and glitches between ways of knowing and seeing.” What do the words ‘knowing’ and ‘seeing’ mean to you and your craft?

For me, knowing is the lived experience, seeing is the lens to understand. Sometimes my work lives where seeing doesn’t lead to knowing.

Maybe it’s a kind of coding. I work with ambiguity and abstraction, sometimes to subvert power, like turning financial data into something ornamental. Sometimes to yield. Growing up Chinese-Indonesian, we were encouraged to stay away from politics. We talked around it, used monikers or even gestures. That conditioning shaped my approach. Here, people are urged to speak up, but I tread lightly, because distance has its own kind of responsibility. Maybe I also selfishly don’t want to give everything away.

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

It’s a bit tricky to do collaboration, like residency, as I make at odd hours. But I’m both a defeatist and hopeless romantic, so it’ll have to be my other first art teacher: the late Kang Yayan.

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

I remember the less flattering ones, like not real art, not a real artist, not Indonesian enough.

They hit my insecurity. But what do I know?

Maybe they’re right. So, I lean in and play with it.

What advice would you give your younger self?

Nothing. I could give tips for specific cases, but in general, I’m not that much wiser.

What can we expect to see in your new solo show at Stanley Street Gallery?

Relationships. Socioeconomic structures.

Play pretend.

What would you like to do next?

I’m exploring a few things, but the honest answer is I’m not sure.

Agus Wijaya, ~/a_love_letter_to_kala, 2025.

Photograph: J e ssica M au r er . Commission ed by Passage Ga llery.

Agus Wijaya, Jejadian on top of the first iteration of Gugusan, 2023.

Red Milk

Agus Wijaya Stanley Street Gallery (Sydney/Gadigal Country) 13 November— 6 December

61 61

Written on the Body To mark the presentation of Nan Goldin’s The ballad of sexual dependency at the Bank Art Museum Moree, Jonno Revanche reflects on the power of the landmark photographic series—and the way the work’s visceral portrayal of subjects that have survived the narratives our culture has imposed on them—has endured.

I must have been 20, maybe freshly 21, when I asked an acquaintance what I should buy as a gift for my best friend’s upcoming birthday. In the hollowed-out chamberlet of a bookstore she handed me The ballad of sexual dependency (1986) by Nan Goldin. It is of course a cliché that we remember more of what we do, say, teach, or recommend to others than what is passively observed; is it the case that this simple gesture, the act of transference, caused the memory to return even more sharply to me? Or is it because of the impression of one image, two queens wearing wigs in the back of a cab, that has been left on me a million times (in galleries, Instagram carousels, the back of Supreme skateboards) ever since?

The critic Lisa Liebmann wrote, in a 2002 Artforum essay, that “Goldin’s signature shots— slices of a vie de bohème now all but extinct in Lower Manhattan—have been seen in literally hundreds of books, slide shows and exhibitions on virtually every continent, by audiences typically full of young people whose rapt expressions suggest the solemn fervor of pilgrims at Lourdes.”

Goldin’s work has been everywhere for so long that it’s easy to forget it wasn’t always safe to look.

The artist enters our personal canon when we believe we understand the greater extent of the psyche, but have yet to actually experience ego death or the collapse of possibility that comes with true adulthood.

It is out at the very rim of consciousness, by which I mean out there, right where intellect and sensation curls, that Goldin has operated. In the 2017 Artforum article that pre-empted the activism against Purdue

62

W R ITER

Jonno Revanche

Pharma documented in the artist’s 2022 documentary All the Beauty and the Bloodshed, a technically perfect film, she writes: “I survived the opioid crisis. I narrowly escaped. I went from the darkness and ran full speed into The World. I was isolated, but I realised I wasn’t alone.” The last sentence might as well be her credo. Goldin’s work begins here: with the knowledge that another cannot carry our pain for us, yet in the act of staying alongside it, witnessing without appropriating, they can render it less annihilating. To enter the world of The ballad is not to acquire the language of “survival”, itself now a near euphemistic word, smoothed out by overuse and suggestive of clear stakes where there are none, but to confront the impossibility of survivability as a coherent narrative.

I have always felt that it was intuitively true that before Goldin, queers were expected to be the subjects of the portrait form. Recall Susan Sontag saying in her 1973 essay Freak Show that Diane Arbus turned her subjects into “freaks and victims” rather than participants in the creation of their images.

A subject was only ever looked at. But in The ballad, the images look back. A glance conveys nothing as much as a “who are you?” and “why are you here?”

A term that comes to mind is epistemic justice, technically defined as the ability to wrestle authorship over your own narrative where it might otherwise be disbelieved because of your positionality.

Goldin worked during a time when colour photography, previously most reliable as a form of advertising, was beginning to reach full saturation.

Nan Goldin, Mark tattooing Mark, Boston, 1978 from the series The ballad of sexual dependency, 1973-86. Nationa l Ga llery of Austra li a ,

Kamberr i/Ca n berra , pu rchased 2021 in celebration of the Nationa l Ga llery of Austra li a’s 40th a n n i v ersary, 2022 © Na n Goldin.

63

Nan Goldin, Suzanne in the green bathroom, Pergamon Museum, East Berlin, 1984, 1984.

Nationa l Ga llery of Austra li a , Kamberr i/Ca n berra , pu rchased 2021 in celebration of the Nationa l Ga llery of Austra li a’s 40th a n n i v ersary, 2022 © Na n Goldin.

Nan Goldin, Nan and Brian in bed, NYC, 1983.

Nationa l Ga llery of Austra li a , Kamberr i/Ca n berra , pu rchased 1994 © Na n Goldin

64

“Goldin’s work begins here: with the knowledge that another cannot carry our pain for us, yet in the act of staying alongside it, witnessing without appropriating, they can render it less annihilating.” — JON NO R E VA NCH E

Nan Goldin, Twisting at my birthday party, New York City, 1980, 1980. Nationa l Ga llery of

Austra li a , Kamberr i/Ca n berra , pu rchased 2021 in celebration of the Nationa l Ga llery of Austra li a’s 40th a n n i v ersary, 2022 © Na n Goldin.

65

Nan Goldin, C.Z. and Max on the beach, Truro, Mass., 1976, 1976.

Nationa l Ga llery of Austra li a , Kamberr i/Ca n berra , pu rchased 1994 © Na n Goldin

66

The ballad of sexual dependency Bank Art Museum Moree (BAMM) (Moree/Kamilaroi Country) 31 October—12 December

Where we might expect to see those familiar palettes and expect fantasy, escape, family, cash register noise, product, in Goldin’s portraits we meet a clear rebuke.

In the gaze of her collaborators, we might sense despondency, or fatigue, though it is touching that even Goldin’s most vulnerable subjects—drag queens in soft daylight, lovers mid-fight, eyes bruised and swollen in ways the perfect copy of a magazine could never explain, depicted in lush if ill-befitting situations—have not withheld their sense of dignity.

The ballad of sexual dependency is now showing at the Bank Art Museum Moree, following a 2023 presentation at the National Gallery of Australia in Canberra.

The work, a series of 126 photographs, began, at first, as a slideshow. A documentary of stills—what Goldin called her first films—were shown at parties to an audience of its subjects and dramaturges, avatars of New York’s downtown post-punk scene.

That Goldin’s work has maintained such majesty in ‘peripheral’ and regional locations says much of the enduring power of her photographs, and is no fluke of programming, but a legible proof. What happens ‘on the fringes’ is actually constitutive of the centre of cultural production. Ruth Wilson Gilmore, in her 2007 book Golden Gulag, called this “a trick of perspective”. Goldin herself noted in an interview with Thora Siemsen for Marian Goodman Gallery that she never saw her ideas, or art, as marginal. To say that offhandedly is another trick.

The art world thrives on plaintive phrases and neologisms, but there are some examples that cut through the cirrostratus of artspeak and discourse to make a pithy statement feel suddenly too real.

Goldin’s vision, particularly in The ballad of sexual dependency, felt to many of us like an answer. She exhibited a commitment to honour, exposure, truth, and a skintight honesty that often felt as cutting as it was revelatory.

Interesting, now to consider that Goldin’s original title for the show was If my body wakes up. It’s hard to imagine getting images like this now. Harder, still, to imagine needing them in the ways we once did.

Now, the principles of too clean, two-toned fashionadjacent images proliferate, even across the colour photography we are made to believe is ‘candid.’

Yet this only throws into sharper relief the incisiveness of Goldin’s work, its accumulation of psychic potential that represents our primordial want, which may break through but may just exist out of frame, not quite making contact.

This is what Goldin treated as both her playground and necessary underworld. It’s funny– next to a postcard of Goldin’s, on my fridge, I have a magnet depicting text on a quilt by Louise Bourgeois, but I didn’t realise the significance of the pairing until just now. “I have been to hell and back,” it reads, “and let me tell you, it was beautiful.”

67

What Lies Beneath For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital.

Joel Sherwood Spring is a Wiradjuri ‘anti-disciplinary’ artist (based in Sydney on Gadigal land), whose work has garnered significant accolades in recent years following his earlier training in architectural education. He tells Art Guide Australia that the opening of his solo exhibition at Brisbane’s Institute of Modern Art (IMA) in October, “is exciting because, in every other context so far, I have been a participant in a group relation.”

The exhibition—titled Diggermode 2—includes video and sculpture, and will occupy the two front rooms of the IMA. It is a sequel, of sorts, to Sherwood Spring’s earlier video work, Diggermode. The earlier work, for which he won “the churchie” Emerging Art Prize—an Initiative of Brisbane’s Anglican Church Grammar (Churchie)—in 2023, explored his evolving ideas about living on sovereign land, Australia’s colonial situation and the resources removed from Country through extractive capitalism. His spatial sensibility sees the work interrogating what lies beneath the surface—be it minerals in the ground, individual identity or technological compromises.

Other exhibitions in which Sherwood Spring’s work has been seen include Future Remains: The 2024 Macfarlane Commissions at the Australian Centre for Contemporary Art, The 24th Biennale of Sydney (2024) and the 4th National Indigenous Art Triennial: Ceremony, National Gallery of Australia (2022). From October, another video, SETTLED, will show at Perth Institute of Contemporary Arts. He has just been announced as one of 24 artists selected for the 2026 Adelaide Biennial of Australian Art, titled Yield Strength (opening February 2026), which will feature work first seen at the IMA’s Diggermode 2.

68

W R ITER

Louise Martin-Chew

These opportunities affirm a career segue that sees his ideas, about the intersection of land and capital, presented as art. It came about, he says, as “a pivot in the pandemic”.

“I had time during Covid—with institutions scrambling to develop programs for their communities. I’d already made work for the Bleed festival (an annual event since 2020 from Arts House and Campbelltown Arts Centre) which showed me another way of tackling the issues that interest me.” Since then, a series of medium- to large-scale commissions has sustained his practice.

Sherwood Spring was raised in Redfern and his art explores “the desire for Indigeneity globally and contextually in Australia, connected to the desire for minerals. The IMA project has been about finding meaningful, funny, interesting ways to draw out connections between those ideas, largely about how they connect to a conversation that people are familiar with, around identity and progressive identity formations in an information age.”

He titled the first video Diggermode after the colonial material processes formed by and facilitated by digging. He notes that, “Whether for gold or to till a field, digging requires physical labour. Twentieth century technological processes or information economies are still largely defined by some of these ideas. They translate and transmit themselves into new modes but they’re similarly extractive practices.

They traffic the same things in lots of ways. So it’s a diggermode.”

Diggermode 2 comprises four videos across the two spaces within an installation of sculptures and found/historical objects. The videos adopt the

Joel Sherwood Spring, Dual use, 2025, installation view, 2025 NSW Visual Arts Fellowship (Emerging), Artspace, Sydney, 2025. Photogr a ph: H a mish McIntosh.

69

“Can you talk about the mental health of a FIFO miner and deeper questions of precarity? Mined materials keep the Western world going in a way but are not incorporated into the story about the world.”

— JOE L SH E R WO OD SPR I NG

Joel Sherwood Spring, SETTLED, 2024, installation view, Australian Centre for Contemporary Art (ACCA), Melbourne.

Courtesy the a rtist. Photogr a ph: A ndr ew Curtis.

70

Joel Sherwood Spring, Diggermode 2, 2025. Courtesy of the Institute of Moder n A rt.

convention of ‘immediacy style’, a term coined by American literary scholar Anna Kornbluh which refers to the way smart phones may produce immediate content that is assumed genuine.

For Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital. The narratives connect to individual ‘lived experience’ testimonies and articulate his historical concerns about these industries.

“Can you talk about the mental health of a FIFO [fly-in-fly-out] miner and deeper questions of precarity? Mined materials keep the Western world going in a way but are not incorporated into the story about the world. They’re objects in a story rather than subjects. While people articulate personal connections to Country, there’s, at the same time, a blindness to connection ... I’m interested in how to incorporate narratives to make people empathetic toward these characters.”

Diggermode 2 includes a narrative about postWorld War II soldier settlement in South Australia (and its contribution to financial monopolies), with the other imagined vignettes from the life of a contemporary air force drone pilot. The second room echoes the inside of a ‘donga’ (temporary accommodation used in mining and construction), using a Zoom therapy session between a FIFO worker and an online, mine-subsidised therapist.

The IMA videos and their invented characters have a haunted and spooky reality, a vibe the artist

says “is akin to Wake in Fright” (the 1961 novel by Kenneth Cook, and 1971 film). For Sherwood Spring, their subject includes the alienating aspects of technologies that define our lives, “showing the negative, inverse of these ideas. People are existing today in complete disconnection. We all want connection, safety, and to live a life in particular ways, yet these systems are built to ensure that you don’t, and can’t.”

Early in his career, Sherwood Spring adopted the ‘anti-disciplinary’ tag to avoid being pigeon-holed, aware that his work exists in contradistinction to many established narratives. Going forward he said, “I’m happy for that old artist description about me to exist even if I don’t really identify with it any more. It feels complicit really to declare yourself as anything.”

Settled

Perth Institute of Contemporary Arts (Perth/Boorloo) Until 21 December

Diggermode 2

Institute of Modern Arts (Brisbane/Meanjin) Until 21 December

Yield Strength, 2026 Adelaide Biennial of Australian Art Art Gallery of South Australia (Adelaide/Kaurna Country) 27 February—8 June 2026

71

In Hand In his latest series of works, Melbourne artist Caleb Shea creates a visual narrative through a sequence of sculptures.

“My upcoming show at LON is a very simple idea about creating a kind of stop-motion presentation of five sculptures. The core motif is animated over five sculptures. At the moment, I am thinking of each of them as ‘claws’. Some of these claws may flatten out completely from a closed shape, exploring their differences across five works.”

Caleb Shea and I are sitting in one of his studio spaces in the Artery Co-operative on Helen Street, Northcote, Melbourne. Shea has been a member of Artery since 2010, working out of art school studios prior to that. On the way to Shea’s studio, we stopped off at a huge spray-booth, a shared facility, where one of his new works was being given a final coat of paint.

“The claw shape is interesting because of the interior and exterior shapes. I had one of these in the first edition of Melbourne Now, in the pond in the garden. It was painted yellow on the inside and stainless steel on the outside. So they left it in there after they purchased it, and it sat there for six years.

I was smart enough to put it in the water because I suspected no one wanted to go in there and retrieve it.” The work, Lemon (2013), formed part of the series What are you looking at Balzac—steel, wood and concrete sculptures which engaged with the Gallery’s modernist architecture and sculptures in the NGV collection, including Auguste Rodin’s Balzac (1898; cast 1967).

Shea was born in Newcastle and predominantly grew up in greater New South Wales, with parents who were both artists. He returned to Newcastle to study, before relocating to Melbourne two decades

72

W R ITER

Peter Hill

ago, where he undertook further education at RMIT and subsequently VCA, and began exhibiting regularly with the storied Melbourne gallery Utopian Slumps.

Prior to his inclusion in Melbourne Now, Shea’s practice was acknowledged with the 2012 solo exhibition The Peasants are Revolting at Heide Museum of Modern Art. As curator Linda Michael explained in the catalogue for that show, Shea’s sculptures have their roots in the 20th century avant-garde, “but seek a new trajectory for formalist abstraction”.

When I ask about his exhibition at LON Gallery, in the increasingly fashionable arts hub of Richmond, where Bridge Road joins Lennox Street, and whether these claws should be seen as one sculpture or five separate ones, he explains: “In my past exhibitions I have tried to bring together a diverse, more spontaneous mix of geometric sculptural forms where each piece exists independently, often in contrast to one another creating a visual dialogue through juxtaposition.

Through form and line, I attempt to emphasise intuition, variation and chance-based composition in my spatial arrangements.”

“For this show, I am creating a unified sequence of five sculptures that will form a visual and somewhat simple conceptual progression. I am using my geometric claw motif to explore a visual rhythm where each piece becomes a step in a process, creating a sense of narrative or time-based evolution (like stop motion). The sculptures will hopefully embody a gesture… the motion of the claw opening or closing.”

Caleb Shea, Untitled (Acid Green), 2024, aluminium, polyurethane paint, 260 x 138 x 125cm. Im age: Sebasti a n K a iney

73

“I am using my geometric claw motif to explore a visual rhythm where each piece becomes a step in a process, creating a sense of narrative or time-based evolution (like stop motion).”

— C A L E B SH E A

Caleb Shea, Untitled (Bronze Claw), 2024, bronze, 28 x 27 x 24 cm.

74

Caleb Shea, Untitled (Orange), 2023, aluminium, polyurethane paint, 60 x 35 x 43 cm.

Caleb Shea, Untitled (Yellow), 2023, aluminium, polyurethane paint, 56 x 49 x 39 cm.

Earlier, Shea told me about the year he spent in London and how he was excited by an exhibition of all-white Sol LeWitt cube sculptures at Tate Modern. On another occasion he went to see the great David Smith sculptures at Storm King Art Center in up-state New York. Smith is one of his heroes, and these are the sculptures that critic Clement Greenberg, who had been made guardian of the works after Smith’s death in a car crash, age 59, took the infamous decision to alter their painted surface. (Eventually Smith’s two daughters regained control of the estate and had them repainted to their original white.)

A working title for the exhibition is Larry David Smith, bringing together Shea’s fascination with the sculptor, and comedian Larry David. Humour and punning are an important part of Shea’s oeuvre.

When he talks about dimensions, Shea is millimetre precise in the same way that Donald Judd was rumoured to be. He tells me that some of his fellow studio artists are incredulous that he doesn’t use a digital mapping system for his work. “The closest I get to any of that is after I make a maquette I sometimes blow it up and get it laser cut.”

Shea’s philosophy is very much a hands-on one.

He likes to do all the fabrication himself and engage with the physicality of the process. Not for him a studio full of assistants à la Damian Hirst and any number of others. “And I don’t use computer modelling. The hand is still there, don’t worry. My hands!”

Stop Motion Caleb Shea

LON Gallery (Melbourne/Naarm) 12 November—20 December

75

TH E

LONG

V I EW

This year has represented a tipping point in the relationship between artificial intelligence (AI) and creative labour. But despite the fact that AI may be worsening the historical precarity facing artists, the conversation, to me, has failed to address the social and emotional consequences for creative workers. Or how they are reframing their vocation in the process.

In the second installment in Art Guide Australia’s essay series The Long View, the acclaimed feature writer Stephanie Wood draws on her own perspective—and those of visual artists—to investigate the forces that define this moment. She also asks if the power of art to forge connection will survive this new landscape—and endure.

Neha Kale E D I T O R -AT- L A R G E 76

WRITER

Stephanie Wood

I L LU S T R AT I O N S

Carla McRae

GHOSTS I N TH E M ACH I N E

77

In a world in which the new wave of AI is reframing our relationship with creative labour, how do artists negotiate an impending crisis of relevance and understand the true value of their work? Stephanie Wood reports.

For a while now and with increasing frequency, a spectre has trespassed on my thoughts: lamplit, in bonnet and apron, she hunches over her work, making lace. She is not easily evicted, nor is the unsettling story she tells. “Nothing lasts forever”, she says, “my story is yours too.” Close to a decade ago I chose to take a redundancy package from The Sydney Morning Herald where I was a features writer.

I knew that leaving the protective shield of my staff role and striking out on my own would not be an easy road. For two decades, the digital revolution has pummelled the business models supporting the publishing industry and the creative workers who rely upon it for a living—writers, journalists, authors, editors, photographers, illustrators, graphic designers. Few sectors have been immune; the blows have struck print and digital products, traditional/ legacy and new media, mainstream and niche media.

Workers have become accustomed to constant uncertainty, rounds of redundancies, pivots to new areas of work, often reduced salaries or rates of pay and the shuttering of outlets (and therefore sources of work) that didn’t make it. It has been difficult for employees, even more so for freelancers.

For some years, despite the turbulence, I was a fortunate freelancer, receiving a reasonable (if not

78

TH E LONG V IEW

well-paid) flow of unsolicited writing commissions from various sources. This year, though, has jolted me; the stream of work has dried. Other freelancers report similar. I feel I’m the 21st-century equivalent of my 18th-century lace-making spectre.

The shift has been fast and fundamental—driven by economic factors and uncertainty maybe but accelerated by the arrival in the past two years of generative AI. The machinery of the industrial revolution killed the lace-maker’s craft; this even more seismic revolution is intent on finishing off my craft and others’ with its multi-pronged assault.

As companies across the globe integrate environmentally catastrophic generative AI tools such as OpenAI’s ChatGPT, Claude.ai, Perplexity, Midjourney and Canva, into their workflows, creative professions such as graphic design and copywriting are increasingly under threat. Some mainstream news outlets are investing in AI tools to do the work of journalists—the generation of articles, ideas and illustrations. Meanwhile, since Google started to roll out its “AI Overviews” last year to summarise search results, traffic to media companies’ websites has crashed—by around 25%, according to one study. “Inside the media’s traffic apocalypse,” was the headline on a New York magazine story in early July.

“Search engines now deliver answers instead of links, while social platforms aim to keep users within their walled gardens,” one editor told the magazine.

And, insult upon injury, tech giants are using masses of copyright-protected material, including journalism and books, to train their AI programs: The New York Times is suing OpenAI and its financial backer Microsoft, contending that they used millions of articles without permission to train the large language model behind ChatGPT. In March, investigative reporting by the American magazine The Atlantic revealed that, to develop its AI systems, Mark Zuckerberg’s Meta had scraped millions of books for its Library Genesis (LibGen) database.

(Books by Australian authors including Alexis Wright, Tim Winton and Helen Garner are among them, as is my book, Fake.)

As American historian D. Graham Burnett wrote of AI in a recent article in The New Yorker exploring the future of the humanities: “We’ve let these systems riffle through just about everything we’ve ever said or done, and they ‘get the hang’ of us. They’ve learned our moves, and now they can make them.” During an

interview in April with Sam Altman, the CEO of OpenAI, TED head Chris Anderson said: “Creative people are some of the most angry people right now... the most scared people about AI.” The precarity of creative labour has never felt so acute. “What is to become of me?” I ask myself until I’m half mad with worry. The loss of income is one thing, the loss of meaning, purpose, relevance is quite another. Who am I if there are no homes for my work? Who am I if my work is no longer meaningful to others? I am far from the only one to be feeling this way. In late June, a group of writers sent an open letter to publishers including Penguin Random House and HarperCollins asking that they pledge not to release books created by machines. The letter started—“We are standing on a precipice.”

I look around to see who else is on the edge with me. I see visual artists in the distance, coming up behind me, painters, print-makers, sculptors. I’m not sure they see how close to the edge they are too.

*** I speak to a number of artists to gauge their perspectives on this new AI-anchored world. I realise, of course, that I’m setting myself up to be mocked with my first question—are you concerned about the effect AI will have on your income? I’d do as well to ask a starving man if he worries about the price of lobster.

“You need to be really clear on the reality of artists today,” Rafaela Pandolfini tells me, pointing out the findings from Professor David Throsby’s report into the economics of being a professional artist. Over the 2021-22 financial year, Australian artists (including visual artists, writers, actors and craft practitioners) earned average gross incomes of $54,500, of which only about $15,000 was directly related to their practice. Only 15% of artists made more than $50,000 from their creative work.

“A much greater threat to visual artists practicing in Australia have been people and policy, not technology; most of my friends and the hundreds of artists I work with are worrying [that they] can’t pay the rent,” says Pandolfini, a Sydney artist, organiser, researcher and founder of art gallery Suite7a.

Melbourne performance artist Georgia Banks laughs at the question. “When have we not had economic insecurity? I’ve been poor my whole life,” says Banks, who is currently working on the survey show Villain Edit for Geelong’s Platform Arts. “I’m certainly not making more than minimum wage, never have, pre-AI or post. The economic viability of being an artist is a really serious issue that needs to be discussed, not only within the confines of the impacts of AI.” In any case, Banks believes the discourse around art and AI is similar to that which unfolded during photography’s early days. “Everyone was like, well, ‘painting’s dead, we can reproduce images infinitely, why would anybody buy a photorealistic painting when you can have a literal photograph of that?’. And, you know, painting is certainly not dead,” she says. “AI

is new and it’s kind of lawless, but that will settle and we’ll find ways to wrangle it; I don’t think people are going to be clamoring for art by AI.” Ryan Renshaw, co-director of Brisbane art project The Renshaws, thinks contemporary art might prove to be one of the few creative fields “relatively” insulated from AI’s effects. He also references photography’s early days: “We’ve been here before; when photography burst onto the scene it threw the art world into a frenzy. But what actually happened was a revolution. Photography freed artists from the conventions of the day. Painters moved toward impressionism, abstraction, surrealism, modes of expression that photography couldn’t touch at the time. So art didn’t die—it transformed and modernism emerged. AI is a similar disruptor.”

Renshaw observes that AI can only look backwards, it can only reassemble, remix and predict based on patterns it interprets from the historical material on which it has been trained. “But the best artists don’t just iterate, they invent. They leap beyond what has been and what is known to find new ways of seeing and saying things. That’s not something you can train a model to do because it’s about the artist’s irrational spark of intuition and their radical gesture that defies what’s come before.”

This year’s Archibald Prize winner, Brisbane artist Julie Fragar, shares her gallerist’s thoughts.

She believes human-created art will always have a place as long as what it means to be a human remains fundamentally the same. “Most collectors don’t buy a work just because they like the object; they’re often interested in the idea that such and such an artist made this particular work at this place in time.”

Via Zoom, I talk to Chiang Mai-based artist Kieren Seymour, who exhibits with Neon Parc in Melbourne and has given a great deal of thought to the intersection of AI and art. “AI can mimic me. It can take my style of whatever I’m doing, writing, painting or whatever, and iterate on it. But it can’t have something that I believe is real, which is a soul. And I think when you’re making art, if you’re lucky, you’re letting some of your soul, something that’s really unique and special through,” he says.

Words like “soul” and “human” come up repeatedly in my conversations with artists. Art is human, the two cannot be separated, they say. It is the scrunched toothpaste tube and the dog barking, the burnt toast and the kettle boiling and the bills to pay, the traffic jam, the expectant keyboard, the erect brushes in a jar, the living, the thinking, the remembering, the feeling, the process, the struggle, the about-faces, the exhaustion. “The secret to my process is to be on high alert in this deep jungle for unexpected twists and turns, because this is where a new idea is born,” wrote Berlin-based artist, author and illustrator Christoph Niemann, confronting his fears about AI art in a recent whimsical New York Times Magazine illustration-essay.

And so often, the works that stir the deepest wells of our souls, the ones with which we form the G H O S T S I N T H E M AC H I N E

79

most profound emotional connections, are born of the splattered drops of an artist’s experience of suffering, yearning or privation—“painful convolutions of the psyche”, in the words of American writer Maria Popova. Art, she says, “is the music we make from the bewildered cry of being alive … it is out of these revelations that we create anything capable of touching other lives, that contact we call art.” It is Van Gogh’s mental turmoil and Kahlo’s physical pain, Whiteley’s addictions and Moffatt’s invocation of trauma.

It is Georgia Banks’ meditations on death, as in her installation, video and performance work Data Baes (2022-23). For the immersive work, Banks collaborated with University of Melbourne natural language processing lecturer Dr Jey Han Lau to create an AI chatbot, “Gee”, whose personality is built on the answers to questionnaires Banks filled out during multiple auditions for reality television shows as well as the artist’s interactions with the chatbot.

With the creation of Gee, Banks has essentially immortalised an AI doppelganger of herself as a reflection on death and digital legacy, how “things like AI are being used to prolong our second life, that social life that occurs after you’ve passed away, and [asking the question] ‘does anybody die anymore?’”

In Data Baes and Gee, it’s possible to see AI’s potential as a medium, deployed on a human artist’s terms, a subjugated and manipulated element, a tool rather than both creator and creation. “Of course, artists should be using AI,” says Banks, “because artists are mirrors, and AI is a huge cultural issue happening in our world. There’s no way artists can just ignore it.”

*** In the 2016 documentary Never Ending Man, the legendary Japanese animator and founder of Studio Ghibli, Hayao Miyazaki, was shown early AI-generated animation. “I am utterly disgusted,” he said, “I strongly feel that this is an insult to life itself.” Each frame of a Studio Ghibli film is hand drawn and coloured; digital contributions are rare.

In March this year, social media was flooded with AI-generated images apeing Miyazaki’s style, viral fakes born of an integration between the OpenAI model GPT-4o and its image and art generation tool, DALL·E 3. It is easy to imagine Miyazaki’s fury at such a mass insult, that it might resemble the emotions felt by the 6,000 or more people, including hundreds of artists, who signed an open letter to Christie’s in February this year calling for the cancellation of its “Augmented Intelligence auction”, a sale highlighting “the breadth and quality of AI art… exploring human agency in the age of AI within fine art”. The protest letter included the line: “These models, and the companies behind them, exploit human artists, using their work without permission or payment to build commercial AI products that compete with them.”

These stories foreshadow what surely lies ahead: endless AI-related controversies about new forms of

80

TH E LONG V IEW

art heists, about provenance, authenticity, integrity and fraud, about the very value and relevance of human-generated creative work.

OpenAI founder Sam Altman’s response to the Miyazaki rip-offs was a breezy post on the social media platform X: “It’s super fun seeing people love images in ChatGPT but our GPUs are melting ... we are going to temporarily introduce some rate limits while we work on making it more efficient … hopefully won’t be long!” His concern was about delay, not integrity. In a YouTube interview a few days later, Altman said the “democratisation” of creating content had been a big win for society. (Oh, he added, yes, there will be “some jobs that totally go away”.)

A week later when he was interviewed by TED head Chris Anderson, Altman said: “I think the creative spirit of humanity is an incredibly important thing. And we want to build tools that lift that up, that make it so that new people can create better art, better content, write better novels… I believe very deeply that humans will be at the centre of that.” And, he added, he and others were excited to explore new business models that could be built around “the economics of creative output”.

It’s hard to know if Altman, the most vocal of the AI tech-bros, knows or really cares about better art.

It’s easy to believe, though, that when he talks about “the economics of creative output” he’s not thinking about helping human artists pay their rent, but about the rewards for the winner of the AI race he’s running with rivals such as Google, Meta and Anthropic, as well as Chinese players such as DeepSeek.

We can laugh at AI art, we can say that real art is made by humans, that AI art is a pastiche; we can laugh at the clumsy offerings of amateurs playing with image-generating platforms such as DALL·E 3 and rivals Stable Diffusion and Midjourney. But these systems get exponentially better by the day. Sam Altman believes that artificial superintelligence (ASI), where an AI system’s capabilities are so advanced that they surpass the sum of human intelligence in all domains, from the scientific to the creative, might be with us in a decade.

While current AI systems find patterns in existing data—what is past—superintelligent AI likely will have the capacity to generate ideas and creations beyond the human imagination.

American social scientist and technology theorist Adam Dorr offers a bleak view: In a recent Guardian article he said that AI will replace virtually all human labour within 20 years. Via email, I ask Dorr what the future looks like for artists in particular.

“Human-made art will surely continue,” he replies, “just as hand-made products enjoy small niche markets today, but demand is unlikely to support a significant number of working artists.” Dorr is the director of research at the nonprofit RethinkX, where he and his international team study patterns in technological development. He agrees that, currently, AI is good at recombining existing ingredients in sometimes skillful and novel ways, but cannot yet create

anything fundamentally original. But, he adds: “That is extremely unlikely to last for more than a few more years. Creativity is a form of intelligence, and in the long run AI will ultimately be vastly more intelligent— and thus also more creative—than humans.

But perhaps it’s not AI itself we should fret about, but audiences in the AI era. In a recent Wired magazine article, writer Sam Apple told the extraordinary story of his weekend away with three human-AI couples—three humans and the AI chatbots they love.

The humans genuinely consider themselves to be in romantic partnerships with the chatbots. “It was as visceral and overwhelming and biologically real” as falling in love with a person, one of the humans told Apple of her relationship with her chatbot.

If human beings can have such profound emotional responses to an AI-generated mirage in that most elemental of human experiences—love— audiences can have powerful, authentic emotional responses to AI-generated art. Will audiences even be able to differentiate between art made by humans and that made by artificial intelligence? Will audiences even care?

Standing on the edge of that precipice, thinking about my own future as a writer, I have worried about my audience—readers. There are fewer and fewer places for me to place the deep human-interest pieces throwing light on who we are and how we live that I like to write and so fewer and fewer places

for my audience to read them. I have considered attempting to write fiction. But fiction or non-fiction, the number of people who read is plummeting and our capacity for deep attention, for immersing ourselves in long texts, for losing ourselves in a book, is in steep decline.

Besides, in March, OpenAI’s Altman crowed in a post on the social media platform X that the company had developed a new AI model that “is good at creative writing”. It hasn’t yet been released but, Altman wrote, “this is the first time I have been really struck by something written by AI.” Death by a thousand cuts.

I’m trying to take heart from what the artists I’ve interviewed say about the elemental role of the human in real art and how it might apply to my own work. I find some solace in the weekly Substack newsletter I write, which is anchored in my belief in the importance of human stories, authenticity and creativity. Frequently, I share stories of my own life, vulnerabilities and imperfections. People have told me that, among other things, my newsletter makes them feel connected to something bigger than themselves.

And so, I cling to the hope that, in the new world ahead, my human voice and my human frailty in this space might give me some longevity and relevance, even for a small audience.

But still, that spectre is never far away. I fear I am nearly redundant, that I will soon be the lace-maker.

G H O S T S I N T H E M AC H I N E

81

Take Two Thomas Demand’s ambitious architectural intervention is simultaneously the 38th Kaldor Public Art Project (and Demand’s second), and a showcase of some of the many works John Kaldor donated to the Art Gallery of New South Wales.

It’s not a material, theme or historical period that connects the 59 disparate works featured in The Object Lesson at the Art Gallery of New South Wales (AGNSW)—it’s a person. “You could say it’s about John’s taste, but taste is a discredited word because it’s all about looks. I think this goes deeper,” says Thomas Demand, the acclaimed German photographer and sculptor who has curated the exhibition.

“What keeps the show together is John’s curiosity.”

“John” is John Kaldor, the art collector and patron who, in 1969, founded Kaldor Public Art Projects, a non-profit organisation that commissions leading artists to create site-specific works in Australia.

Among the best known are Christo and JeanneClaude’s Wrapped Coast (1969), a monumental undertaking for which the pair covered 2.5 kilometres of the New South Wales coast in fabric, and Jeff Koons’ Puppy (1995), a 12.4-metre-tall floral sculpture outside the Museum of Contemporary Art Australia. In 2008, Kaldor furthered his philanthropy by donating more than 260 pieces from his collection to the AGNSW. At the time, the works were valued at around AU$35 million.

The Object Lesson brings together Kaldor’s two philanthropic streams. The exhibition is simultaneously the 38th Kaldor Public Art Project and a showcase of some of the works Kaldor donated to the AGNSW. Although it’s not a headline-grabbing spectacle like many of Kaldor’s previous projects, it’s not a conventional museum exhibition either.

82

W R ITER

Oliver Giles

Kaldor avoided a traditional hang by commissioning Demand, who he last enlisted to create his 25th project back in 2012, to select the works and transform the gallery. The show itself, Kaldor says, is “a Thomas Demand artwork”.

Demand was a natural choice for the task.

He began his career making architectural models that he would photograph, then destroy. Often the buildings he recreated were sites of historical importance that had been prominently featured in the media—Hitler’s headquarters in 1944 or the tunnel where Princess Diana died, for example.

These uncanny, unsettling photographs explore the ways images both resonate through broader culture and become lodged in our individual minds. As his career has progressed, Demand has worked on increasingly larger scales, graduating from creating tabletop sculptures, to designing his exhibitions, often transforming galleries with wallpaper, textiles and temporary partitions.

The Object Lesson might be Demand’s most ambitious architectural intervention yet. He has installed the works on vast panels hanging from the ceiling, many of them brightly coloured and positioned at sharp angles to each other. These slanted blocks of colour are initially a surprise in the muted rooms of the AGNSW’s Naala Badu building, which was designed by the Japanese studio SANAA, but ultimately complement its signature airiness. Light streams in both underneath and over the floating walls.

Installation view of the 38th Kaldor Public Art Project, Thomas Demand: The Object Lesson, at the Art Gallery of New South Wales, 30 August 2025–11 January 2026. photogr a ph © A rt Ga llery of New South Wa les, Jenni Ca rter.

83

“I wanted to show John as somebody who collected with his own taste, not trying to represent certain periods of art history.”

— T HOM A S DE M A N D

Sol LeWitt, The location of twenty-one lines with lines from midpoints mostly, 1974, pencil and ink and paper, 56 x 56 cm. John K a ldor Fa mily Collection at the A rt Ga llery of New South Wa les © Estate of Sol LeW it t/ARS. Copy r ight Agency, im age © A rt Ga llery of New South Wa les.

84

Installation view of the 38th Kaldor Public Art Project, Thomas Demand: The Object Lesson, at the Art Gallery of New South Wales, 30 August 2025–11 January 2026. photogr a ph © A rt Ga llery of New South Wa les, Jenni Ca rter.

“I wanted to keep the transparency of the space,” says Demand.

Working inside Naala Badu was particularly special for Demand because between 2013 and 2015, he made several trips to Tokyo to photograph SANAA’s architectural models. “Among the ones I photographed was this gallery, so I walked into this building I knew as a model, which was very nice,” he says. One of the qualities that drew him to SANAA’s projects was how the studio’s multicultural team, who don’t always speak each other’s languages, exchange models rather than words to communicate ideas—something he witnessed in one of his first meetings with Kazuyo Sejima, SANAA’s principal. “I remember her ripping some paper out of a printer and saying, ‘concert hall,’” says Demand. “I was thinking, ‘Really? I can’t see that.’” She began folding the sheets into a theatre in front of him.

That ambition to convert something flat into three dimensions is echoed in The Object Lesson.

One of two works displayed at its entrance is a geometric line drawing by Sol LeWitt, which Demand used as a floorplan indicating where to hang his panels. The Object Lesson is therefore a 3D reimagining of LeWitt’s work; a group exhibition featuring some of the biggest names in art history, including Christo, Andreas Gursky and Robert Rauschenberg; and a new creation by Demand.

Demand’s own art is similarly complex, regularly blurring the lines of the handmade and the technological, as well as artifice and reality. For his Kaldor Public Art Project in 2012 he debuted a new body of work, The Dailies, which are photographs of paper recreations he has made of snapshots he has

taken on his phone, like a disposable cup crushed into a chain link fence, or curls of apple peel on a chopping board. This new direction reflected on how photography had changed since the millennium: photographs were no longer taken by professionals to capture notable moments; they were everywhere, snapped by everyone of everything.

Now, Demand is exploring how the medium is changing once again. For some of his latest photographs, he has made cardboard models of moments in AI-generated videos he has seen online. Demand then prints these images on copper, following the same process used to produce some of the first photographs in history, turning these works into reflections on the medium’s past and future.

The Object Lesson is a slightly unusual project for Demand because, while it is multifaceted, it is driven by one primary goal: to celebrate Kaldor. Hanging close to the LeWitt is a portrait of Kaldor by photographer Albrecht Fuchs. “Those works are the two coordinates that were important for me to reframe what the collection can be,” says Demand. “I wanted to show John as somebody who collected with his own taste, not trying to represent certain periods of art history. I don’t think John ever had a plan for his collection to represent anything, but it represents him—and that’s what I was after.”

Kaldor Public Art Project 38 Thomas Demand: The Object Lesson Art Gallery of New South Wales (Sydney/Gadigal Country) Until 11 January 2026

85

EARLY IMPRESSIONS Painters of the Heidelberg School from the National Collection 26 August 2025 – 18 January 2026 PRESENTED BY

SUPPORTED BY

Art Gallery 275 @ Ivanhoe Library & Cultural Hub banyule.vic.gov.au/HeidelbergSchool Image: Arthur Streeton, The selector’s hut (Whelan on the log), 1890, National Gallery of Australia, Kamberri/Canberra, purchased 1961 These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. #artacrossaustralia

Australian Made For A Life Outside

Tschabalala Self SKIN TIGHT

12 Sep — 23 Nov 2025 at ACCA, Australian Centre for Contemporary Art Artwork: Tschabalala Self, Vanity, 2020 Courtesy the artist, Pilar Corrias, London, Galerie Eva Presenhuber, Zurich / Vienna and Petzel Gallery, New York

Government Partners

Media Partners

Exhibition Partners DRS. THERESIA AND KEVIN SPENCER

Accommodation Partner

Ron Mueck Couple Under an Umbrella 2013 (detail), collection museum Voorlinden, Wassenaar, The Netherlands © Ron Mueck, courtesy Thaddaeus Ropac, London – Paris – Salzberg – Seoul, photo: Antoine van Kaam

ART GALLERY NSW

RON

ENCOUNTER

6 Dec 2025 – 12 Apr 2026

MUECK

Exclusive to Sydney

Strategic sponsor

Major partner

George W. Lambert, Hera, 1924. Oil on canvas. Felton Bequest, 1925

SKIN DEEP

SOLO EXHIBITION

GABRIELLA BISETTO

Showing at Canberra Glassworks 6 Nov - 25 Jan 2026 Opening Event Sat 8 Nov at 4pm

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

See the full 2025 program

COMING UP

2026 Program Launch Thu 20 Nov at 5pm

Pictured: Gabriella Bisetto, Under My Skin #2 Courtesy of the artist.

Thom Roberts, Angry Big Bird, acrylic on canvas, 127 x 92 cm (framed)

Empowering artists. Enriching culture.

Collect | Collaborate | Commission hello@studioa.org.au | 02 9439 1281 | studioa.org.au

Shape shifting T H E A RT O F

Helen Wright

QUEEN VICTORIA ART GALLERY 23 AUGUST–1 FEBRUARY 2026 2 Wellington Street, Royal Park Launceston, Tasmania www.qvmag.tas.gov.au FREE ENTRY | OPEN DAILY

Helen Wright, Climate cluster I, 2024 (detail), oil on linen, 154 x 92 cm. Photograph by Jack Bett.

13 – 14 December Arts Centre Melbourne, Hamer Hall

Handel’s Messiah

Celebrate the season with the MSO, conductor Sofi Jeannin and a star ensemble of vocalists. Filled with joy, Handel’s Messiah is a tradition that will have you singing “Hallelujah!” all the way home.

Book Now mso.com.au/messiah

Image — Teresa Busuttil, Over Sea (Self Portrait), 2024. Installation view, Primavera 2024: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2024. Image courtesy the artist and Museum of Contemporary Art Australia © the artist. Photograph by Zan Wimberley.

CAREER DEFINING —

2026 SAMSTAG SCHOLARSHIP LIFE CHANGING

Scholarship Congratulating our 2026 Samstag Scholars Yuriyal Bridgeman, Teresa Busuttil and EJ Son.

RECIPIENT ANNOUNCEMENT

Howard Arkley, The Bay Window 1988, TarraWarra Museum of Art Collection, Gift of Eva Besen AO and Marc Besen AO, Donated through the Australian Government’s Cultural Gifts Program 2008, © The Estate of Howard Arkley. Courtesy Kalli Rolfe Contemporary Art. Photo: All rights reserved.

The City Wakes, The City Sleeps CURATED BY DR VICTORIA LYNN & JAMES LYNCH

Selected works from the TarraWarra Museum of Art Collection

Showing in the Yarra Valley 29 Nov 2025 – 1 Mar 2026

SUPPORTED BY

twma.com.au

12 December 2025 - 24 January 2026

Konstantina Mudang Butbut

Ross Booker, rewonder, 2024, dye sublimation print on brushed aluminium (other sizes available), 2AP + Edition of 6, 92 x 92cm Image: Louis Lim. Courtesy of the artist and Onespace.

12 - 20 December 2025 and 13 - 24 January 2026

Konstantina, Decade Five, 2025, acrylic on linen, 91 x 91cm. Image: Rhianna Phillips. Courtesy of the artist and Onespace.

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

NATURE IN FOCUS 30 AUGUST 2025 – 1 FEBRUARY 2026 South Australian Museum | Open daily 10am – 5pm Also on display at the Australian Museum, Sydney from 25 October 2025 – 15 February 2026 Hugh Percival, Bonnets. Finalist in the Macro category.

Principal Sponsor

Production Partner

Prize Sponsor

BOOK NOW Unlimited free VIP entry for Museum Members

BAMBARRARR MARAWILI & WULU MARAWILI

WÄWAMANYDJI TWO BROTHERS

5 NOVEMBER - 13 DECEMBER Also showing, Djambawa Marawili AM

A N NA N DA L E G A L L E R I E S annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 Wed-Sat 11am-4pm

Wulu Marawili, Garraŋali, 2025, etched aluminium, 123 x 123 cm, BLA1210

in association with Buku-Larrŋgay Mulka Centre Yirrkala, Northern Territory

ABSTRACTION 25 15 Nov - 6 Dec

CHA R L E S 267

CHURCH

STREET

N O D R U M

RICHMOND

www.charlesnodrumgallery.com.au

TEL +61 3 9427 0140

MELBOURNE

G ALLE R Y

VICTORIA

3121

AUSTRALIA

gallery@charlesnodrumgallery.com.au

HOURS: Tues - Sat 11-5

Stanislaus RAPOTEC (1913-97) Apollo 1 - Mythology series, 1969, oil on board, 183 x 138cm

WE LCOM E S

GENERATIONAL 1 TO 30 NOVEMBER 2025 57 George Street , L a un ce sto n

National tour developed

by MCA Australia

29 Nov 2025 – 22 Feb 2026 Bunjil Place Gallery

Maria Fernanda Cardoso Spiders of Paradise

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

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

Tête c.1932 oil on canvas 91.4 x 55.9 cm

Australia’s most accomplished artist of the interwar European avant-garde.

War surgeon, anti-fascist, avant-gardist, benefactor: discover J.W. Power’s remarkable life story.

New publication available now

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

For more info

designtas.info/heartwood

Media enquiries:

artisticdirector@designtasmnia.com.au

Design Tasmania

corner Tamar and Brisbane Streets, Launceston Tasmania

Hours

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

Featuring work from:

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

HEARTWOOD

Tasmanian Women in Timber

With thanks to:

Pictured: Laura McCusker with Forest Stand Photo: Peter Whyte

c s o

e n i n e t r e w a m r o p SCA New Contemporaries 2025 4 December – 13 December Opening 6–9pm Wednesday 3 December Sydney College of the Arts, The University of Sydney

2 0 2 5

Bush Lines 13 September – 30 November 2025 Tamworth Regional Gallery

An Art Gallery of New South Wales partnership project

Shaun Gladwell Approach to Mundi Mundi 2007 (production still, detail), from the series MADDESTMAXIMVS, John Kaldor Family Collection, Art Gallery of New South Wales © Shaun Gladwell, photo: Josh Raymond

ART GUIDE BOOKSTORE RECOMMENDS

Yuriyal Bridgeman: yubilong(mi)bilongyu

Tace Stevens: We Were Just Little Boys

PUBLISHED BY GRIFFITH UNIVERSIT Y ART MUSEUM

P U B L I S H E D B Y TA L L P O P P Y P R E S S

Raafat Ishak: Hot Air

Daniel Browning: Close to the Subject

P U B L I S H E D B Y S O N N TA G P R E S S

PUB LI S HED BY MAG ABAL A BOOKS

s h o p o n l i n e bookstore.artguide.com.au

9am—5pm, Wednesday to Saturday 43–47 Simpson Street, Northcote, Melbourne/Naarm @artguideau.bookstore 122

Victoria

Exhibitions

NOVEMBER/DECEMBER 2025

6 Dec 2025– 15 Feb 2026 Gippsland Art Gallery Port of Sale 70 Foster Street Sale VIC 3850 Phone (03) 5142 3500 gippslandartgallery.com Open Monday–Friday 9am–5.30pm Weekends & Public Holidays 10am–4pm Free Entry

Including: Kate Beynon Maree Clarke Rona Green Brendan Huntley The Huxleys Zac Langdon-Pole Paula Mahoney Jon McCormack Patricia Piccinini

Kenny Pittock Kim Salmon Benjamin Prabowo Sexton SLIPPAGE Darren Sylvester Ray Thomas Heidi Yardley Paul Yore ... and many more

Curated by Cassie May

Patricia Piccinini, The Supporter, from the A Miracle Constantly Repeated series, 2021 Silicone, fibreglass, hair, clothing 168 x 130 x 90cm Image courtesy of the artist and Tolarno Galleries, Melbourne. © The artist GOVERNMENT PARTNERS

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

Sculpture Casting Conservation Workshops Discover more

Established in 1973, Meridian Sculpture is Australia’s first commercial lost-wax foundry. Our legacy is reflected in our reputation for experience, dedication, and the enduring quality of our work.

2026

drawing

Horseshoe Bend, Swan Hill, VIC 3585 Phone 03 5036 2430 artgal@swanhill.vic.gov.au swanhillregionalartgallery.com.au

13 0

JULIE SHIELS PIECEWORK

NOVEMBER 14 - DECEMBER 13, 2025 Lvl 1 / 119 Hopkins St. Footscray, Vic | www.fivewalls.com.au | info@fivewalls.com.au | +613 9043 6704 Image: Julie Shiels, Piecework - After Giovanni Batista Moroni, Pigment Print, 2025

4 October 2025 - 11 January 2026 Free entry 138 Commercial Road, Morwell Open daily 10am-4pm latroberegionalgallery.com

Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria, curated by Dr Jessica Clark.

Mandy Quadrio, Not gone! 2023 (detail), wire mesh, rotating mechanism, dimensions variable.

Installation view, Australian Centre for Contemporary Art, Melbourne 2023. Commissioned by ACCA. Courtesy the artist. Photograph: Andrew Curtis.

132

25 October – 14 December

Finalists: MeiMei Hodgkinson Clare Jaque Vasquez Casey Jeffery Jenna Lee Amalia Lindo Jacqui Shelton

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton VIC 3186

The Ellen José Art Award is a $15,000 nonacquisitive triennial award designed to support young female artists in the early stages of their career. The award is held in honour of Ellen José, a pioneering Indigenous artist, radical activist and social justice campaigner and is a partnership between the Ellen José Memorial Foundation and Bayside City Council.

Judges: Kelly Gellatly, independent curator and Chair of the Shelia Foundation and Sophie Gerhard, Curator, Australian and First Nations, National Gallery of Victoria.

Wed–Fri 11am–5pm, Sat–Sun 1–5pm T. 03 9261 7111 bayside.vic.gov.au/gallery @baysidegallery

Image: Clare Jaque Vasquez, Silent weapons for quiet ambitions (detail) 2025, acrylic and impasto on stretched canvas, 200 x 200 cm. Courtesy the artist and Vivien Anderson Gallery. Photography: Simon Anderson

to think you are not is a delusion nov 23 - dec 13

Graeme Wilkie oam

Qdos Fine Arts Lorne

www.qdosarts.com

BH 9:00am - 5:00pm TFSS or by appointment

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Aboriginal Paintings, Works on Paper, Sculpture and Decorative Arts

FUSIONS: A Blend Across Culture and Time Showing until 14 November

Paintings by Fu Hong, Guanting Li and Echo Cai with C.19th French Antiques from Leigh Pritchard Fine Art.

HELEN S. TIERNAN: As Above So Below Opening 22 November

Helen S. Tiernan Cetacean 2025 oil on canvas 90 x 90 cm.

LDFA exhibiting at AAADA SYDNEY FAIR 6 – 9 November Paddington Town Hall.

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: 03 9509 9855 Email: ausart@diggins.com.au Web: diggins.com.au

Gallery & Exhibition Hours: Tues – Friday 10 am – 5 pm other times by appointment

TOWN HALL GALLERY 12 NOV 2025 TO 24 JAN 2026

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

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

A special exhibition by Anita Lester

O F S U R V I VA L 28 October – 18 January Alter Family Special Exhibitions Gallery mhm.org.au

Magda. Oil on wood.

15.11.25 — 15.03.26

ATLANTA AKE GUS FRANKLIN PAUL MCCANN

PETER TYNDALL AUNTY BRONWYN RAZEM

The Regional is a platform that commissions and showcases ambitious new work by artists, writers and curators shaped by, or critically engaging with, regional, remote and rural ideas.

01_AD_ARTGUIDE AUSTRALIA_145mm w x 100mm h_06.10.25_v05_FA_COATED.indd 2

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

14 0

7/10/2025 9:43 pm

ARTBANK IS CELEBRATING OUR 45TH ANNIVERSARY WITH A NEW BOOK!

AVAILABLE FROM AUGUST 7, 2025 Contact Artbank to find out more about On Display: The story of Artbank, Australia’s most visible art collection

artbank.gov.au

COVER CAPTIONS (left to right, top to bottom): John Mawurndjul, Untitled (Lorrkon), c. 1991; Jenny Watson, Evening in Europe, 1989; James Angus, Red I-beam Knot, 2012; Vincent Namatjira, Cook’s Dinner Party, 2015; Hoda Afshar, Untitled #1, 2020; Tom Polo, Emotional Patrol (In Memory of Me), 2017; Margaret Dodd, Lurline (Willow Green Holden 1971), 2014; Selma Nunay Coulthard, Camel, 2021; Kathy Temin, Lime Green Ball Tree, 2019; Mirdidingkingathi Juwarnda Sally Gabori, Thundi, 2010; Howard Arkley, Demo Space, 1994; Peter Cooley, Black Tailed Swamp Wallaby, 2014

142

FINE ART PICTURE FRAMING AND LIMITED EDITION PRINTING Colour Factory offers custom picture framing in Melbourne to perfectly complement your artwork.

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

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

14 4

Burrinja is proud to present an exhibition by Warlukurlangu Artists

REVISIONS

Made by the Warlpiri of Central Australia and Patrick Waterhouse (UK)

EXCLUSIVE TO BURRINJA

This groundbreaking body of work challenges colonial narratives, amends historical omissions, and amplifies the voices of the Warlpiri people, whose stories and traditions have been passed down for generations.

SAT 25 OCT SUN 1 MAR 2026 BURRINJA GALLERY 351 Glenfern Rd, Upwey, VIC

Scan the QR Code for further information and to book online

Nephew. Jinta. Restricted with Pauline Nampijinpa Singleton, 2014-2018. Acrylic paint on archival pigment print on paper, (c) The Artists.

2026

CALL FOR ENTRIES CLOSE 20 FEB 2026 EXHIBITION DATES 30 APRIL–14 JUNE 2026

baysidepaintingprize.com.au 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

EXHIBITIONS | TALKS | EVENTS

Whistlewood, 642 Tucks Road, Shoreham, Vic 3916

everywhenart.com.au

149

artguide.com.au

& Gallery Australia

Alcaston Gallery

the Song in the wood series. The subjects rendered on the timber boards, sourced from old photographs and archives, are symbols of the artist’s life experiences.

www.andgalleryaustralia.net

www.alcastongallery.com.au

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

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

Art Screen Alfred Deakin Place Ballarat:

Anna Schwartz Gallery

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

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

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

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

Alun Rhys Jones, Dior A4, 2015, charcoal on stonehenge paper, 76 x 56 cm.

8 November—30 November Ensemble Alice Pulvers, Sophie Pulvers, Lucy Pulvers Greatest Hits: Selected Works 2010–2025 Alun Rhys Jones Forms of Existence Piotr Sobiesiak

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

Courtesy the artist.

John Nixon, Untitled, 2014, enamel on MDF, 76 x 75 cm.

18 October—13 December Artist of the Monochrome 1968 - 2020 John Nixon

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

Kate Briscoe, Rockface - Coastal Erosion #7, sand, marble dust, pigments and acrylic medium on canvas, 117 x 117 cm.

6 December—28 December Liminal Horizons Nerina Lascelles Geologica - Coastal Erosion Kate Briscoe The Burden of Love Jesse Thompson

15 0

Backspace Gallery 43 Mair Street Ballarat:

Until 7 December Petra Rodgers Song in the wood

For Ballarat artist Petra Rodgers, timber has become her chosen material for carrying memories: “During the pandemic I experimented with using colour pencil on wood. I instinctively drew a jumper on a little piece of Tasmanian oak I had in my studio. I felt an instant connection, it reminded me of my childhood, sitting under the fig and walnut trees in my backyard, drawing on the side of a rusty old chook shed,” she says. This inspiration sparked many drawings on wood that came together as

Backspace Gallery 43 Mair Street Ballarat:

13 December—26 January Fragments of Healing Tas Wansbrough Dating back to ancient Greece, votive offerings are objects made and gifted in rituals of healing. Throughout many cultures, people have used votive objects to express hope, seek restoration, or mark a threshold between suffering and relief.

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

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

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

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.

Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. A curatorial and collection focus that began in the early 1970s.

VICTORIA

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.

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

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

Artpuff www.artpuff.com.au Dja Dja Wurrung Country, Studio 38, The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm.

Open public holidays.

Simone Slee, Rocks Happy to Help, Hold Up, Hold Down, 2017, digital video.

6 November—16 January 2026 and also Barbara Cleveland, Amrita Hepi, Laresa Kosloff, Liv Moriarty, Simone Slee and also presents a selection of timebased media from the Artbank collection that focuses on performance in a variety of ways. The exhibition space will feature a diagrammatic text installation

by Melbourne based artist Liv Moriarty that will help contextualise the works in the space. The exhibition is an outcome of Artbank celebrating 45 years and looking back at key moments and projects from our collective history. In 2013-14 then Senior Curator Daniel Mudie Cunningham commissioned a series of time-based works when Artbank was moving from Rosebery to Waterloo in Sydney. The series was titled Performutations. The name was meant to reflect this period of change and flux, or ‘mutation’, and to supplement the lack of a physical exhibition space. The focus was also a critical engagement with performance-based work. This exhibition responds to the physicality of the space, and features Laresa Kosloff’s Kinetic Connect, from the Performutation series, as the starting point for an exploration of performance based, time-based media in collection. Bringing us up to the present the exhibition will also include works by artist collective Barbara Cleveland, alongside Amrita Hepi and Simone Slee.

Together these works show how performance can be many things at once – still and moving, playful and strong, past and present – always and also.

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.

Martin King, Flooding is a Dream, (detail), 2008, etching, aquatint and spitbite.

ArtSpace at Realm: 24 November—26 January 2026 Power of Print Power of Print presents original prints from the Maroondah City Council Art Collection. The exhibition showcases the powerful creative potential that resides in the meeting of ink and matrix with paper.

Works by artists including Raymond Arnold, Angela Cavalieri, Vicki Couzens, Martin King, Deborah Klein, Nusra Latif Qureshi, Lloyd Rees, Teho Ropeyarn and others.

Kir Larwill, Thinking of Morandi, 2025, acrylic and oil on repurposed board, 65 x 50 cm.

6 November—23 November happy sad Kir Larwill Opening celebration Friday 7 November, 5pm–7pm.

megan evans, Papers Presented, 1891, gouache on parliamentary document.

Maroondah Federation Estate Gallery : 17 November—16 January 2026 DISillusion/DISsolution megan evans DISillusion/DISsolution is an artist’s response to the outcome of the 2023 Referendum on the Aboriginal and Torres Islander Voice.

“The result of the Referendum deeply hurt many—especially my Aboriginal friends and family. I felt grief and uncertainty too. For over 15 years, my work has directly explored the importance of acknowledging and taking responsibility for my settler-colonial ancestors. This exhibition presents pieces that reflect both my discomfort and my hope for a united, healing future—one where truth and integrity bridge divides—through painting, sculpture, video, and fabric works.”

— megan evans

17 November—16 January 2026 Ritual Artefacts Inga Hanover

Benjamin Sheppard, SMT... (blue fairy 2), 2024, archival ink and watercolour on paper, 25 x 21 cm.

27 November—21 December little wonder Barbara Semler, Benjamin Sheppard, Betsy Forster, Carol Swain, Catherine Pilgrim, Damian Callanan, Diana Orinda Burns, Ingmar Apinis, Jackie Gorring, Jane Rusden, Janet Neilson, Julie Goodwin, Julie Kluwer, Kim Barter, Kir Larwill, Kirsten Moegerlein, Martin Lee, Melissa Proposch, Michael Wolfe, Roz Avent, Tony Scott, Zoe Amor Opening celebration Friday 28 October, 5pm–7pm.

151

artguide.com.au

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

showcasing the full breadth of talent and creativity across the studio. Featuring up to 200 artworks spanning painting, drawing, printmaking, photography, ceramics, and textiles, all works will be available for purchase and can be taken home on the day. The Annual Gala serves as APA’s endof-year celebration, a much-anticipated highlight of the calendar and a joyful opportunity to support APA artists and bring together all who champion their work.

21 October—8 November Rona Green 21 October—8 November Fleur Rendell 21 October—8 November Nick Dridan

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne

Martin Forster, Pepsi Max, 2018, pencil on paper.

18 October—22 November Stop Work Michael Candy, Nicholas Capaldo, Samraing Chea, David Fitzpatrick, Martin Forster, Lychandra Gieseman, Pascale Giorgi, Cameron Gresswell, Christian Hansen, Rakhi James, Adrian Lazzaro, Cathy Staughton, Mervyn Street Curated by Loren Kronemyer, Stop Work contains artworks that act as proposals to remake the purpose, shape, and meaning of work in our collective experience. In the last five years, our globalised society has experienced multiple transformations that have complicated our ways of exchanging labour for money. The artists in this exhibition offer singular perspectives on the imploding norms of labour. They reflect on what work once was, what it is now, and what it might become – drawn from lived experiences that challenge conventional understandings of productivity.

Wurundjeri Woi-wurrung Country, 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm.

12 September—23 November Tschabalala Self: Skin Tight Curated by Dr Shelley McSpedden and Myles Russell-Cook.

Robert Motherwell, At the Edge, 1984, aquatint and lift-ground etching on Auvergne à la Main Richard de Bas handmade paper, 57.8 x 63.8 cm.

18 November—21 December Henri Matisse and Robert Motherwell 18 November—21 December Cliff Burtt 18 November—21 December Peter Neilson Stock Rooms: 21 October—8 November Sophie Perez

Photograph by Annika Kafcaloudis.

12 December—15 March 2026 r e a: c l a i m e d rea

21 October—8 November Jamie Boyd

Tourmaline, Untitled (Venice Series), 2025. Courtesy the artist.

12 December—15 March 2026 Tourmaline: Transcendent Tourmaline

Australian Galleries www.australiangalleries.com.au

Paul Quick, Untitled, 2024, ink, paint pen, pencil on paper.

13 December—20 December APA Annual Gala APA’s Annual Gala is a yearly celebration that acknowledges the achievements and diverse practices of their studio artists.

This is the only exhibition each year that features work by every artist in the studio, 152

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

Stock Rooms 28 Derby Street, Woiwurung Country, Collingwood, VIC 3066 [Map 3] 03 9417 2422 Open daily 10am–6pm.

Henri Matisse, Diane, 1938, linocut in black and sanguigne on G. Maillol paper, 23.9 x 19.8 cm, edition of 25.

18 November—21 December Henri Matisse and Robert Motherwell 18 November—21 December Peter Neilson 18 November—21 December Print Fair

VICTORIA

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.

4 September—15 November Entanglement Kayla Powers Based in Santa Fe, New Mexico, Kayla Powers is a place-based artist and naturalist who makes ecologically focused textile art with and about the living world. She employs the practices of foraging, dyeing, weaving, and stitching to explore the common threads of our shared humanity, creating connections to the earth, to craft, and to each other.

Deanne Gilson, Smoking Ceremony Fabric, 2017. Image courtesy of the artist.

4 October—29 November Deanne Gilson Dr Deanne Gilson is a proud Wadawurrung woman living on her ancestral Country of Ballarat. Her art and design practice is a celebration of culture, drawing on traditional mark making, contemporary ceremonial business and oral stories. Her work often features Indigenous flora and fauna, with a special focus on endangered species to underscore the vital need for custodianship of Country.

27 November—21 February 2026 Propositions and Provocations – Ten Years of the ATW Tapestry Design Prize Greenshoot Consulting + N’Arweet Carolyn Briggs AM, Ground Under Repair (Emma Jackson), Hotham Street Ladies + Pop Architecture, Justin Hill, Troy Emery + Cox Architecture, Yvette Coppersmith + Anouska Milstein, Mouriya Senthilkumar + Ian Tsui, John Wardle AM ‘Propositions and Provocations – Ten Years of the ATW Tapestry Design Prize’ celebrates a decade of tapestry design by leading Australian and international architects, interior designers, and artists, each responding to sites of architectural significance across Australia. Featuring tapestries, studies, and samples, the exhibition brings together highlights from the finalists of all five editions of the prize.

Vladimir Tsyskin, Kettut, 2024, oil on canvas. Courstesy of the artist and Brighton Arts.

Beth George and Emerald Wise, Solstice, 2024, woven by Tim Gresham.

Photograph: Marie-Luise Skibbe.

13 November—19 November Brighton Arts Society Members show

11 December—21 February 2026 Textiles X Art John Brooks, Troy Emery, Beck Jobson, Phong Chi Lai, Louise Meuwissen, Misako Nakahira, Ema Shin.

21 November—27 November Ali’s Art Studio end of year show

Annual members exhibition.

Open Sat to Sun 11am–3pm.

Annual end of year student exhibition.

Increasingly, textiles are a site for resistance, storytelling, and innovation.

Contemporary artists continue to turn to textiles as both medium and message— finding new ways to engage with ancient technologies that demonstrate the expressive power of cloth to speak to urgent contemporary themes of identity, gender, migration, and environment. Featuring the work of former Artists in Residence at the Australian Tapestry Workshop, this exhibition presents the diverse practices of artists who have each explored the medium in unique and compelling ways.

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

14 November—16 November Tapestry Design Prize 2025 N’arwee’t Professor Carolyn Briggs AM + Greenshoot Design, Yvette Coppersmith + Anouska Milstein (A.mi), Troy Emery + COX Architecture, Jack MacRae and Mouriya Senthilkumar + Ian Tsui Offsite exhibition: Boyd House II/Walsh Street robinboyd.org.au 290 Walsh Street, South Yarra, VIC 3141 Ticketed, see website for latest information.

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

Closed public holidays.

Anne Hattam, Gady Lulliver, (detail), 2022, collage, 40 x 30 cm. Courtesy of the artist.

5 December—19 December An I Am Anne Hattam A solo exhibition by Anne Hattam, featuring a collection of artworks spanning her artistic career.

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

Bayside Gallery is a space for everyone to enjoy art. As the public art gallery for the City of Bayside in Melbourne’s south, the gallery is committed to promoting art and artists as a valuable part of the community.

15 3

artguide.com.au Bayside Gallery continued...

Its curated exhibition program gives residents and visitors the opportunity to engage with high quality work from renowned Australian and international artists, as well as showcasing and supporting the practices of artists in the Bayside area.

MeiMei Hodgkinson, For the Revolution, 2025, monotype and pigment print on photo rag, 42 x 29.7 cm (unframed).

Courtesy of the artist.

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

See our website for latest information.

Alison Percy, Wildflowers in the High Country, acrylic on linen, framed, 156 x 126 cm.

31 October—25 November Seasons of the High Country Alison Percy

Clare Jaque Vasquez, Silent weapons for quiet ambitions, 2025, acrylic and impasto on stretched canvas, 200 x 200 cm. Courtesy of the artist and Vivien Anderson Gallery.

Photograph: Simon Anderson.

25 October—14 December Ellen José Art Award for young women The Ellen José Art Award is a $15,000 non-acquisitive triennial award designed to support young female artists in the early stages of their career. Ambitious and ground-breaking, the six finalists are MeiMei Hodgkinson, Clare Jaque Vasquez, Casey Jeffery, Jenna Lee, Amalia Lindo, and Jacqui Shelton. The award is held in honour of Ellen José, a pioneering Indigenous artist, radical activist and social justice campaigner and is a partnership between the Ellen José Memorial Foundation and Bayside City Council.

15 4

My continued fascination of the Australian High Country is the inspiration for this new body of work ‘…seasons of the High Country’. I’ve been documenting this unique landscape across the seasons for over 20 years - from the summer wildflowers to the winter snow. I feel a deep sense of calm in the High Country and my connection to this landscape deepens with each passing season. My interpretation of the landscape is expressed with joyous energy - full of movement, it’s a felt emotion. Subtle vibrations in colour, drawn from the landscape keeps the surface active to reflect natures complexity.

23 October—9 November It’s Mothman’s world, we’re just living in it Nyssa Braid and Dan Go Still Drifting Myles Burgess Flourish Nancy Cover Re-visiting Jessie Rose Ford Knocking From Below Samuel O’Malley

Wayilkpa Maymuru, Milky Way Shining on the Land 1486-25, etching on Somerset Paper, image size: 48 x 38 cm; paper size: 69 x 57 cm.

23 October—9 November Yuṯa Ganydjarr - Artists of Yirrkala Artists of Yirrkala Print Space 13 November—30 November

Opening Friday 14 November, 6pm–8pm.

Weight of Witnessing Martin Hodge and Sevgi Kilic

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.

See our website for latest information.

BSG offers a welcoming retreat from the bustling streets to immerse in our contemplative space, curated with a range of works from emerging and established artists, and from our partners in leading Indigenous art centres.

Jill Daniels, Rodeo, 39-25, 2025, acrylic pigment on linen, 100 x 100 cm.

13 November—30 November Mela gon la Roudiyo (We are going to the Rodeo) Jill Daniels The Distance Between Martin Quinlan There’s no Place like My Room Thea Quinlan Familiar and Unseen Anna Kaparis

VICTORIA

29 November—22 February 2026 Maria Fernanda Cardoso: Spiders of Paradise An MCA touring exhibition of video and photographic work by Maria Fernanda Cardoso.

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

Bundoora Homestead Art Centre → Pia de Bruyn, Female Trouble, (detail), 2019–2025, wax pastel on paper. Courtesy of the artist.

Blue Poles is not a Park Katie Hayne 4 December—21 December

11 October—14 February 2026 Arranging by chance Abbra Kotlarczyk and Briony Galligan

Wall Flower Rebecca Kilpatrick

Bunjil Place Gallery

Opening Friday 5 December 6pm–8pm.

The Weight of Heirlooms: Visual Narratives of Turbulent Times Nadia Valeska Along The Bush Track Edwina Edwards

Bundoora Homestead Art Centre

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

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.

11 October—14 February 2026 Rest time Jingwei Bu, Emma Buswell, Kate Just, Shannon Lyons and Dhana Merritt.

Curated by Laura Couttie 11 October—14 February 2026 Female Trouble Pia de Bruyn

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

Jennifer Mills, In the echo chamber, installation view, Bunjil Place Gallery, 2025. Photograph: Christian Capurro.

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

Delivered as a part of Midsumma Festival.

8 October—14 February 2026 jpg Fossils Corinna Berndt

26 October—1 March 2026 Revisions: Made by the Warlpiri of Central Australia and Patrick Waterhouse (UK) Patrick Waterhouse and Warlpiri artists Over a period of ten years, groups of Warlpiri artists in Yuendumu and Nyirripi (hundreds of kilometres northwest of Alice Springs) collaborated with internationally acclaimed London-based photographer to revise a collection of maps, flags, photographs, comic illustrations and other archival material. The body of work emerging from this collaboration questions and amends the assumptions inscribed throughout the old documents.

It adds information missing from the historical record, and gives voice to the stories of the original custodians of the land, passed down from generation to generation. An Australian premiere, Burrinja presents a major exhibition of these works, curated by Warlukurlangu Artists and Patrick Waterhouse.

23 November, 10.30am–3.30pm Community Program Day

Abbra Kotlarczyk & Briony Galligan, Doctored exposure 09, 2025, multiple exposure digital and analogue photograph.

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

Featuring a Welcome to Country and Smoking Ceremony by Wurundjeri Traditional Owners, gallery tour, and artist talks by Patrick Waterhouse and Warlpiri artists.

15 5

artguide.com.au

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 gallery, art supplies, eco-store and drawing sessions. Caelene offers art management services for corporate buildings and public collections. Gallery space open to bookings as a social event space.

Cascade Art Gallery → Liz Sullivan, Try and Catch the Wind, (detail), 2025, mixed media on paper, 64 x 142 cm.

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

Liz Sullivan, Yellow into Green, oil on canvas, 137 x 183 cm.

Karen Hopkins, Series II.

20 November—18 January 2026 Summer Small Works Show and Prize 2025 The theme is Under the Surface. Applications now open to Australian & NZ artists.

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

LOVE ART | LOVE LIFE: Gift art this holiday season, visit the Summer Small Works Show for a wide range of art, available to collect from 20 December 2025.

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

See our website for latest information.

2 October—9 November Archetypal and Particular – the birds and imagined landscapes of Judy Holding Paintings, cast bronze and artist made books.

13 November—21 December Reflective Notes – NEW Works on Paper Liz Sullivan Liz Sullivan explores the idea of musicality, mark making methods and personal ideology in large scale painting/ drawings. To be officially opened by celebrated Artist, Robert Clinch, 2pm.

15 6

Saturday 15 November.

Music performance by Sid O’Neil, lead singer of The Vasco Era.

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

Free admission.

See our website for latest information.

Located on Dja Dja Wurrung Country in the foothills of Liyanganyuk Banyul, Castlemaine Art Museum (CAM) is a leading regional institution in the sphere of bold curation, bringing art and objects from the past and present into multilayered conversations, creating a dynamic, inclusive platform for First Nations and contemporary voices, community connections, reflections and ideas.

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

City Gallery:

2 October—6 February 2026 You Are Here: Melbourne Memory-scapes Curated by Angela Bailey.

You Are Here considers a collection of 1960s black-and-white aerial photographs of Melbourne/narrm and its immediate surrounds. Originally a mapping, surveying device, the images here, invite the viewer to locate memory, place and connection.

We trace ourselves here. Memory and the marks we make is further explored through the accompanying verse of writer Susie Anderson, whose words navigate the boundaries set upon the landscape.

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

Free admission.

See our website for latest information.

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

Art and Heritage Collection:

Ongoing

VICTORIA

Deakin University Art Gallery → Song Ling, Kong Fu - Our dream 1, 2007, (detail), acrylic on canvas. Purchase, 2008. Deakin University Art Collection. Image © copyright and courtesy of the artist and Niagara Galleries, Melbourne.

In May 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 10 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’.

Free guided tours are now available.

Bookings essential, visit our website for more information.

Group exhibition curated by Joseph Gardner.

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

Marea Gazzard, 1971, handmade stoneware, 45 x 61 cm.

15 November—6 December ABSTRACTION 25

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.

14 November—7 February 2026 Visionaries: Done/Undone

Joseph Gardner, with works (L-R) by Olivia Bossy, Tanika Jellis and Tais Rose.

Photographer: Georges Antoni.

Joseph Gardner is the 2025 Visionaries curator, presenting Done/Undone – an exhibition of more than 50 artists hand selected by Gardner to exhibit at Craft’s Melbourne gallery.

Done/Undone explores the creative process as a space of constant negotiation – a series of decisions to build, erase, repeat, or let be. It’s about that intuitive moment when a maker chooses to pause, to push further, or to dismantle entirely. Done/ Undone is Craft’s largest group exhibition to date – featuring artists across medium, scale and level of experience, they represent the exceptional level of rising talent in Australia. Joseph Gardner is the Style Editor at Vogue Living and the director of gallery space Studio Gardner.

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. correspondences is a place for creation and connection. We specialise in creative residencies, exhibitions, events and specialty retail and hospitality experiences.

Jiaxin Nong, Love letter, 2025, oil on canvas, 30.0 x 40.0 cm. © Jiaxin Nong.

4 October—20 December Jiaxin Nong 农嘉欣 / Oneness 渴慕归一

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

Closed public holidays.

22 October—12 December Face to Face Revisited In celebration of Deakin University’s 50th Anniversary this exhibition showcases creative responses to the Deakin University Art Collection by current Deakin University students, alumni and staff. Revisiting the original Face to Face exhibition from 2012, selected participants developed new works that reflect, reconsider and reimagine works from the University’s art collection displayed in the first exhibition for 2025 157

artguide.com.au Deakin University continued... titled 50 Years of Collecting. The project celebrates the cherished nature of the Deakin University Art Collection and its role as a resource and inspiration for the University community and beyond. Supported by the Eric Ormond Baker Charitable Fund, managed by Equity Trustees.

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

30 October—19 December Reverence Our annual secondary market exhibition presenting some of the finest early, modern and contemporary works of art on the market returns to our Melbourne gallery.

The 2025 edition will feature, among a selection of early works, an extremely rare figurative sculpture by Enraeld Djulabinyanna Munkara (c. 1882-1968) and a newly, recently discovered piece from an important series of works by Kaapa Mbitjana Tjampitjinpa (c. 1920-1989).

conceptual exhibition theme. Artists have responded to the idea of past, present, and future through their own interpretations— exploring their personal cultural identities, lived experiences, and social or political commentary. Many works also offer visual commentary on Aboriginal and Torres Strait Islander art, artefacts, and material culture, tracing connections from the past, through the present, and into the future.

More information via the website, visit djaadjuwima.com.au.

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.

Other highlights include a major painting

by Rover Thomas Joolama (c. 1926–1998), a monumental painting by Ginger Riley Munduwalawala (c. 1936-2002) and a powerful piece by leading contemporary photographer and artist, Michael Cook.

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.

8 October—23 February 2026 PAST, PRESENT & FUTURE PAST, PRESENT & FUTURE is a deeply 15 8

12 December—24 January 2026 Jennifer Mullett Jennifer’s work is a reconnection to personal memories and experiences and a representation of identity that explores the symbolism used in paintings, artefacts and storytelling of the Gunaikurnai, Bidawal and Ngarigu peoples. Jennifer’s work is held in public galleries and museums, including the National Gallery of Australia, the National Gallery of Victoria and Koorie Heritage Trust, Melbourne. Special opening event Friday 12 December, 5.30pm.

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.

Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au

Jennifer Mullett, Bruthen Dreaming.

Night Hawke, woodcut print 1/2.

Laurel Foenander, The Road Well Travelled. Wilson’s Prom, oil on linen.

31 October—6 December Roads Well-Travelled Laurel Foenander Gippsland artist Laurel Foenander, Roads Well-Travelled presents a rich collection of oil paintings. A contemporary realist with over 25 years of practice, Laurel is known for her finely detailed and evocative depictions of the natural world.

8 November—30 November AWELYE: the legacy of Utopia Belinda Golder Kngwarreye, Barbara Weir, Charmaine Pwerle, Emily Pwerle, Janet Golder Kngwarreye. Minnie Pwerle Opening event & curators talk Saturday 8 November, 2pm.

31 October—6 December Presently, Here Andrea Hall, Liz Millear, Elizabeth McCarthy, Wendy Reeve, Bradden Taylor, Cindy Tong, Elisabeth Wearne Clay brought us together, but it’s everything around it that kept us here. Our work embodies earth, air, water, and fire—elements that forge both art and friendship.

31 October—6 December In the Vault Brian Appleton Recent paintings.

Charmaine Pwerle, Awelye Antwengerrp.

VICTORIA

6 December—21 December Birds + Wandjinas Mowanjum Art and Culture Centre

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

Caspar Connolly, Jieun Ha, Camille Thomas Emergent Fields presents the work of three Melbourne based emerging artists.

Caspar Connolly’s practice explores the intersection between nature and culture.

He is particularly interested in the concept of the polysemous object—objects that can carry multiple interpretations simultaneously. Jieun Ha’s abstract painting focusses on the relationship between geometric forms and ordinary objects.

Her process involves distorting and reinterpreting designs from accessible, everyday items, creating new meanings through fragmentation. Camille Thomas explores themes of memory, identity, and emotionality through an expanded drawing practice.

removed, the images exhibit fundamental qualities of abstraction—form, line, colour, texture, and composition. Piecework brings together contradictory aesthetics of the Renaissance, Modernism and Pop with analogue and digital reproduction.

But regardless of these pairings and processes a sensory suggestion of the unseen bodies that were painted more 6 centuries ago remains.

14 November—13 December The remnants of Johannes cardigan Linda Judge Colour Orbs Brent Hallard

Flinders Lane Gallery www.flg.com.au

Five Walls Gallery & Projects www.fivewalls.com.au

L- R: Lil De Graauw, Kiara Ryan, Nasci Lethlean, Illyana Baraci, Selby Walker, Taylah Richards, Naomi Swift, Jennifer Hart. Homage to Leonora Carrington’s Green Tea (La Dame Ovale), mixed media, 123 x 183 cm Courtesy the artists.

Level 1 / 119 Hopkins Street, Footscray, VIC 3011 [Map 4] 03 904 36704 Wed to Sat 12pm–5pm, or by appointment.

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.

Until 8 November Rustling Canopy Leah Thiessen

15 November—23 November EYE25 Undergraduate Visual Arts In this important end of year exhibition, Ballarat’s Arts Academy presents new work by Bachelor of Visual Arts students, showcasing fresh new ideas and approaches to painting, textiles, ceramics, sculpture, drawing and printmaking.

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

Kim Anderson, All the Beauty and the Terror, 2025, Ink charcoal graphite and cold wax on paper, 103 x 210 cm.

Julie Shiels, Piecework - After Giovanni Batista Moroni, 2025, pigment print.

14 November—13 December Piecework Julie Shiels

11 November—29 November Sonder Liz Priestley

Renaissance Art is an unlikely source for ready-made abstractions. In Piecework the drapery that was often painted in the Master’s workshops by assistants becomes a new ‘found’ resource of material..

When snapped on a mobile phone, these detailed studies of drapery are liberated from the grand narratives and technical challenges in 15 and 16 century paintings.

And perversely, when this context is

Camille Thomas, Translation of ‘Portrait of an Infanta. Catherine of Aragon’ (ca. 1496), Juan de Flandes, 2024, graphite on paper. Courtesy of the artist.

10 October—1 November Emergent Fields

11 November—29 November Disquiet Kim Anderson

Joshua Andree, Sky Mapping No.1, 2025, oil on linen, 92 x 107 cm.

Linda Judge.

2 December—20 December Dawntreading Joshua Andree 159

artguide.com.au

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.

Hongli Li, FAC Open Exhibition Winner 2024, invites viewers into a quiet world shaped by his enduring connection with trees which are seen as symbols of resilience, patience, and inner peace.

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

Cube 37 – Cube Gallery:

20 November—20 December Gallery of Dreams FAC Kids Art Exhibition 2025 Artists aged 4-12 put their biggest dreams to paper as they paint or draw the greatest gift they could ever wish for and experience being part of a professional art show and competition. Visit during regular gallery hours for fun kid’s activities, win prizes and vote in the People’s Choice Award.

Cube 37 – Glass Cube, Dawn to Dusk:

Cameron Robbins, Anemograph de l’Ortenbourg, (detail).

Cube 37 – Glass Cube, Dawn to Dusk:

2 October—29 November Wind Photon Orbital Cameron Robbins

Cameron Robbins’ installations transcribe the invisible energies of nature, the wind, the tides and light to create drawings, photographs, and moving image works.

Wind Photon Orbital includes large colourful solar drawings and a series of rotating reflective prisms on a large wind Anemograph sculpture reminiscent of an artistic lighthouse. In his work, underlying structures and rhythms of natural forces are made tangible.

FAC - Atrium Gallery:

16 October—14 February 2026 Yamadji Spirit Uncle Beamo Yamadji artist Uncle Beamo (Kunda) presents Indigenous contemporary works.

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

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

Tina Strafford

Somewhereville is a suburb of uniqueness, imagination, and vibrant present energy.

It’s a place where what was once discarded is transformed into homes—living sculptures built from reclaimed materials, standing as joyful proof of community spirit. A village built on inclusion, creativity and cultural celebration.

Ella Whateley, Sholat, European inks, reflective pigments & Indonesian secang pigment on Awagami paper, 706 x 118 cm, (detail). Photograph: David Patston.

28 October—8 November The ways we pray Ella Whateley 11 November—22 November The Heart of It Carolyn Roberts 11 November—22 November Recent Paintings Richard Besley 27 November—18 December SMALL! Presented by fortyfivedownstairs.

Gallerysmith www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm.

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

See our website for latest information.

Susanne Kerr, Liminal, (detail), 2023, gouache, watercolour, acrylic, ink, gold leaf and hand-cut paper on board, 90 x 360 cm.

6 November—29 November An Echo of Small Things Susanne Kerr

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

30 August—9 November Archibald Prize 2025 Hongli Li, Under Frankston Pier, watercolour on paper.

FAC – Curved Wall Gallery:

13 November—31 January 2026 Life in Tranquillity Hongli Li 16 0

Dena Ashbolt, Time Between, oil on linen, 150 x 150 cm.

28 October—8 November Time Between Dena Ashbolt

The annual Archibald Prize is eagerly anticipated by artists and audiences alike.

Judged by the trustees of the Art Gallery of NSW, the prize is awarded to the best portrait painting. Since 1921, it has highlighted figures from all walks of life, from famous faces to local heroes,

VICTORIA reflecting back to us the stories of our times. This touring exhibition is an opportunity to see the finalists in the Archibald Prize 2025. An Art Gallery of New South Wales touring exhibition.

15 November—1 March 2026 Richard Lewer Multi-disciplinary artist Richard Lewer works across painting, drawing and animation to explore the human condition.

Through his highly autobiographical practice, Lewer illuminates universal and challenging subjects, such as crime, religion, health, and grief. This exhibition brings together key series that reflect Lewer’s lived experience of Catholicism and the rituals and moral framework that underpin it. Extending on the exhibition’s themes, a new series of paintings commissioned by Geelong Gallery and inspired by the Last Judgement will be premiered.

Lesley Dumbrell, Azzurum, 1987, colour screenprint; edition 20/100. Gift of Guy Abrahams in memory and celebration of the life of Christine Abrahams, 1999. © the artist.

15 November—22 February 2026 New Directions—Prints by Australian Women Artists 1960s–2000s New Directions explores the creative responses of Australian women artists to the cultural and socio-political shifts that impacted their lives in the second half of the twentieth century. Several of the artists included in this exhibition were central to the revival of printmaking during the 1960s, which saw the broader participation and acknowledgment of women artists in the production, teaching and promotion of Australian printmaking.

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

22 November—1 March 2026 A Moment in Time— Collecting Contemporary

Jenna Lee, Burn Before Reading, installation view, Gertrude Glasshouse, Naarm Melbourne, 2025, image courtesy the artist and MARS Gallery © the artist, photography: Christian Capurro Gertrude Glasshouse:

3 October—8 November Burn Before Reading Jenna Lee David Rosetzky, Composite portrait 4, 2015, silver gelatin photograph; edition 2 of 6 (+ 2 A/Ps). Geelong Gallery, Purchased with funds generously provided by Geelong Contemporary, 2017.

A Moment in Time—Collecting Contemporary celebrates works acquired over the last decade through the fundraising efforts of Geelong Contemporary, one of the Gallery’s key support groups. Since its establishment in 2016, Geelong Contemporary has focussed on acquiring works by Australian artists working across diverse media, whose works reflect the issues of our times. The exhibition includes sculptures by Louise Paramor and Nicholas Mangan, photographs by David Rosetzky, Christian Thompson, Rone, Hoda Afshar, and Pat Brassington, moving image works by Charlie Sofo, Gabriella Mangano & Silvana Mangano, and Kaylene Whiskey, textiles by Rachel Hine and Kait James and multimedia works by Rose Nolan, Maree Clarke, and Tammy Gilson.

Gertrude

Gertrude Glasshouse:

14 November—13 December Like a Stone Sinking in a Lake or a Bullet in my Heart Yusi Zang

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.

See our website for latest information.

Since opening in 1975, Glen Eira City Council Gallery has established a leading profile within the public gallery sector in Melbourne.

Located on the ground floor of the historic Glen Eira Town Hall, access to the Gallery is gained through the portico on Glen Eira Road, Caulfield.

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

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

See our website for latest information.

Gertrude Glasshouse:

Ivan Durrant, Caulfield Cup Day, 1976, synthetic polymer paint on composition board, 83.7 x 122 cm. Collection of the artist. © Ivan Durrant.

Gertrude Contemporary:

3 October—9 November Cellophane Silks Ivan Durrant

3 October—8 November Jenna Lee 31 October—13 December Various Small Fires: Gertrude Studios 2025 Tarik Ahlip, Moorina Bonini, Gabi Briggs, Renee Cosgrave, Grace Culley, Tara Denny, David Egan, Erin Hallyburton, Jordan Halsall, Nadia Hernández, Rebecca Jensen, Alexandra Peters, Jenna Lee, Georgia Morgan, Chunxiao Qu and Yusi Zang.

Curated by Brigid Moriarty.

3 October—9 November The Recycling Rascals Pamela Irving 14 November—7 December 2025 A.M.E Bale Travelling Scholarship and Art Prize exhibition of finalists 14 November—7 December Floral Connections Fiona Wood 161

artguide.com.au

Gippsland Art Gallery

The Hive Gallery

www.gippslandartgallery.com

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

See our website for latest information.

www.thehiveoceangrove.com.au

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.

Leila Jeffreys, Nature is Not a Place to Visit, It is Home, (detail), 2019, multichannel video; 8 minutes 26 seconds continuous loop. Collection Gippsland Art Gallery. Part purchased and part donated by the artist through the Australian Government Cultural Gifts Program, 2025. © The artist.

13 September—23 November 60 Years

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.

Heide Museum of Modern Art

Wayne Elliott, Broome, acrylic on canvas, 100 x 100 cm.

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

See our website for latest information.

Richard Weatherly OAM, Seventh Wave, oil on linen, 51 x 76.5 cm.

1 November—30 November Annual Group Salon Exhibition

Including paintings from Richard Weatherly OAM, Jane Millington ASMA & Wayne Elliott, and ceramics from recent Klytie Pate finalists Sophia Legoe & Kirsty Manger.

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

6 December—16 February 2026 Synchron City

Installation view, Grace Wood: A Garden is a Mother, 2025, Heide Museum of Modern Art. Photograph: Christian Capurro.

26 July—15 November Grace Wood: A Garden is A Mother

Ongoing The Art of Annemieke Mein

www.hellenic.org.au

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 162

Horsham Regional Art Gallery www.horshamtownhall.com.au

Hellenic Museum 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.

5 December—4 January 2026 Breadth Viktor Kalinowski and Sally Wilson

Installation view, Man Ray and Max Dupain, 2025. Photograph: Christian Capurro.

6 August—9 November Man Ray and Max Dupain 6 September—23 February 2026 Maria Kontis: And I Would Say These Things To No One But You 11 October—8 March 2026 Nell: Face Everything

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

See our website for latest information.

18 October—1 February 2026 Beyond feeling; the texture of time Anne Middleton Beyond feeling; the texture of time surveys the deeply personal and poetic aesthetic of Australian artist Anne Middleton over a period of thirty-five years. This exhibition encompasses oil paintings from the past, informed by her studies of European

VICTORIA

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

Courtesy of the artist. painting techniques. Alongside recent innovations in her chosen media, this exhibition explores the macrocosm in sublime detail. Living on a volcano in South West Victoria, Middleton describes her work as teetering on that mercurial edge that bridges concrete reality with an awareness of the mystery of spirit which resides in all living beings. Her work explores her environment and our connectedness to it through her fascination with textural surfaces - feathers, skin, leaves, hair and petals - defined by the ever-changing enigma of atmosphere.

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

19 September—30 November POWER – The Future is Here Dennis Golding

Incinerator Gallery → Celine Mercado, Dismantled Bed II, 2024, bedframe wrapped in acrylic wool, stainless steel wire rope. ...and there’s no one around to hear it is an exhibition exploring power structures and ways nature is shaped through human systems. Artist dylan marelić approaches organic materials as living records— archives of environmental pressure, disruption, and resilience. The exhibition combines sculpture and sound to animate these arboreal narratives. Metal armatures are shaped to follow the natural curves of fallen branches, preserving their form as enduring traces.

29 November—18 January 2026 Ako ay may kaibigan, kasama ko kahit saan (I have a friend; where I go, they go) Celline Mercado, Jermaine Ibarra and Jus­t yne Allen In this exhibition, the concept of the shadow symbolises the lingering spectres of colonial history that follow the Filipino diaspora—Australia’s fifth-largest migrant community. Artists Celline Mercado, Jermaine Ibarra, and Justyne Allen engage with familiar symbols of domesticity and architecture—the bed, the window, the TV—to explore Filipino identity, cultural visibility, and ancestral legacy.

21 November—22 February 2026 Place In Between Nina Machielse Hunt

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

Art Gallery 275:

26 August—18 January 2026 Early Impressions – Painters of the Heidelberg School from the National Collection

This curated selection of artworks from the National Gallery Collection has been hand-picked for their portrayal of scenes in and around Banyule. For the first time since they were painted here over a century ago, we are pleased to display these paintings by Arthur Streeton, Clara Southern, Louis Buvelot, Charles Conder and Tom Roberts in Banyule.

Incinerator Gallery www.incineratorgallery.com.au

29 November—18 January 2026 …and there’s no one around to hear it dylan marelić

Ivanhoe Library & Cultural Hub

Banyule Council is proud to present an exhibition of paintings by the Heidelberg School of artists. These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. #artacrossaustralia.

Nina Machielse Hunt, The Place Between, acrylic and oil on Birch boards.

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

See our website for latest information.

Brown Pillars is an ongoing body of work by artist Aida Azin that interrogates colonial hierarchies within the arts. First presented in 2017 at Firstdraft Gallery, Sydney, where it critiqued institutional racism in the art world, the project now returns to Incinerator Gallery in 2025 to examine cultural production and labour relations shaped by the Global South.

Drawing on her experiences as a ‘third culture kid’ of Filipino-Iranian heritage on Aboriginal lands, Aida’s practice develops through studio painting, journal writing, and community conversations.

Aida Azin, Pink Head, (detail), 2017, mixed media, acrylic and digital print on canvas.

Photography by Tyrone Ormsby.

29 November—18 January 2026 Brown Pillars II Aida Azin

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

16 3

artguide.com.au Ivanhoe Library continued...

Loft 275:

11 December—11 January 2026 New Hopen’ New Hope Collective New Hope is a long-running and well-loved street & graffiti art program for young people in Banyule, provided by Banyule Youth Services. This exhibition is an annual showcase of works made across the year, and can be seen as echoes and moments in the continuous artistic journeys of the New Hope crew.

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

Tammy Kanat, Sarah, 2025, (detail), photographer Josh Robenstone.

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

18 September—22 March 2026 Tammy Kanat: Circle of Her

Australian Muslim Artists 2025.

15 August—8 November Australian Muslim Artists 2025

Katie Howard, Litoria’s Wetland World, 2025.

Loft 275:

13 November—7 December Litoria’s Wetland World

by Katie Howard

Featuring artwork from the newly released book, Litoria and her Wetland Friends, this exhibition by local artist Katie Howard brings the book to life, and shows the world through the eyes of Litoria, the Growling Grass Frog. Venture into Litoria’s Wetland World in this exhibition - listen to her friends, and see how endangered Growling Grass Frogs experience our local wetlands and environments. The imagery engages young audiences throughout a tale of wetland destruction and conservation.

The exhibition includes an interactive frog call display with audio visual features providing a unique experience of wetland life and frog communication. Opening night: Thursday 13 November, 6pm–8pm.

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.

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

Closed on Jewish & public holidays.

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

See our website for latest information.

18 October—15 November Expanding Surrounding

28 October—7 December TACAS – Textile Art Community Art Space

16 4

Jump Left

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

Mungga Artist Studios:

Sunday 7 December Christmas Maker Market @ ILCH

Come into the Circle of Her this Spring & Summer with Tammy Kanat. The acclaimed fibre artist’s most ambitious body of work to date, Circle of Her explores female archetypes through large-scale woven installations. Immersive, sculptural and deeply personal, it’s a meditation on material storytelling, connection and renewal – and the latest Eva and Marc Besen Contemporary Artist Commission to be presented at the Museum. Along with archetypes like Lilith, Miriam, Sarah & Ruth, the sculptures pay tribute to the women in the artist’s own life – her mother, daughters, sister, friends and fellow artists – all part of a circle that holds, nurtures and binds. For at its heart, Circle of Her is about honouring the threads that shape us, the women we come from, those beside us and the ones we carry within. “As I began working, I found myself listening differently, not to the materials, but to something internal & somehow older than me. These pieces are vessels for presence, intuition & transformation.” —Tammy Kanat

Tammy Kanat in studio with Sarah, Lilith & Esther, 2025, photographer Selina Ou.

International cultural exchange between Australia and Indonesia, featuring neurodivergent and neurotypical artists in peer-to-peer collaborations. Led by Art et al. and Tab Space Bandung, in partnership with Jump Left.

VICTORIA

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

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

G3 Artspace:

10 October—22 November In tension Barbara Wheeler 28 November—31 January 2026 Here//There Michelle Merrifield

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

Kingston Arts Centre: Achmad Ilham Sadikin, Sentinel Cat, 2025, marker on paper, 29.7 x 21 cm.

Courtesy of the artist and Tab Space, Bandung.

6 December—24 January 2026 Jump Left Open Call

6 November—10 January 2026 Then We Keep Living Chris Siu Dream and Health, Women’s Knowledge of Plants Sofie Dieu

Celebrating creativity and diversity of artists with disabilities through an inclusive platform. Jump Left’s Open Call exhibition features submissions from Australian artists, fostering connections with broader audiences. Opening Saturday 6 December, 2pm–4pm at Jump Left. Supported by Creative Victoria and venue partner Impact Neighbourhoods.

Gigi Williams, Lonely as a Cloud, 2018, digital photograph on paper.

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.

Outdoor Lightbox Gallery:

16 October—15 January 2026 Salt / Water / Rock Josephine Cole, Matt Harvey, Andrew Paranavitana, and Gigi and Robin Williams The Bridge:

6 November—10 January 2026 How Far the Light Reaches Jack Lee

Installation view, Connie Hart: One Stitch at a Time, Koorie Heritage Trust, 23 August–23 November, 2025. Photograph: Christian Capurro, 2025.

23 August—23 November Connie Hart: One Stitch at a Time Aunty Connie Hart 23 August—23 November Gilgar Gunditj Eel Basket Sandra Aitken

Max Patté, Veils, 2025, infinity lightwork, 110 cm diameter.

6 November—7 December Colours of Home Max Patté Kingston Arts → Jack Lee, How Far the Light Reaches, video, (still), 2024–25.

16 5

artguide.com.au Koorie Heritage Trust continued...

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

6 December—22 February 2026 13th Koorie Art Show

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

See our website for latest information.

Latrobe Regional Gallery → Maree Clarke, now you see me: seeing the invisible #1, 2023, (detail), photographic microscopy prints on acetate, 30 x 30 cm each.

Installation view, Australian Centre for Contemporary Art Melbourne 2023.

Commissioned by ACCA, courtesy the artist and Vivien Anderson Gallery, Melbourne.

Photograph: Andrew Curtis.

24 July—25 January 2026 ‫ سفر نصیب‬/ Safar Naseeb / Fated to journey Elyas Alavi and Fazil Mousavi Curated by Jacqui Shelton.

Latrobe Regional Gallery

To celebrate the neighbouring Morwell International Rose Garden Festival, collections curator Alexandra Drummond presents a selection of floral-inspired works sourced from one of regional Victoria’s largest art collections. Bloom, not just flowering, but as a process of becoming. From literal blooming to seasonal shifts, cultural connections, ritual and memory.

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

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

Courtesy of the artists.

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

Curated by Amelia Wallin and Jacina Leong.

Elyas Alavi and Fazil Mousavi, ‫سفر نصیب‬ / Safar Naseeb, Fated to journey, 2025.

La Trobe Art Institute biannual facade commission. Courtesy of the artists.

16 6

4 October—11 January 2026 Between Waves Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Hayley Millar Baker, Jazz Money, Mandy Quadrio, Cassie Sullivan, this mob Between Waves amplifies concepts related to light, time and vision – and the idea of shining a light on our times – as expressed by the Wurundjeri Woi Wurrung word ‘Yalingwa’. The exhibition variously explores the visible and invisible energy fields set in motion by these ideas, to illuminate interconnected shapeshifting ecologies within, beyond and between what can be seen.

Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria, curated by Dr Jessica Clark.

18 October—26 January 2026 Bloom Ros Forster, David Preston, Utagawa Hiroshige, Helen Ogilvie, John Murray, Ilma Duncan, Isabel Huntington, Arthur Boyd, John Mutsaers, Christian Thompson, Barbara Hanrahan, Rosalind Atkins, Louiseann King, Susan Purdy, Tony Hanning, Bruce Nuske, Victoria Howelett, Dr. Aunty Eileen Harrison, and Tiffinie-Jane Gerritsen

Karen Zipkas, Impressions of a Flayed Forest, Mirboo North Storm Cell, 2024, charcoal, masking tape, ink, journal, 42 x 59.4 cm (framed).

25 October—18 January 2026 Reflections on Inversion Karen Zipkas Federation University Emerging Artist Award 2025 winner Karen Zipkas exhibits a series of fascinating works in the wake of devastating storms that ripped through Mirboo North in 2024. Karen explores the concept of solastalgia and the destruction of her surrounding natural environment using a mobile camera obscura.

25 October—18 January 2026 Still Breathing Liam Maree Rogers Federation University Emerging Artist Award 2025 winner Liam Maree Rogers presents a series of intimate works exploring his lived experience of mental health, neurodiversity, and queerness. His dreamy digital piece Masterclass blends comfort with imagination, creating a luminous, surreal atmosphere that invites viewers to reflect on the realities within.

VICTORIA

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–5pm.

Other times by appointment.

From 22 November As Above So Below Helen S. Tiernan New paintings exploring identity, culture and environment through abstract visions and new whale series.

LON Gallery www.longallery.com 136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Wed to Sat 12noon–5pm.

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

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

Stephen Benwell, People now, 2025, glazed earthenware 6.5 x 8.5 x 8.5 cm, Image: David McArthur.

15 October—8 November Stephen Benwell

Guanting Li, Mountain Hiking, 2015, colour ink on rice paper, 66 x 125 cm, with English credenza and Louis XVI mantle clock and pair of French marble candelabra.

Until 14 November FUSIONS: A Blend Across Culture and Time Paintings by Chinese trained contemporary artists Fu Hong, Guanting Li and Echo Cai with 19th Century French Antiques and Decorative Objects from Leigh Pritchard Fine Art.

6 November—9 November LDFA at AAADA Sydney Fair Paddington Town Hall (please check gallery open hours during this time).

Tom Gerrard, Movement, 2025, acrylic, spray paint and airbrush on wooden panel, 150 x 120 x 5 cm.

4 November—29 November 20 Shot Sequence Tom Gerrard

Caleb Shea, Untitled (Orange), 2023, aluminium, polyurethane paint, 60 x 35 x 43 cm.

12 November—13 December Caleb Shea

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

Marie Hagerty, Beret, 2023, acrylic and oil on board, 42 x 30 cm.

Helen S. Tiernan, Sea Country, 2024, oil on canvas, 180 x 110 cm.

3 December—31 January 2026 Summer Group Show

Linden New Art, established in 1986, is a public gallery located in the Melbourne suburb of St Kilda. Our vision is to be a leading mid-size contemporary art space.

Our mission is to be a conversationdriven organisation championing bold new ideas. With a focus on mid-career artists, we pursue inclusive, thought-provoking programs creating new experiences & engagement through contemporary art. We embrace different ways of experiencing and seeing the world and oneself, 167

artguide.com.au Linden New Art continued... and provide opportunities to learn, debate and explore through contemporary art.

Nicholas Mangan, Core–Coralations (Bronchial Diversion), 2024, Coral, aragonite, mineral powder, acrylic resin, plastic nurdles, fiberglass, reinforced plastic grating, mild steel, enamel paint, 240 x 300 x 60 cm. Image courtesy the artist, Sutton Gallery, Melbourne, and LABOR, Mexico City.

15 November—1 February 2026 Coral Futures Erub Arts, Helga Groves, Laresa Kosloff, Nicholas Mangan, Rachel O’Reilly, Marian Tubbs

McClelland Sculpture Park + Gallery

Manningham Art Gallery

www.mcclelland.org.au

www.manningham.vic.gov.au/gallery

Bunurong Country, 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm.

See our website for latest information.

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

Rosemary Laing, between a rock and a place with no fish, a collaboration with Stephen Birch, 2003, type C photograph, 70 x 135 cm. McClelland Collection.

23 August—9 November Eternal Oblivion death and the afterlife 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.

Shannon Slee, Textile Assemblage for Carolyn (back), (detail), 2023, Preston op-shop dress, artists’ family sewing box scraps, blanket, thread, 170 x 200 cm.

Image by Simon Strong

15 November—20 December Textile Temporalities Shannon Slee Textile Temporalities by visual artist Shannon Slee is an exhibition and series of workshops that explores and reflects on the temporal nature of craft practices, human connectedness, and sites of intimacy.

Mary Cherry Gallery www.marycherry.com.au 126 Rupert Steet, Collingwood, VIC 3066 [Map 3] Thurs to Sat 12noon–5pm, or by appointment.

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

4 December—11 January 2026 speaking to you - proximal relations Carolyn Craig

Liminal Gallery + Lab www.liminalgalleryandlab.com Djilang, 64-66 Ryrie Street, Geelong VIC 3220 [Map 1] Wed to Fri 10am–3pm, Sat 11am–2pm.

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

16 8

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

22 November—22 March 2026 Maquette: Sculpture Award The inaugural Maquette: Sculpture Award brings together 62 sculptures by contemporary Australian artists. One entry will be awarded $20,000 and will become part of McClelland’s renowned permanent collection, which is focussed on modern and contemporary Australian sculpture. The title of this new sculpture prize refers to the scale of the entries— no more than 50 centimetres in any dimension. Finalists were selected by artist Lisa Roet and McClelland’s Artistic and Executive Director Lisa Byrne, with the winning work to be chosen by acclaimed sculptor John Meade and announced at the opening event on Saturday 22 November.

Ruth O’Leary, Venus, 2025, archival inkjet print, 75 x 110 cm.

11 October—15 November Bodywork Ruth O’Leary

VICTORIA between international, national, and local perspectives — inviting viewers to reflect on how portraiture continues to tell powerful stories across generations.

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

Mary Cherry Gallery → Tarik Ahlip, On Her Return, (detail), 2025.

Mary Cherry Contemporary is thrilled to present a solo exhibition of works by Ruth O’leary. Ruth O’Leary is a Dja Dja wurrung based artist, she holds a BFA from RMIT University and First Class Honours from Monash University. Her practice interlaces feminist, subjective and maternal ideas played out through the expanded field of painting and performace.

13 November—13 December Trade Winds, 2025 Teresa Busuttil and Tarik Ahlip Like winds that carry ships, seeds and stories across the sea, these works explore how histories and stories are blended and transmitted between people and places. Layering impressions, photographs, fragments, and traces, the work considers what is passed on, what is remembered, and how shared legacies take shape in motion.

Mailbox Art Space www.@mailboxartspace

Magda Steiner, oil on wood.

28 October—18 January 2026 Portraits of Survival A special exhibition by Anita Lester

George W Lambert, Hera, 1924, oil on canvas. National Gallery of Victoria, Melbourne Felton Bequest, 1925. compelling reflection on how female identity has been shaped by artistic representations of women.

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.

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

Mildura Arts Centre

Presented alongside Extraordinary Women: Works from the NGV Collection.

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

26 October—1 February 2026 Extraordinary Women Works from the NGV Collection Extraordinary Women: Works from the NGV Collection celebrates the brilliance, defiance and creativity of women across centuries. Drawn exclusively from the NGV Collection, the exhibition offers a

10 October—1 February 2026 Portraits: Past to Present Mildura Arts Centre Collection

This exhibition brings together a rich selection of portraiture from the Mildura Arts Centre Collection, spanning centuries and styles. Portraits: Past to Present explores how artists have captured identity, character, and culture through the human face.

Also featured are Aaron Bailey, Peta Uthmeyer, and Piero Clemente Garreffa, whose works reflect the evolving nature of portraiture today. Colin Rowe’s moving portrait of Denis Ryan offers a deeply personal reflection on local legacy and artistic interpretation.

Together with Extraordinary Women, this exhibition creates a dynamic dialogue

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.

4 October—6 December Awakening Histories Abdul-Rahman Abdullah, Aziziah Diah Aprilya, Zaenal Beta, John Bulunbulun (Ganalbingu), Cian Dayrit, Dogmilk Films, Gunybi Ganambarr (Naymil), Global Encounters Monash and MAREGE Institute, Guan Wei, Colin Heenan-Purunatameri and Michelle Woody Minnapinni (Tiwi), Karrabing Film Collective, Abdi Karya and Sana, Jenna Lee (Larrakia, Wardaman, Karajarri), Nancy McDinny (Garrwa, Yanyuwa), Mathaman Marika (Rirratjingu), Mawalan 1 Marika (Rirratjingu), The Mulka Project, Dhambit Munuŋgurr 169

artguide.com.au Monash University Museum of Art continued...

Naomi Hobson, Hoda Afshar, Stephen Dupont, Zoё Croggon, Shea Kirk and many others.

22 November—22 February 2026 Young Naomi Hobson, Darren Sylvester, Polixeni Papapetrou, Rod McNicol and many others Through the lens of some of Australia’s most vital image-makers, the exhibition asks us to consider the role photography plays in shaping the story of growing up in this country. It captures the fleeting and the formative, reflects cultural ideals and anxieties, and constructs the very image of youth itself.

Dhambit Munuŋgurr, Gunyaŋara Makassan’s, 2025 (detail). Monash University Collection, Naarm/Melbourne. Image courtesy of Roslyn Oxley9 Gallery, Gadigal/ Sydney. Photograph: David Suyasa.

Djakaŋu Yunupiŋu, Gurmilili - Tears of the Djulpan, 2024, earth pigments on paper.

Purchased from National Works on Paper with funds provided by the Friends of MPRG, 2024.

(Djapu, Waṉ d ̱ awuy, Dhuwa), Trevor Nakanapa Maminyamanja (Anindilyaugwa), Ipeh Nur, Margaret Rarru Garrawurra (Liyagawumirr, Garrawurra), Wilda Yanti Salam, Darrell Sibosado (Bard), Ms M. Wirrpanda (Dhuḏi-Djapu), Bulthirrirri Wunuŋmurra (Dhaḻwaŋu), Mr N. Wunuŋmurra (Dhaḻwaŋu) and Ms D. Yinupiŋu (Gumatj, Rrakpala).

with paper as a medium. Curated in collaboration with Gulumerridjin (Larrakia), Wardaman, and KarraJarri artist and curator Jenna Mayilema Lee, Unfolding recognises the significance of paper as a powerful tool for the transfer of knowledge, stories, and contemporary artistic expression. Featuring Nici Cumpston, D Harding, Robert Fielding, Fiona Foley, Brian Martin, Danie Mellor, Queenie McKenzie, Sally Morgan, Gloria Petyarre, Brian Robinson, Teho Ropeyarn, Lisa Waup, Dominic White and many more.

Mornington Peninsula Regional Gallery

Museum of Australian Photography (MAPh)

www.mprg.mornpen.vic.gov.au

www.maph.org.au

Bunurong Country Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm.

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.

6 September—16 November Joshua Searle: Bienvenido Bienvenido is a solo exhibition by Mornington Peninsula-based emerging artist Joshua Searle that explores his Colombian heritage and diasporic identity through painting, ceramics, and sculpture.

6 September—16 November The Authentic Consequence: Forty years of John Baird

50 finalists comprise this field of outstanding artists, offering a compelling view into the practice of contemporary photography in Australia. In 2025 the Bowness Photography Prize celebrates its 20th year, with a total prize pool of $70,000. Finalists include

Wurundjeri Woi-Wurrung Country, 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm.

Vivienne Westwood, London (fashion house), Vivienne Westwood (designer) Look 49, from the Anglomania collection, autumn– winter 1993–94. Le Cercle Républicain, Paris, March 1993.

Photo © firstVIEW. Model: Kate Moss.

7 December—19 April 2026 Westwood | Kawakubo Vivienne Westwood and Rei Kawakubo

29 November—15 February 2026 Unfolding: First Nations Works on Paper

170

www.ngv.vic.gov.au

13 September—9 November Bowness Photography Prize 2025

Curated by Rodney James.

The first major survey of accomplished Mornington Peninsula artist John Baird.

The exhibition traces Baird’s beginnings as an artist through to key examples drawn from his most recent paintings, drawings, collage and sculpture.

Unfolding is a major exhibition celebrating the diversity and dynamism of works on paper by First Nations artists. Featuring prints, drawings, paintings on paper and sculptural works from the Mornington Peninsula Regional Gallery (MPRG) permanent collection, located on Bunurong Country, the exhibition unfolds to reveal the many ways First Nations artists engage

National Gallery of Victoria— NGV International

Naomi Hobson, The good sister ‘Ms. Daley, the kindergarten teacher has a flash black bike, it’s them olden-style one. Every time I drop Erica off at kindy, I always check it out.’ Kayla, 2019. Courtesy of the artist, Vivien Anderson Gallery (Melbourne) and ReDot Fine Art Gallery (Singapore).

This major international exhibition pairs the work of two of the most influential fashion designers in recent history, Vivienne Westwood and Rei Kawakubo of Comme des Garçons. Bringing together works from the NGV Collection with selected important loans from international museums and private collections, the exhibition highlights key collections and concerns, showcasing over 140 designs that explore the convergences and divergences between the two designers’ work.

VICTORIA

National Gallery of Victoria → Installation view of Martin Grant on display from 28 March—26 January 2026 at The Ian Potter Centre: NGV Australia, Melbourne. Photograph: Sean Fennessy.

28 November—3 May 2026 Let’s Party!

Step into a world of creativity, colour and celebration at the NGV’s 2025 children’s summer exhibition! Let’s Party! Fashion for Kids: Designed by Danielle Brustman is inspired by dancing, parties and the sparkle of decorations. Dressing up is a fun and powerful way for kids to express themselves, and in this creative setting, young visitors can explore partyperfect outfits and join in exciting, party-themed activities.

National Gallery of Victoria—The Ian Potter Centre: NGV Australia

OTOMYS www.otomys.com 424 Malvern Road, Prahran, VIC 3181 [Map 6] Tues to Fri 10am–5pm.

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.

28 March—26 January 2026 Martin Grant 29 August—1 February 2026 Making Good: Redesigning the Everyday

Dapeng Liu, Heaven Above, Heaven Below, oil on canvas, 122 x 152 cm.

13 November—23 November STILL POINT by OTOMYS Olive Cotton, Teacup ballet 1935, printed 1992 gelatin silver photograph, ed. 21/50 36.0 x 29.2 cm (image) Purchased from Admission Funds, 1992 © Courtesy McInerney family and Josef Lebovic Gallery, Sydney.

28 November—3 May 2026 Women Photographers 1900 – 1975: A Legacy of Light 25 September—1 April 2026 MECCA X NGV Women in Design Commission 2025: Nipa Doshi

Installation view of Rigg Design Prize 2025, on display 19 September—1 February 2026 at The Ian Potter Centre: NGV Australia. Photo: Madeleine Burke.

Villa Alba Museum 44 Walmer Street, Kew

19 September—1 February 2026 Rigg Design Prize 2025, Next in Design: 35 Under 35

Otomys will be celebrating 15 years with an extensive art exhibition showcasing emerging to established Australian and international artists. The exhibition will support a programme of art and culture events. Request further details via info@otomys.com.

Now open Wurrdha Marra

Limited Release Alexia Vogel

Now open Bark Salon

Alexia Vogel is a South African painter based in Berlin, whose practice is rooted in 171

artguide.com.au OTOMYS continued...

Parallel Projects www.instagram.com/parallelprojects.au 138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.

See our website for latest information.

alchemical idea of Conjunction, they imagine transformation as a gradual process, where weaving becomes both method and metaphor for harmony, wholeness, and the making of an authentic self.

15 November—6 December Enjoy Your Rebirth Ilona Nelson

PG Gallery www.pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 0480 624 663 Tue to Fri 10am–5.30pm, Sat 11am–5pm.

Alexia Vogel. an intuitive exploration of colour, texture, and movement. Her work, a delicate interplay between abstraction and figuration, conjures dreamlike landscapes where time dissolves, and the familiar blurs into the imagined. Request a catalogue via info@otomys.com

One Star Gallery www.instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm.

6 November—23 November As Above, So Below Group exhibition of contemporary painting, drawing, sculpture and print by 30 women artists. Curated by Mariella Del Conte and Katy Beale, the exhibition is themed around ideas in Hermetic philosophy.

27 November—14 December Mercurial Muses New paintings by Kim Salmon.

Rachel Theodorakis, The Guardians Antevasin, 2025, 166 x 60 x 60 cm.

4 October—7 November In-Between Rachel Theodorakis In-Between presents woven sculptures that explore the threshold between the known and the unknown. Inspired by the Sanskrit word antevasin - one who lives at the border - these works reflect on contemporary life shaped by speed and mass consumption. In contrast, they embrace slowness, stillness, and awareness as acts of resistance, inviting viewers to pause and reflect. Standing as guardians, the sculptures balance fragility and strength, structure and wildness. Drawing on the

Kevin Foley, Night Shift, etching and aquatint on cotton paper, edition of 30, 268 x 238 mm.

Tom Civil, Together, etching onto cotton rag paper, edition of 16, 295 x 440 mm.

Parallel Projects → Ilona Nelson, Enjoy Your Rebirth Too, installation view.

172

Since 1975, PG Gallery has been a vibrant space for contemporary Australian printmaking, showcasing works by both celebrated and emerging artists. This festive season, explore our stockroom and discover original artworks that make truly memorable Christmas gifts. Choose from

VICTORIA framed works ready to take straight off the wall, or unframed pieces, flat packed, perfect for travel. With a diverse selection available in-gallery and online at pggallery. com.au, PG Gallery offers a unique opportunity to give the gift of art.

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.

QDOS → James Davis, Berlin, 1988, gouche pastel on paper, 120 x 95 cm.

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.

30 May—22 November 65,000 Years: A Short History of Australian Art

After Walter Hopps, 2024. Photograph: Benjamin Hoffman.

Curated by Associate Provost and Distinguished Professor Marcia Langton AO, Senior Curator Judith Ryan AM, and Associate Curator Shanysa McConville.

11 October—12 December After Walter Hopps Community Art Show

QDOS Fine Arts

In their final thematic for 2025, Platform Arts will hand over their gallery in an open-call exhibition and art sale titled After Walter Hopps. This annual exhibition is inspired by Walter Hopps’ 36 Hours project held at MOTA (Museum of Temporary Art), Washington, USA, in 1978. A renowned non-conformist, maverick curator, and transcender of boundaries, Walter Hopps’ seminal project was a celebration of artists from all ages and stages of career. As in previous years, After Walter Hopps will culminate in a vibrant community closing party.

Located in the Geelong Arts Precinct, Platform Arts is supported by the City of Greater Geelong, Creative Australia, and the Victorian Government through Creative Victoria.

Project8 Gallery www.project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.

See our website for latest information.

The world we love tells us how to behave, how to understand, how to love... It forms us as we live.

RACV Goldfields Resort www.racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

See our website for latest information.

www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 See our website for latest information.

2 November—22 November Drawings Mainly Unseen James Davis (1940–2019)

I am attempting to cast a small light on the universally fragile nature of civilisation and its never ending struggle with its self destructive and perverted darkside as the sirens pass us by and history repeats itself once more it seems.

23 November—13 December Deluded Graeme Wilkie To think you are not deluded is a delusion.

7 December—27 December Sky Spirit David Lancashire The vast skies, with towering clouds, rains, and energies, are an all-consuming wonder. A poetry of abstract movement.

14 December—3 January 2026 These Thoughts Make Us Ray Firth

Fiona Burns, Grass Weave Basket, 2023, grasses. Courtesy of Perridak Arts and the artist.

22 November—1 March 2026 Perridak

ArtHouse RACV Goldfields Resort.

Showcasing a selection of artists and practices supported by Ballarat’s First Nations owned and operated Perridak Arts. A gallery dedicated to the presentation of works by First Nations peoples from the 39 different Aboriginal nations that find their current home in and around Ballarat.

Explore weaving, painting and printmaking that represent the art practices that can be explored and purchased at Ballarat’s Perridak Arts.

173

artguide.com.au

RMIT Design Hub Gallery

Shepparton Art Museum

www.rmit.edu.au/design-hub-gallery

www.sheppartonartmuseum.com.au

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.

See our website for latest information.

Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Weekdays 10am–4pm, Weekends 10am–4pm, closed Tue. See our website for latest information.

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.

RMIT Gallery www.rmit.edu.au/rmit-gallery Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

See our website for latest information.

Robert Baines, Yellow Giraffe, bracelet, 2012. Image courtesy of the artist. pop and the historically obscure, Baines’ works are strikingly original and technically brilliant. This exhibition presents a comprehensive collection of significant works and research that showcase the diversity, depth and daring of his ground-breaking practice. Free public program: Kelly Gellatly in conversation with Robert Baines, Thursday 13 November, 5.30–7.30pm. Bookings essential: events.humanitix.com/kelly-gellatly-in- conversation-with-robert-baines.

Roberson Art Gallery www.RobersonArtGallery.com.au 43 Bridge Road, Richmond VIC 3121 [Map 6] 0417 863 147 Mon and Tues by appointment, Wed to Fri 10am–4pm, Sat and Sun by appointment.

See our website for latest information.

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji), Forever I live, 2015. Digital print on aluminium. Private Collection, Narrm.

25 October—26 January 2026 JXSH MVIR: Forever I Live Josh Muir From 29 August Mai Nguyễn-Long and Casey Chen

The gallery invites art lovers and collectors to immerse in a vibrant and dynamic display of abstract art.

Portrait of Robert Baines holding his work, Three Spheres and the Collision, 2024-25. Image courtesy of the artist.

Photograph: Joanne Manariti.

19 September—22 November BAINZ JEWLZ Robert Baines This major retrospective exhibition surveys the eminent career of Australian artist-jeweller Robert Baines. Drawing from the philosophically rich, the blatantly 174

Robyn Roberson, Deeply Serene, 2024, acrylic on canvas, 80 x 80 cm.

1 September—31 December Art in Motion. Colours in Harmony.

Exhibition features over 50 framed acrylic on canvas abstract artworks. Curated by David Disher.

Sam Jinks, Woman and Child (detail), 2010. Shepparton Art Museum Collection, Purchased with the assistance of the public and Greater Shepparton City Council, 2011. © the artist.

VICTORIA

Ongoing Stories from the SAM Collection Until 2026 Swamp Drawing Kerrie Poliness

Stockroom Kyneton www.stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm.

See our website for latest information.

Stockroom Kyneton → David Ray, Vase & Cup, 2025, mid-fire porcelain, decal, enamel, 12 x 5 x 5 cm and 8 x 7 x 7 cm.

SOL Gallery www.solgallery.com.au 420 Brunswick Street, Fitzroy VIC 3065 [Map 3] 03 9913 5833 Tue to Sun 11am–6pm.

Kate Rohde, Baroquetopus Urn #2 & Golden grain table, 2022–25, mixed media, Urn 70 x 55 x 40 cm, Table 85 x 75 x 60cm.

29 November—11 January 2026 Familiars Kate Rohde Asian Style with a Western Rhyme David Ray Adorned and Unbound: Objects of Ornament and Utility Rachael Rose

Shivers Gallery www.864shivers.com Wurundjeri Woi-wurrung Country, 864 Sydney Road, Brunswick VIC 3056 [Map 3] 0474 010 207 Weds to Mon, 11am–6pm.

See our website for latest information.

We have a small team behind SHIVERS, an independent arts organisation based in Naarm (Melbourne).

SHIVERS opened in 2024 with the aim of creating a space that brings together multiple art forms and communities under one roof.

29 November—29 December Book-ish Presented in collaboration with Troppo Print Studio—is a curated collection of art books, zines and prints to close off our exhibition series in 2025. It features some of our favourite works from independent publishers, art collectives and print studios around the world: each reflecting unique aesthetic, cultural and political perspectives. Alongside publications, the show includes prints in various mediums and highlights the art book as both object and artwork, offering a refuge from the relentless bleakness of the digital age.

Opening 29 November.

Strokes in Blue, Queens of Victoria Building.

2 December—21 December Shelter in Another body Strokes in Blue Strokes In Blue (b. 1990, Naarm) is a surrealist enquiring her elusive psyche with unexpected metaphors.

With her exhibition, Shelter In Another Body, she plays with the indisputable feeling of home we feel with some people and 175

artguide.com.au

Town Hall Gallery

SOL Gallery continued... in some places. She rejects the constraints of her physical body, and the limited sense of belonging she feels because of it, in familiar and foreign places and faces; and the limited sense of belonging she feels in it, rejecting her own idiosyncrasies and inadequacies.

Shelter In Another Body touches on themes of love, belonging and posthumanism the artist invites us to transcend our human form and view each other as fabricated architecture holding, harbouring, sheltering many stories, experiences, lives and realities (some distorted) of familiar and foreign places and faces.

Sullivan+Strumpf Naarm/Melbourne www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

30 October—22 November Artist Anonymous Michael Lindemann

www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 9am–5pm, Sat 12pm–4pm, Closed Sun and public holidays.

See our website for latest information.

Howard Arkley, The Bay Window, 1988, TarraWarra Museum of Art collection.

Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2008, © the Estate of Howard Arkley and courtesy of Kalli Rolfe Contemporary Art. character of our urban experience and built environments.

The Torch www.thetorch.org.au 146 Elgin Street, Carlton VIC 3053 Mon to Fri, 1pm–5pm, Sat 11am–3pm. Free admission

Andrew Li, Morning Rain on Clapham Street, 2024, oil on canvas, 40.5 x 50.5 cm.

Image courtesy of the artist.

1 October—15 November A View Andrew Li Featuring works by local artist Andrew Li, A View is a community exhibition celebrating the everyday beauty that surrounds us, often unnoticed. This exhibition features works inspired by the landscape and scenes of Boroondara, capturing the colours that shift with the seasons, moods and light.

12 November—24 January 2026 OBJECTIVE Tony Albert, Sally Anderson, Nadine Christensen, Adam John Cullen, James McGrath and Louise Paramor

Polly Borland, Slit, 2025, work in progress, digital renders. Courtesy the artist.

20 November—20 December Puffs Polly Borland

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.

29 November—1 March 2026 The City Wakes, the City Sleeps The City Wakes, the City Sleeps curated by Dr Victoria Lynn and James Lynch draws from the TarraWarra Museum of Art Collection to present a selection of rarely seen artwork treasures, exploring how artists across different eras have captured the architecture and social dynamics of life in the city and revealing the distinctive 176

Derek C, Yamatji/Wangai/Noongar peoples, Colourful Future, 2025, acrylic on canvas, 30 x 30 cm.

24 October—22 November Future Dreaming Featuring 200+ First Nations artworks exploring a future beyond incarceration.

Each artwork offers a glimpse into the artist’s vision of the future – from deeply personal hopes, such as reuniting with family, returning to Country, or reconnecting with culture, to broader reflections on the future of political, social, and environmental systems.

Tolarno Galleries www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

15 November—13 December Big group

15 November—13 December A kind of skin Andrew Browne

This bold new exhibition challenges traditional concepts of still life, showcasing a diverse range of artists who push the boundaries of the genre. With a focus on contemporary expression, the exhibition offers an exciting departure from the conventional, using painting, video, sculpture, and installation to explore everyday objects and scenes in unexpected ways.

12 November—24 January 2026 Boroondara Summer Salon

Town Hall Gallery is delighted to present the annual Boroondara Summer Salon, a curated group exhibition celebrating the creativity and diversity of the Boroondara community.

VAS Gallery – Victorian Artists Society www.vasgallery.org.au Wurundjeri Woi-wurrung Country, 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat & Sun 11am–4pm.

VICTORIA

22 October—16 November Visual Language Rachel Dettmann Smith

during their 2025 residency. The Coterie program is generously supported by the Hansen Little Foundation.

Visual Language is a solo exhibition of oil paintings by Rachel Dettmann Smith, featuring a selection of landscapes, still life, and portraits painted directly from life in the tonal tradition.

5 November—16 November Retrospective Louise Foletta A body of work by watercolour and mixed media artist Louise Foletta, grounded in the experience of the landscape itself.

Through impressionistic renderings of a lively, light modulated surface, Louise’s works reflect the immediacy of her experience within the landscape.

5 November—16 November Wild Things Susan Morris and Liz Millsom A shared love of native flora and fauna inspires this beautifully observed exhibition of paintings and limited edition intaglio and drypoint prints by artists Liz Millsom and Susan Morris. Drawn from their local surroundings and travels around Australia, both artists portray the inhabitants of the landscape with sensitivity and appreciation drawing on their respective skills and experience.

19 November—8 December The Courage of Colour Joan Allison This retrospective exhibition showcases a collection of still life paintings created directly from life. These intimate arrangements are grounded in personal memory and a deep appreciation for the quiet beauty of everyday moments.

Andy Comiss, Tokkuri.

17 December—17 January 2026 VAS Studio Exhibition An annual exhibition of the range of artistic practices and mediums that are taught and practiced in the VAS Studio, encompassing oil, watercolour, drawing, and acrylic. Also on display are artworks that have been created during our weekly Portrait and Life Group sessions with life models.

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.

Ibrahim Ahmed: Amidst the Absence, a Present is Felt

20 November—14 December The Hylton Mackley Artist of the Year Award The highlight of the Victorian Artists Society’s exhibition calendar sees peer-voted finalists across three Seasonal Select exhibitions present works for consideration in the $17,000 Hylton Mackley Artist of the Year Award, sponsored by the Mackley Family.

For 135 years, the historic Dandenong Town Hall, now the beloved Drum Theatre, has stood as the beating heart of the community. From its uncertain beginnings in 1890, it has been a stage for every chapter of local life: where futures were debated, where young soldiers were farewelled, new Australians found their place, and music, dance and celebration echoed through the walls. In times of disaster, it offered shelter; in time of need, it inspired hope. Presented at the Drum Theatre and Heritage Hill Museum and Historic Gardens. This exhibition is a collaboration between Dandenong and District Historical Society Inc. and the City of Greater Dandenong.

Wangaratta Art Gallery

25 October—16 January 2026

Mary Hyde, Venezia, VAS, 2024 Artist of the Year.

15 October—20 February 2026 The Place to Be: Dandenong Town Hall

Amidst the Absence, a Present is Felt brings together sculptural and photographic works created between 2020 and 2025, including a new commission.

Through cut-out silhouettes, miniatures and hand-crafted interventions, Ahmed explores absence as a form of presence— felt, remembered and embodied. Personal and political narratives entwine themes of masculinity, migration and colonial legacies, creating works that are both intimate and layered.

10 December—5 January 2026 VAS Christmas Salon

www.wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

20 September—9 November There there Mat Vaughan There there brings together a new series of large-scale paintings by NorthEast Victorian artist Mat Vaughan. Each painting is a conversation, a negotiation, yet with persistence and time, a shift occurs, something clicks and the painting speaks back.

12 September—10 December Remote: Kasia Fabijańska Remote brings together a selection of recent works on paper by Albury based artist, Kasia Fabijańska that explore her relationship with landscape, from her homeland of Poland to her adopted home of Australia.

25 October—18 January 2026 Overland Matthew Harris Wangaratta-born, Melbourne-based artist Matthew Harris explores power structures and historical narratives through a socially critical and conceptual practice in painting and sculpture. In Overland, Harris turns his focus to the lasting impact of colonisation on the Wangaratta region and its First Peoples, presenting a new series of paintings informed by historical documents.

A festive display of small and affordable artworks by VAS artists. Unlike other exhibitions, artworks from the Salon can be taken at the time of purchase. Perfect for holiday gifting!

17 December—17 January 2026 The Hansen Little Coterie Exhibition Jemma Cakebread, Madaline HarrisSchober, Jennifer Huang, Caterina Leone, Andrew Li, and Swathi Madike This exhibition showcases the work of the six Hansen Little Coterie participants

Town Hall, Longsdale Street, Dandenong, circa 1954. Photo sourced: Old Dandenong Blog.

Kasia Fabijańska, Yeddonba – Blue, 2021, photogravure and chine colle, 60 x 61 cm.

177

artguide.com.au Wangaratta Art Gallery continued...

15 November—11 January 2026 Pleats of matter Kate V M Sylvester Melbourne based artist Kate V M Sylvester’s process-driven, meditative practice exposes the often-overlooked materiality of everyday garments. In Pleats of matter, Sylvester has created an immersive installation made from deconstructed, recycled t-shirts, meticulously unthreaded by hand to reveal the mass and structure of the jersey weave.

Evolving in the West Space Window is a new series by Arts Access Victoria, showcasing artists in the AAV Studios. Across six distinct presentations, The Luminosity Series explores themes of place, connection, family, dreams and fears, realities and imagination. The works shine a light on disability culture, with raw and authentic representations of strength, resilience and pride. The artists in this series work with mentors Betra Fraval, Alister Karl, and Dave Van De Leur in the AAV Studio Program in Collingwood Yards Arts Precinct, directly above West Space. Arts Access Victoria (AAV) is the peak body for arts and disability in the state. They are disability-led and leading the continued development of a vibrant arts and cultural sector that reflects our society in every way. AAV have been producing and platforming the work of Deaf and Disabled people for over 50 years. West Space are proud to partner with AAV to continue this work. Many of the artists have exhibited widely, but for some, this is their debut presentation. The Luminosity Series is supported by the City of Yarra.

Linda Steele, Citrus Zing, (detail), art quilt.

Image courtesy and © the artist.

13 November—17 December Pathways: Art Quilts from AQIPP Australian Quilts in Public Places (AQIPP) Quilters from around Australia have created imaginative and inspiring art quilts in response to the theme ‘pathways’, marking the 8th biennial AQIPP (Australian Quilts in Public Places) exhibition at Artspace.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 10am–4pm, Sat and Sun 10am–3pm.

Pamela Florance, It’s about paint, 2024, (detail), acrylic on canvas, 135 x 120 cm.

12 December—11 March 2026 Drawn with Paint Pamela Florance Drawn with Paint brings together a selection of work by Wangaratta based artist Pamela Florance made over the past two decades of her 50-year practice.

West Space www.westspace.org.au Wurundjeri Country, 102/30 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

Elyas Alavi, The Sound of Silence (#1), 2024, installation view, UNSW Galleries, 24th Sydney Biennale: Ten Thousand Suns. Photograph: Jacquie Manning.

15 November—31 January 2026 Soul of the Soul Elyas Alavi, Ayman Kaake, Ali Tahayori and Kia Zand West Space presents a new exhibition by four artists reflecting on their shared experience as ‘outsiders’ in Australia. Each from the Southwest Asia and North Africa (SWANA) region, Elyas Alavi, Ayman Kaake, Ali Tahayori and Kia Zand work across disparate materials and processes, yet share synergies in their experience of queer, diasporic subjectivity, and the intersections of cultural and queer identity. Soul of the Soul / ‫ روح الروح‬/ ‫ جانِ ِ جانان‬marks the first time the four artists will show alongside one another, and will be the outcome of a collaborative process over eighteen months.

Whitehorse Artspace

Jeff McNeill, Roosting Tree Sri Lanka, 2025, acrylic and oil pastel.

23 August—26 November The Luminosity Series Maria Dimopoulos, Frank Iaquinto, Helen Henwood, Carmel Mancino, Jeff McNeill and Pascal Silence.

178

www.creativewhitehorse.vic.gov.au/ venues/artspace

Sally Smart, The Artist’s Ballet Puppet (Dancer Brut) #1. Image courtesy Sally Smart and Gallery Sally Dan-Cuthbert.

Wurundjeri Woi-wurrung Country, Whitehorse Artspace, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

See our website for latest information.

9 October—21 December Beyond the Ballerina When movement becomes visual art Joel Bray, Zoë Croggon, Anne Ferran, John McCormick & Adam Nash, Sally Smart, Leyla Stevens, Anne Scott Wilson. Curated by dr megan evans and Olivia Poloni.

New South Wales

Exhibitions

NOVEMBER/DECEMBER 2025

Deborah Kelly

C R E AT I O N 22 November 2025 – 15 March 2026

22 November 2025 – 1 February 2026

Images: (Top) Deborah Kelly, from the CREATION collage suite, 2019-ongoing, image courtesy of the artist; (Bottom) HOSSEI, ESSSENSSSE, 2023. Performer Lauren Booker. Photography by Jacquie Manning.

ESSSENSSSE is a Verge Gallery exhibition, touring in partnership with Museums & Galleries of NSW, supported by the University of Sydney and proudly funded by the NSW Government.

Verge Gallery is supported by the University of Sydney Union.

CREATION acknowledgements:

ESSSENSSSE acknowledgements:

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail, Beach, 2024, oil and acrylic on linen, 80 x 100cm

29 November 2025 - 22 February 2026

Region media

WYNNE PRIZE This project is proudly supported by the NSW Government through Create NSW’s Blockbusters Funding initiative.

The Glasshouse is supported by the NSW Government through Create NSW

202

18 4

Image: the artHITects (Gary Carsley & Renjie Teoh), Torn/Tears – Wiradyuri Countryside (detail), 2025, 2 layered ink jet print, 112 A4 80gsm photocopies, IKEA Vallstena Doors, 200 x 240 cm.

Courtesy the artists and Bathurst Regional Art Gallery.

22 November 25 January 2026

ARCHIBALD PRIZE

18 6

Archibald Prize 2025 finalist, Evan Shipard The green man (detail) © the artist

2025

Gosford Regional Gallery Gosford Regional Gallery 22 November – 11 January 2026 This is a ticketed event.

Visit gosfordregionalgallery.com

MOSMAN ART PRIZE AUSTRALIA’S PREMIER PAINTING PRIZE

Mosman Art Prize sponsors

Open until 2 November Mosman Art Gallery 1 Art Gallery Way, Mosman

Mosman Art Prize partners

GILLIAN JONES

Mark Maurangi Carrol, Blue boat (crowd on the island of mangaia) (detail), 2025, oil enamel, permanent marker on linen, image image courtesy the artist and Nasha Gallery, Sydney, © the artist.

MUD TO MASTERPIECE

25 OCTOBER 2025 — 01 FEBRUARY 2026 Far from traditional utilitarian uses of clay, Mud to Masterpiece is an exhibition that delves into the world of contemporary ceramics, where the boundaries of tradition and innovation are pushed to the limits.

Gerry Wedd, Wave urn (detail), 2022, earthenware, 63.6cm (H) x 50cm (Dia), Edward Minton Newman Bequest Fund 2022, Art Gallery of South Australia, © Gerry Wedd, photo: Grant Hancock

SR

Tracie Bertram Penny Evans Bonnie Hislop Juz Kitson Alfred Lowe Ramesh Mario Nithiyendran Mark Patterson Monica Rani Rudhar Ebony Russell Gabriella Smart Vipoo Srivilasa Gerry Wedd Kara Wood

SR

STEELREID STUDIO

SR

SR studio

steelreidstudio.com.au | 18 8

0414 369 696

116 exhibitions | 700 artists

Photo: Kristin Schnell

7-30 November

headon.org.au Discover exceptional photography Sydney & around Australia

PLAY!

29 November 2025 – 15 February 2026

A Blue Mountains City Art Gallery exhibition curated

by Hayley Zena Poynton.

Exhibition opening Friday 28 November, 6–8pm.

Gallery Talk Saturday 6 December, 11am.

Sanné Mestrom, Lucid Folly, 2022 ,The Whole is Greater than the Sum of Her Parts, 2025, Dedicated interactive space within Cezanne to Giacometti: Highlights from Museum Berggruen / Neue Nationalgalerie, National Gallery of Australia. Photo: Kerrie Brewer.

New artworks by Hank Spirek One person exhibition at Rosebank Gallery until 30 November ROSEBANK GALLERY 38 Victoria Street, Millthorpe, NSW rosebankmillthorpe.com.au 0407 784 539

ARTWORK ORANGE 241 Lords Place, Orange, NSW info@artworkorange.com.au 0427 784 086 Artist studio opened upon request at 6 Lindsay Street, Blayney, NSW hankspirekartist.com 0483 318 453 Hank Spirek, Escape from Apartheid, oil on canvas, 90 x 60 cm.

19 0

JamFactory ICON

JULIE BLYFIELD

Chasing a Passion

Griffith Regional Art Gallery Saturday 8 November - Sunday 18 January

JamFactory ICON Julie Blyfield: Chasing a Passion is a JamFactory touring exhibition. Julie Blyfield, Viridescent wall object #3 (detail), 2024, patinated bi-metal: copper, sterling silver, wax, patination by Silvio Apponyi, largest: 290 x 345 x 35 mm; Butterfly brooch #2, 2024, 24-carat gold plate sterling silver, 32 x 45 x 7 mm, photographer: Grant Hancock

ENTRIES OPEN

Open to current & former ADF personnel

Anneke Jamieson, The promotion, 2022

WIN $15,000 CASH PRIZE

ENTRIES CLOSE

People’s Choice award $5,000 cash prize

Sunday 1 February 2026

awm.gov.au/nwap

192

Margaret Woodward (1938-) The almost sound of the centre, 1999 oil on canvas, 178x178cm.

Works by: M. Woodward V. Rubin, J. Coburn, N. Harding, D. Boyd, Y. Bergner, 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.

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

19 4

The Hidden Line Art of the Boyd Women

22 NOVEMBER 2025 – 15 FEBRUARY 2026 Mary Nolan, Tessa, Arles, 1964, black and white photograph (detail). National Library of Australia, courtesy of the Lady Mary Nolan Estate.

artguide.com.au

8 Wall Gallery

Artbank Sydney

www.8wallgallery.org

www.artbank.gov.au

8 Soudan Lane, Suite 1 Level 1, Paddington, Sydney, NSW 2021 [Map 10] 0402 888 869 Tues to Sat 11am–5pm, and by appointment.

See our website for latest information.

222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Fri 12–4pm, or by appointment for all leasing requirements.

See our website for latest information.

We are a new project-based art gallery offering a collaborative space designed to connect people by celebrating artists' practices, cultures, and programming.

Exhibitions will run every 4-6 weeks and focus on Indigenous, emerging, and i nternational art. The new model is slowly evolving, with hopes to create a notfor-profit structure in support of artists' projects and participation, such as the upcoming Weaving Project.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Eora Nation, Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

See our website for latest information.

11 October—15 February 2026 Dangerously Modern: Australian Women Artists in Europe 1890–1940

Annandale Galleries www.annandalegalleries.com.au Gadigal Country, 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

See our website for latest information.

that supports and creates professional pathways for artists with intellectual disabilities. A multi-disciplinary artist, his practice spans painting, drawing, installation, performance and photography. Thom is called the “arranger” at Studio A studios and is constantly moving things around and reframing them. For this exhibition Thom brings his unique analysis of the world to the Artbank collection, reinterpreting it in the Artbank Window gallery.

Thom Roberts, Magic Robot Machine, 2020, Synthetic polymer paint on cardboard with AR animation. Artbank collection commissioned 2020.

Window Gallery: 14 November—31 January 2026 Thom Roberts and Studio A – Artbank Window takeover Emily Crockford, Catherine McGuiness, Thom Roberts and selected artworks from the Artbank Collection Artbank is proud to host Thom Roberts and the Studio A team to curate the Artbank Sydney Window. Thom Roberts works out of Studio A, an organisation in Sydney

Explore the art and lives of 50 trailblazing women artists who prevailed against social constraints and left Australia to pursue international professional careers.

The exhibition focuses on the vital role of these Australian women in the emergence of international modernism and includes the now-famous, such as Nora Heysen, Margaret Preston and Grace Cossington Smith, as well as the still under-recognised, such as CL Allport, Justine Kong Sing and Stella Marks.

6 September—8 February 2026 Raquel Caballero: The Patchwork Portal In this newly commissioned exhibition Caballero invites visitors to contribute

Bambarrarr Marawili, Garraŋali, 2025, earth pigments on stringybark, 108 x 64 cm.

5 November—13 December Wäwamanydji: Two Brothers Bambarrarr Marawili and Wulu Marawili (featuring works

by Djambawa Marawili AM) In association with Buku-Larrŋgay Mulka Centre.

Art Gallery of New South Wales → Janet Dawson, St George and the dragon, 1964, oil on canvas, 166 x 197 cm. National Gallery of Australia, Canberra, gift of Ann Lewis AO 2011 © Janet Dawson.

19 6

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

31 May—9 August 2026 High Colour High Colour is an immersive exploration of local and global Indigenous perspectives on colour. Inspired by Richard Bell’s 2012 work Colour theory, the exhibition considers the role of colour in creating contemporary interpretations of Indigeneity, as well as the use of colour as a form of categorisation.

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.

Art Leven (formerly Cooee Art) www.artleven.com

Hilda Rix Nicholas, The pink scarf, 1913, oil on canvas, 80.5 x 65 cm. Art Gallery of South Australia, gift of Mrs Roy Edwards through the Art Gallery of South Australia Foundation 1993 © Bronwyn Wright. to a collaborative patchwork installation.

Taking inspiration from her favourite childhood book, L Frank Baum’s The Patchwork Girl of Oz, and the psychedelic textiles of the 1970s, she re-creates the rebellious Patchwork Girl, also known as Scraps, as a larger-than-life-size doll.

Gadigal Land, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

See our website for latest information.

18 November First Nations Fine Art Auction Auction: Tuesday 18 November, 7pm.

Viewing: 6 November–18 November, 10am–5pm.

The first state art museum retrospective of one of Australia’s great artistic visionaries. Janet Dawson (born 1935) is one of Australia’s pre-eminent artists. The exhibition highlights her distinguished career spanning over six decades of practice, illustrating that Dawson remains an artist who has refused to be bound by rules.

German artist Thomas Demand has created an extraordinary exhibition space specifically designed to display the John Kaldor Family Collection in a whole new light.

The exhibition features works Francis Alÿs, Christo, Gilbert & George, Andreas Gursky, Sol LeWitt, Robert Rauschenberg, Ugo R ondinone, Saskia Olde Wolbers and more.

From 4 October Mike Hewson: The Key’s Under the Mat Australia’s most dramatic exhibition space is completely transformed into an underground art park, as artist Mike Hewson brings his unique and boundary-testing brand of social sculpture to the Nelson Packer Tank.

A group exhibition of drawing, painting and sculpture.

In In Between, artists Rachel Honnery, Josephine Morrow, Alison Peters and Mollie Rice reflect on the ways we exist within those networks. They are informed by memory and the experience of place: responding to landscape, urbanism and interior spaces. It provides a dialogue between inner and outer worlds echoing what we feel, hear, sense and smell rather than just what we see.

6 December—12 April 2026 Ron Mueck: Encounter

30 August—11 January 2026 Kaldor Public Art Project 38 Thomas Demand: The Object Lesson

5 November—16 November In Between

We exist between natural and man-made environments, interconnected within social, digital and ecological networks.

The way each of us weaves together our experiences, memories and perspectives forms our sense of how we belong.

19 July—18 January 2026 Janet Dawson: Far Away, So Close

Enter the extraordinary world of Ron Mueck, the internationally celebrated Australian artist known for his astonishingly lifelike sculptures. Ranging from the minute to the monumental, Mueck’s hyperreal human figures offer a powerful and intimate reflection on the human condition. This deeply moving exhibition explores universal themes of birth and death, isolation and connection - tenderly inviting us to pause and reflect. Exclusive to Sydney.

Mollie Rice, Sound Score, (detail), 2024, archival ink on rice paper.

Dorcas Bennett Tinamayi.

29 November—20 December Mother's Story Dorcas Bennett Tinamayi (Mrs Bennett's daughter) with Warakurna Artists. Art Afternoon: Saturday 13 December, between 2pm–5pm.

Alex White, With Creation, 2025, acrylic on plastic.

19 November—30 November Theme Park Rides: Art with Lego and K’nex An unmissable exhibition of breathtaking, working models that blend art, play, and innovation.

Mulyatingki Marney, Ngurra (Home Country, Camp), 2022, acrylic on canvas, 30.5 x 76 cm.

13 December—17 January 2026 Artists from Spinifex Hill Studios, WA Art Afternoon: Saturday 13 December, between 2pm–5pm.

Get ready to be amazed! This exhibition features eleven breathtaking scale models of iconic theme park rides from around the world, plus two stunning replicas of Sydney Ferries. Created by Alex White, a talented young artist from the Northern Beaches, these models are built from K’nex, Lego, and various recycled materials—making them as environmentally creative as they are visually captivating.

The showstopper? A 9-foot-tall, fully operational model of Sydney’s iconic Luna Park 197

artguide.com.au

Australian Galleries → Dale Cox, Blue mountain extract, 2024, acylic on gold enamel on board, 62 x 123 cm.

Artspace on the Concourse continued...

Ferris Wheel, twinkling with fairy lights!

These incredible, working masterpieces aren’t just for kids—they’ll thrill adults too, offering a unique fusion of artistry and engineering. Don’t miss your chance to witness this awe-inspiring collection in person.

3 December—14 December 40 Years of AKAVA: Tracing Four Decades of Ebb and Flow

Zoe Li, Comb Machine: The Regulation of Hair, 2021, still from video, courtesy the artist.

A group exhibition celebrating 40 years of AKAVA.

Li and Wendy Yu that centres code as medium and tool for artistic practice.

The exhibition reflects on the role that artists can play in co-opting code and coding for creative and socially engaged purposes of care and community engagement. Curators: Rachael Kiang & Dr. Deborah Turnbull Tillman. Creative Producer: Jessica Montecinos.

An unmissable exhibition of breathtaking, working models that blend art, play, and innovation. The ebbs and flows of life follow lines that are both straight and curved, combining to create a unique shape that is constantly transforming.

In the same way that the lines on our art-makers’ canvases unexpectedly give life to something new, we have watched the shape of our AKAVA (Association of Korean Visual Artists in Australia) evolve for 40 years, observing the movement of its dynamic contours as people come and go. The AKAVA space and the works it embodies remained ever-moving over these decades, slowly but irreversibly shaping the artistic flows that are ongoing in our community.

Australian Galleries

Torii Kotondo, Beauty combing her hair, c.1930, woodblock print, 41 x 25.5 cm.

4 November—22 November Japanese Prints 2 December—20 December Fairlie Kingston Cathy Weiszmann

Bankstown Arts Centre

www.australiangalleries.com.au

www.bankstownartscentre.com.au

15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm.

See our website for latest information.

Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

4 November—22 November Dale Cox 19 8

7 October—8 November Care in the Code An interdisciplinary exhibition featuring the work of Chloe McFadden, Zoe Qijing

14 November—22 November To the Table Curated by emerging creatives Potluck ARI, To The Table is a pop-up exhibition exploring sharing, community, and togetherness. Launching Potluck ARI on Dharug Country, it celebrates collaboration and diverse voices in Western Sydney. Supported by Utp and Bankstown Arts Centre, the exhibition invites audiences to gather, connect, and imagine new possibilities. Artists: Rae Boggs, Jamie Jude Smith, Keorattana Luangrathrajasombat, Karlina Mitchell, Thao Nhi La and Eleanor Wickens.

6 December—14 February 2026 Bamboo Entwine as They Grow A curatorial collaboration between Bankstown Arts and Centre and Museum of Art and Culture, yapang, the exhibition presents personal reflections on the cultural and material value of bamboo.

Different artworks by the three artists — Tiyan Baker, Cindy Yuen-zhe Chen and Sarah Ong — will be featured at each gallery.

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

Bank Art Museum Moree (BAMM) www.bamm.org.au Kamilaroi Country, 25 Frome Street, Moree NSW [Map 11] 02 5764 0955 Tue to Fri 10am–5pm, Sat 10am–1pm, Sun closed.

There is Birdsong. Photographer Greg Piper.

11 November—23 November There is Birdsong

Nan Goldin, Nan and Brian in bed, NYC, 1983, National Gallery of Australia, Kamberri/Canberra, purchased 1994. © Nan Goldin.

Sasha Van der Westhuizen McCrindle, Sharyn Vamvakaris, Danya Cahalan and Gemma Gale explore contemporary approaches to ceramics examining themes of joy, belonging, family and environmental concerns. Just as in the song of birds they gather and create their own expressive chorus. There is Birdsong is the graduating exhibition from advanced students at Northern Beaches Tafe.

20 September—9 November A Tear in the Fabric Zico Albaiquni, Tiyan Baker, Allison Chhorn, Visaya Hoffie, Jenna Mayilema Lee, Khaled Sabsabi, Leyla Stevens, Ali Tahayori, Hirofumi Uchino.

31 October—24 January 2026 The ballad of sexual dependency Nan Goldin

Alison Muir, Kaarla.

25 November—30 November stretched Alison Muir

Harold James, Garage Barber, 2016/2017, Blacktown NSW.

31 October—24 January 2026 Garage Barbershop

Barometer Gallery www.barometer.net.au 13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 Wed to Sat, 12–5pm, and by appointment.

See our website for latest information.

25 October—7 November Sally Campbell Textiles: The Grand Finale After 20 years we are saying goodbye.

It has been an amazingly creative journey, travelling to remote parts of India, designing handmade textiles with brilliantly talented artisans. Learning about natural dyes, meeting weavers, block printers and embroiderers. Our grand finale pop-up features quilts, clothes, cushions, and scarves.

Allison Chhorn, Memory House, 2012–13, 35mm photograph. Courtesy of the artist.

stretched, an exhibition of mixed media textiles and paper, has expanded Alison Muir’s dyeing processes, pushed her criteria for artwork and provide textiles that can be hung immediately on a wall.

Some works are framed. All works are one off, never to be repeated and mostly made in Sydney. Techniques include dye, print, paint, stitch, and collage. Some textiles are recycled, and a full colour range is available with a predominance of indigo and blue.

Bathurst Regional Art Gallery (BRAG) in partnership with 4A Centre for Contemporary Asian Art, presents A Tear in the Fabric. The idea of distortion represents a radical shift in aesthetic treatment and conceptual methodology which picks apart established rules which serve to dictate the status quo. For centuries, artists have twisted and transgressed formal boundaries to enact and depict cultural shifts. A Tear in the Fabric presents new and existing works from nine Asian and Asian Australian artists who embrace distortion as a mode of disruption. It revolves around notions of aesthetic, material and conceptual interventions integrated into established forms of creative practice.

Picking at the seams to make space for new narratives and artistic approaches, we see exploratory excursions into concepts of place, materiality, memory, identity and perception, manifesting in a diverse range of mediums.

10 December—end January 2026 Annual end of year group exhibition Featuring textiles, works on paper and ceramics.

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.

the artHITects (Gary Carsley & Renjie Teoh), Torn/Tears – Wiradyuri Countryside, (detail), 2025, 2 layered ink jet print, 112 A4 80gsm photocopies, IKEA Vallstena Doors, 200 x 240 cm. Courtesy the artists and Bathurst Regional Art Gallery.

19 9

artguide.com.au Bathurst Regional Art Gallery continued...

22 November—25 January 2026 West of Central 2 Bathurst Regional Art Gallery (BRAG) presents West of Central 2, the second iteration of this chaptered exhibition celebrating regional practice. Conceived as an exhibition responding to place, West of Central 2 embraces artists who live and work across Wiradjuri Country in Central West NSW. This Earth-centric exhibition honours artists’ care, concern, and respect for Country. Home to an increasing cohort of contemporary artists seeking connection, respite and balance, regional Australia is a place where artists have space to create, experiment and challenge. West of Central 2 celebrates those who live and work regionally, positioning the regional as central to their practice.

First realised in 2023 at BRAG, this second chapter, West of Central 2, invited artists from LGAs of Lachlan, Parkes, Forbes, Weddin, Cabonne, Cowra, Blayney, Orange, Mid-Western, Bathurst, Oberon and Lithgow to respond to the ecologies, histories, and communities of these places.

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.

8 July—13 December Makers Space with Monica Rani Rudhar Inspired by the artist’s Indian and Romanian heritage, this Makers Space celebrates the rich cultural significance of jewellery and its role in expressing and navigating complex heritage and identity.

Drawing from the artist’s personal collection of earrings, Monica has transformed her fragile ceramic gallery pieces into an installation of soft, oversized sculptures.

Creating a sense of joy and curiosity, the artworks hung high on the wall encourage visitors to view, reflect, and create their own sketches inspired by the beauty and detail of Monica’s work. The works at a lower height invite visitors to touch, play and respond to their tactility and scale. Explore the artworks and dive into Monica’s creative process with hands-on making activities for all. Enjoy even more fun on 25 October, with Family Day inspired by Makers Space with Monica Rani Rudhar.

Broken Hill City Art Gallery → 2024 Open Art Prize Winner: Bilyara Bates, Karnu Tharlta, Sandstone (stone on stone - traditional method), 2024.

30 September—13 December Ghosts in the Kitchen: Food, Memory, and Resistance in First Nations Australia James Ahmat Snr, Simone Arnol, Dylan Bolger, Elisa Jane Carmichael, Nicholas Currie, Penny Evans, Jacqueline Jacky, Kerry Klimm, Steven Russell, Bernard Lee Singleton, Kristine Stewart, Bankstown Koori Elders Group, Merindah Funnell, Emma Hicks. Guest curated by Rebecca Ray Ghosts in the Kitchen, is an immersive exhibition that explores the complex relationships between food, culture and identity from the perspective of First Nations peoples within Australia. Curated

by Rebecca Ray, this is a space where food is not merely sustenance but a medium for memory, identity and resistance – a ritual act rooted in kinship, land and spirit.

Through an Indigenous gothic lens this exhibition foregrounds the cultural trauma of colonial food systems while illuminating the powerful resurgence of Indigenous food sovereignty today. The gothic here is not merely death – it is what lingers with Ghosts in the Kitchen not as space of mourning but a place of reawakening.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com. au 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. 27 September—16 November Colour and Form

Ghosts in the Kitchen, 2025, design by Kim Gregory.

20 0

Selected works include our latest acquisitions by renowned local artists Claire Healy & Sean Cordeiro as well as other gems from the Blue Mountains

Claire Healy and Sean Cordeiro, Tako, 2020, acrylic gouache paint & polyester cord on helicopter engine cowling, 107 x 60 x 14 cm.

Cultural Centre Collection. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.

11 October—23 November The Scales The Scales brings into focus a quarter of a century of artist what’s practice.

This exhibition focuses on works made while living in the mountains, including his 2019 Doug Moran National Portrait Prize winning painting of Robert Forster. A Blue Mountains City Art Gallery exhibition.

22 November—1 February 2026 Capsules of Memory Blue Mountains Cultural Centre Altitude exhibition by Gianna Hayes.

29 November—15 February 2026 PLAY! PLAY! examines the facilitative role of art

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

by Rebecca Ray, Curator of Aboriginal and Torres Strait Islander Collections and Exhibitions at the Museum of Contemporary Art Australia.

Bundanon www.bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–4pm.

Campbelltown Arts Centre (CAC) www.campbelltownartscentre.com.au Dharawal Country, 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

See our website for latest information.

Bundanon is many things. An art museum embedded in the landscape. A wildlife sanctuary set on 1000 hectares. A gift to the Australian people. The vast array of experiences at this South Coast art destination means every visitor’s journey here will be different.

Lynda Draper, Flowers of the Night, installation view, Sullivan+Strumpf, Sydney, 2021. Photograph: Simon Hewson.

6 December—22 February 2026 Lynda Draper: Glimmer

what, Robert Forster, 2019, oil on linen, 204 x 202 cm. Collection Moran Arts Foundation. Winner 2019 Doug Moran National Portrait Prize. institutions in encouraging play, community connection and selfexpression. This exhibition emboldens audiences to physically respond to the artworks, generating engagement atypical of institutional settings. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.

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.

7 November—8 February 2026 2025 Maari Ma Indigenous Art Awards Presented by the Broken Hill City Art Gallery in partnership with Maari Ma Health Aboriginal Health Corporation and West Darling Arts, the Maari Ma Indigenous Art Awards celebrate the creativity and cultural strength of Aboriginal and Torres Strait Islander artists living across the Maari Ma / West Darling Arts region.

This respected non-acquisitive prize showcases a diverse range of works across painting, sculpture, and mixed media, with categories recognising emerging and established artists, young artists, and schools. The 2025 Awards will be judged

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

22 November—15 February 2026 The Hidden Line: Art of the Boyd Women Boyd Family: Helen a’Beckett Read, Emma Minnie Boyd, Cassandra Boyd, Charlotte Boyd, Doris Boyd, Lenore Boyd, Lucinda Boyd, Lucy Boyd, Polly Boyd, Lucy Boyd Beck, Ellen Boyd Green, Florence Boyd Williams, Yvonne Boyd, Mary Nolan, Alice Perceval, Celia Perceval, Kitty Perceval, Tessa Perceval, Pip Ryan and Hermia Sappho Boyd.

Contemporary Commissions: Pat Brassington, Elizabeth Dunn, Diena Georgetti, Helen Johnson, Narelle Jubelin, Camille Laddawan, Tjunkaya Tapaya OAM, Timna Taylor.

The Hidden Line: Art of the Boyd Women repositions the creative practices of five generations of women from one of Australia’s most prominent artistic dynasties.

Showcasing more than 300 powerful and diverse works, this timely exhibition brings the women of the Boyd family into focus.

As artists, designers, writers, and creative collaborators, their contributions—though historically less celebrated than those of their male counterparts— remain deeply influential.

Revealing a remarkable matrilineal line of artistic practices, the exhibition is drawn primarily from the Bundanon Collection, with key loans from the National Gallery of Australia, the National Gallery of Victoria, the National Library of Australia, and Heide Museum of Modern Art, the exhibition spans painting, ceramics, sculpture, photography and design, including several never-before-exhibited works from the Bundanon Collection.

2024 Fisher’s Ghost Art Award finalist exhibition, Campbelltown Arts Centre.

Image credit: Silversalt Photography.

27 September—16 November 2025 Fisher’s Ghost Art Award

CBD Gallery www.cbdgallery.com.au 72 Erskine Street, Sydney, NSW [Map 8] 0450 130 422 Tue to Sat, 11am–5pm.

Douglas Schofield, Dog-scape with Orb, 2025, oil and acrylic on canvas, 132 x 112 cm.

201

artguide.com.au CBD Gallery continued...

9 October—8 November Landscapes Reimagined Group Show Julie Edgar, Ember Fairbairn, Jasmine Mowbray, Julie Nicholson, Doug Schofield

range of artworks, including experimental and creative approaches in painting, ceramics, mixed media, photography and sculpture.

12 December—1 February 2026 The Night Passes Fiona Davies The Night Passes is a solo exhibition by Fiona Davies that parallels walking in the apparent emptiness of the hospital corridor at night with driving to and from the hospital on a small, dark country road.

Both sites of transition. Not somewhere to stay for long.

The sounds heard in the night time corridor are layers of unattended alarms, the sound of muffled crying, the sounds of muffled conversations, the sounds of sleep, and the sound of footsteps. Driving on a small country road at night—with the car window down—you can hear the sounds of the tyres on the road, the occasional cry of an animal, the sound of the car reflected by the structures on the roadside in a continuous loop of initiation, reflection, hearing and response.

The Night Passes is a Gallery Lane Cove touring exhibition.

Megan McKenzie, Having a Crack, 38.5 x 32 x 33 cm, raku & textured glazes.

ongoing relationship with suspension or suspense, as evoked by bodies in water.

The shoreline, where land and sea continuously act on one another, exemplifies the relationship with timelessness and change. The transparency and robustness of drafting film dissolves the boundaries between the place and act of drawing, immersing the artist in the flux between land, sea and self.

A Poem of the Sea is curated by Peter Haynes.

Ceramic Break Sculpture Park www.cbreaksculpturepark.com.au Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Thu to Sun, 10am–5pm and by appointment only until 1 March 2026.

Ceramic Break Sculpture Park is the brainchild of award-winning bronze sculptor Kerry Cannon. It features 3 galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.

12 November—20 December Inner Workings Megan Mckenzie Art Incubator Grant Recipient. Opening Wednesday 12 November, 6pm–8pm.

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.

23 November—7 December upstART 2025 Group exhibition The annual upstART exhibition is a unique showcase of artworks by students in Stages 5 and 6 from high schools in the Central West region of New South Wales.

This is a ‘must-see’ exhibition of artworks by young artists embracing a diverse

Kerry Cannon, Envy, bronze and steel, 110 x 280 x 553 cm, Sculpture by the Sea, Bondi 2025.

November—December

A collection of regional artists from surrounding districts and winner and finalists of the 2025 Triennial Acquisition Sculpture Prize.

Fiona Davies, The Night Passes, (detail), 2024, size variable, installation of video, found objects, textile, and aluminium.

Photo Credit: Naomi Oliver.

202

Sally Simpson, Treading Water #8, (detail), 2025, charcoal on drafting film.

Cowra Micro Gallery

12 December—1 February 2026 A Poem of the Sea Sally Simpson

www.cowramicro.weebly.com

A Poem of the Sea is artist, Sally Simpson’s exploration of the self in a suspended state viz water. It is also a celebration and a demonstration of the expressive power innate in the act of drawing. The artist articulates the metaphor of humanity’s

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.

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

26 October—9 November Cowra Creates Local award-winning artist Shani Nottingham is showcasing the creativity and self expression of the residents of Cowra (connecting across cultures, ages and abilities), to create art on postcards, culminating in this exhibition of all art made. Funded by Arts OutWest.

15 November—29 November Sawn, Sealed and Delivered Franklin Bridges An exhibition in wood, each piece of furniture has been sawn, seasoned and hand crafted from native and exotic timbers from the local Cowra area. These pieces are both practical and artistic and can find a useful place in any home. Opening Saturday 15 November, 2pm.

Eloise Cato Gallery → Michael Simms and Kirk Page, Breathless Union, 2024-2025, archival pigment print on rag paper, 70 x 50 cm framed. Image courtesy of Michael Simms, Kirk Page and Eloise Cato Gallery.

Darren Knight Gallery

Fellia Melas Gallery

www.darrenknightgallery.com

2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

See our website for latest information.

840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney.

02 9699 5353 Tue to Sat 10am–5pm.

D’Lan Contemporary

www.fmelasgallery.com.au

The Gallery predominantly exhibits figurative, abstract and realist paintings by Australia’s leading contemporary artists.

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.

Ken Hutchinson, Lead and Solder Nuclear Waste Storage Units, 2025.

30 November—14 December Australian Nuclear Volunteers Ken Hutchinson The Australian Nuclear Volunteers goal is to make community involvement in Nuclear Energy as egalitarian as the uptake of roof top solar power in Australia.

Let’s face it, with a huge percentage of Australian households installing rooftop solar and storage batteries, you could feel a bit left out if you’d prefer Australia to have Nuclear Energy supply. Get involved and save the government billions by volunteering to store the Nuclear Waste at home. You could play your part in our country’s nuclear future by direct and practical action. Australian Nuclear Volunteers, we have a range of bespoke storage solutions just for you and your home, designed around Mr Dutton’s mythical volume of one coke-can worth of nuclear waste per year, per reactor.

See our range of Lead and Solder Nuclear Waste home-storage units at Cowra Micro Gallery. Exhibition opens Sunday 30 November, 2pm.

Eloise Cato Gallery www.catogallery.com Lower Ground, 67 Fitzroy Street, Surry Hills, NSW 2010 0403 902 498 Tue to Fri, 10am–5pm.

Sat 10am–3pm.

Appointments available by request.

17 November—20 December Staged Theoretical Michael Simms and Kirk Page Staged Theoretical is a collaborative exchange between queer artist Michael Simms and queer First Nations artist Kirk Page in improvisational play to find a shared language during residency at Bundanon. Through political and personal reflection—particularly in questioning the structures surrounding The Voice—a latent dialogue with Arthur Boyd’s ‘Bride’ series emerged, not as a starting point but as a post-realised discovery. Framed by embodied interchange and shared knowledge, the work explores both the unison and the fracturing of codified systems, disrupting colonial and gender binaries.

Margaret Woodward (1938-), The almost sound of the centre, 1999, oil on canvas, 178 x 178 cm.

Works by: V.Rubin, M. Woodward, J. Coburn, N. Harding, D. Boyd, Y. Bergner, 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 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.

20 3

artguide.com.au Gallery76 continued...

plants infused into in her creative work of photo-based digital art, calligraphic design and mixed media collage. Alison Lee Cousland constructs and photographs intricate ephemeral arrangements of small ‘eco curios,’ enhancing them with pencil, watercolour, collage, beading, stitching and more.

30 October—24 November Materialise Curated by Catherine Gibson A group exhibition showcasing bold work by young Australian textile and fibre artists.

13 December—28 January 2026 Margaret Oppen and Roma Field Prizes Embroiderers’ Guild NSW The Margaret Oppen and Roma Field Prizes foster excellence in original embroidery design and technique, in both contemporary and traditional styles.

Winners will be announced at the opening celebration on 13 December, 4pm–5.30pm.

Alison Lee Cousland, Stick’s Joy.

31 October—25 November Spaces of Stillness Susan Latty and Alison Lee Cousland This exhibition honours the beauty of nature, its fragility and resilience, and its hidden wonders. It is also a celebration of the peace, joy and stillness that the artists seek and experience through their creative lives. Their work is slow, detailed, and meditative. And this energy is reflected in their work, inviting viewers to pause, breathe and embrace the wonder of nature’s gifts.

Susan Latty is a trained landscape designer, with her lifelong passion for

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.

15 November—8 February 2026 Regional Creative Showcase 2025 A selection of works from local senior high school and TAFE Creative Industry students.

13 December—28 January 2026 Education Showcase Embroiderers’ Guild NSW The Guild is a vibrant non-profit community for all stitching enthusiasts, whether a seasoned expert or just starting out.

Teaching and sharing the joy of embroidery is the core of the organisation’s mission, and this exhibition is a celebration of that passion, shown through a stunning display of student work from the past year.

Gallery LNL

Wynne Prize 2025 finalist, Vincent Namatjira King Dingo © the artist.

www.gallerylnl.com.au

29 November—26 January 2026 WYNNE PRIZE 2025

49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Tue to Sat 10am–6pm.

Gallery LNL has cultivated a singular relationship with the ceramic medium, playing a pivotal role in fostering the careers of Australia's preeminent ceramicists from their early years to international recognition.

10 October—8 November Ideas in Hand Curated by Jan Guy

Zakari James, Warrumbungles.

Glasshouse Regional Gallery

Allyson Adeney, Canbora Bayraktar, Cybele Cox, Jan Guy, Aedan Harris, Allegra Holmes, Raymond Huynh, You Meng-Shu, Luke Ryan O’Connor, Yasmin Smith, Maro Sugimoto, Amy Teng.

An Art Gallery of NSW Touring Exhibition.

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.

5 September—9 November Gosford Art Prize 2025

Gallery LNL → You Meng-Shu, Breath- Beyond Lego Series, 2024, porcelain and metal frame, 47.2 x 17.2 x 3 cm.

20 4

The Gosford Art Prize started as a community-driven project in 1970 that has grown to become one of the highlights of the exhibition calendar and an important part of the cultural landscape of the Central Coast. The 2025 iteration is the 26th time the prize will be presented at Gosford Regional Gallery, and it continues to grow in size and popularity every year.

The competition is open to all artists across Australia and attracts entries in all mediums from traditional forms to new media artworks. This year the prize pool has increased to over $55,000.

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

David Greenhalgh, Wade Marynowsky, Ida Sophia, Jodie Whalen.

Moving brings together works by Australian artists exploring the dynamic intersection of water, performance and the moving image. The exhibition considers water as subject, medium and metaphor. It celebrates durational works that explore water’s capacity to carry emotion, hold memory and reflect lived experience.

5 September—8 November IT COULD GO EITHER WAY Zoe Brand Witty, thoughtful, and sometimes cynical, Zoe Brand’s work explores the performative nature of jewellery as a device for communication. Using jewellery archetypes, ready-mades, and text, the artist finds potential in mundane, every day, throwaway statements - collecting, examining, and extracting them from casual conversation to transform into objects to be worn.

Gosford Regional Gallery → Todd Fuller, Love Study, 2025. Courtesy of the artist. the story of a local Gosford identity. The resulting hand-drawn animation explores the radical power of allyship, language, and public witness. Centred on the experiences of The Venerable Canon Rod Bower of Gosford Anglican Church, the work draws from an oral history interview with Father Bower, whose outspoken advocacy for LGBTIQ rights has reverberated far beyond the church pews of Gosford.

Opening event Friday 21 November, 6pm.

21 November—31 January 2026 Forest Song John R Walker Forest Song is a meditation on trees as enduring lifeforms that hold memory and mark the passage of time. Braidwood-based artist John R. Walker’s work is informed by decades dedicated to walking, drawing, recording and exploring nature.

Walker has travelled widely, spending time in the forest and gullies in Badja, tracing the banks of the Murray River, and journeying through the expansive Flinders Ranges. He reads the land as complex and fragmentary, where experience is shaped by who we are and how we encounter places.

Goulburn Regional Art Gallery Archibald Prize 2025 finalist, Natasha Walsh, The Yellow Odalisque of Brunswick. © the artist.

22 November—11 January 2026 Archibald Prize 2025, an Art Gallery of New South Wales touring exhibition The Archibald Prize for portrait painting is Australia’s most celebrated and democratic - sometimes controversial - art award. First awarded in 1921, the Archibald Prize was established following a bequest from former Art Gallery trustee and founder of The Bulletin magazine JF Archibald (1856-1919), whose aim was to foster portraiture, support artists and perpetuate the memory of great Australians. This touring exhibition will display the Archibald Prize 2025 finalist works offering audiences outside Sydney the opportunity to see these notable works. This is a ticketed exhibition, Entry $10, Concession $5, Members free. Thursday nights with Archie, every Thursday except on public holidays, See our website for more details. www.gosfordregionalgallery.com. Opening event Friday 21 November, 6pm.

15 November—1 March 2026 Dear Christians Todd Fuller Commissioned by Gosford Regional Gallery, Dear Christians, invited award-winning artist Todd Fuller to tell

www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm.

5 September—8 November Moving Hannah Brontë, Katthy Cavaliere, Lottie Consalvo, Dennis Golding,

Kirsten Farrell, Future Ghosts, (work in progress), 2025, found plastic and cotton thread, courtesy of the artist.

21 November—31 January 2026 Future Ghosts Kirsten Farrell

John R Walker, Stump, 2025, synthetic polymer on polyester, 263 x 202 cm.

Image courtesy of Utopia Gallery and the artist.

Kirsten Farrell’s new exhibition Future Ghosts uses found plastic to make textiles that are layered and stitched. In this work, Farrell proposes that plastic should be re-evaluated as precious, honouring the materials aesthetic value through laborious craft-based processes. In abstract compositions, Farrell challenges the ongoing associations of textile as 20 5

artguide.com.au Goulburn Regional Art Gallery continued... feminine and painting as masculine, creating works that are both familiar and unexpected. Ideas jostle for attention and are channelled into the work, without hierarchy, allowing them to coexist with the materiality of plastics. In this new exhibition, the artist questions the clear limitations of language to explain or emulate ideas and meaning found in art.

Future Ghosts is an exploration of artists and the traces they leave in the world.

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.

Griffith Regional Art Gallery → Julie Blyfield, Corallium brooches #1–19, 2024, patinated bi-metal: copper, sterling silver, oxidised sterling silver, enamel paint, wax, largest: 90 x 113 x 15 mm, photographer: Grant Hancock. known and the unknowable converge, revealing the enduring power of art to illuminate what lies just beyond reach.

Griffith Regional Art Gallery www.griffithregionalartgallery.com.au 167 Banna Avenue, Griffith, NSW 2680 [Map 12] 02 6962 8338 Wed – Friday 10am–5pm Sat and Sun 11am–2pm.

See our website for latest information.

8 November—18 January 2026 JamFactory ICON Julie Blyfield: Ambrose Reisch, THE DISQUIET LITIGANT, 2023, oil on canvas, 92 x 92 cm.

Rhonda Dee, Sky blooms over ash, acrylic on canvas (4 canvases), 190 x 168 cm.

1 November—6 December To Approach the Unknowable Works by artists Anthony Cahill, Louisa Chircop, Rhonda Dee and Ambrose Reisch in dialogue with selected works from the Geoff Hassall Collection. Through surreal, symbolic, and intuitive practices, each artist explores psychological, poetic, and transformative themes. The exhibition invites viewers into a space where the 20 6

Chasing a Passion

JamFactory’s ICON series celebrates the achievements of South Australia’s most influential visual artists working in craft-based media. With a practice spanning 35 years, Julie Blyfield is a jeweller and metalsmith who is renowned for her intricately crafted jewellery and sculptural objects that capture the essence of the Australian landscape.

The major touring exhibition JamFactory ICON Julie Blyfield: Chasing a Passion presents a new collection of meticulously crafted works, inspired by Blyfield’s experience of visiting the Daintree Rainforest and the Great Barrier Reef in far north Queensland.

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery Dharug and Darkinjung Country, Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm.

Closed Tuesdays and public holidays.

See our website for latest information.

Hawkesbury Now, 2024, installation view.

25 October—30 November Hawkesbury Now Hawkesbury Now is an annual exhibition program which celebrates the creativity of artists and makers working in the Hawkesbury and North-west regions of Sydney.

Alison Bennett, vegetal/digital (Waratah), 2021, still of photogrammetry point cloud.

6 December—8 March 2026 POSTWORLD Alison Bennett (VIC), Neil Binnie (QLD), K.Verell (Blue Screen of Death) (TAS), Gail Mabo (QLD), Ron McBurnie (QLD), Jenny Mulcahy (QLD), Catherine Parker (QLD), David Rowe (QLD), Jason Sims (SA), Stephen Spurrier (QLD), Rhonda Stevens (QLD) POSTWORLD features artists and collectives who create parallel universes in their creative practice. Audiences are invited into playful, sublime, poetic and cautionary explorations in contemporary works and installations. POSTWORLD is a touring initiative cocurated by Kate O’Hara and Daniel Qualischefski, developed by Umbrella Studio Contemporary Arts (Umbrella), commissioned by NAFA

N E W S O U T H WA L E S and toured by Museums & Galleries Queensland (M&G QLD). This project has been assisted by the Australian Government’s Visions of Australia program and by the Queensland Government through Arts Queensland.

Hazelhurst Arts Centre www.hazelhurst.com.au Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm.

Free admission.

The Ken Done Gallery www.kendone.com 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.

16 September—12 November Hazelhurst Art on Paper Award 2023 The biennial Hazelhurst Art on Paper Award is a significant national exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium. With a total prize pool of $26,000, the Award recognises outstanding artworks created with, on, or about paper and provides a platform for recognition and an opportunity for artists to explore the materiality, versatility, and potential of paper as a medium for artistic expression.

Ken Done, Beach, 2024, oil and acrylic on linen, 80 x 100 cm.

16 October—17 December Recent Work Ken Done

King Street Gallery on William www.kingstreetgallery.com.au

Julia Boros, Shapeshifter, 2024.

Until 25 January 2026 Hazelhurst Art on Paper Award 2025 Nicholas Aplin, Olivia Arnold, Karima Baadilla, Tania Babic, Christopher Banks, Hannah Bath, Nicci Bedson, Emily Besser, Lee Bethel, James Birch, Julia Boros, Elyn Brey, Peter Burke, Evie Cahir, August Carpenter, Stephen Clively, Zara Collins, Sal Cooper, Karen Coull, Juanella Donovan, Steven Isaac Durbach, Julie Edgar, Madi Feist, Freyja Fristad, Todd Fuller, Annette Galstaun, Stefanus Gevers, Edwina Green, Amala Groom, Rochelle Haley, Lise Hobcroft, Naomi Hobson, MeiMei Hodgkinson, Gina Jaaskelainen, Naomi Kantjurini, Iluwanti Ken, Belem Lett, Pamela Leung, Brenda Livermore, Mark Merrikin, Elena Misso, Simon Nicholls, Michelle Neal, Anh Nguyen, Jessica Nothdurft; Lauren O’Connor, Ruby Paroissien, Sabine Pick, Shirley Ploog, Isobel Rayson, Peter Sharp, Mignon Steele, Michael Tawa, Teo Treloar, Zev Tropp, John Vella, Ellen Vince-Moin, Julie Visible,Belinda Yee, Frank Young, Zuza Zochowski.

177–185 William Street, Darlinghurst, Sydney NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm, Sun and Mon by appointment.

King Street Gallery represents many of Australia’s senior artists including Elisabeth Cummings, Lucy Culliton, Tom Carment, Ross Laurie, Euan Macleod, Idris Murphy, Paul Selwood, Wendy Sharpe and Guy Warren.

We exhibit work in a number of mediums, including painting, sculpture, work on paper and limited edition prints. King Street Gallery on William provides clients with expert advice in all areas of purchasing, conserving and collection management; King Street Gallery is registered to value artworks for the ATO Cultural Gifts Program.

Installation view. Photograph: DOCUMENT PHOTOGRAPHY.

14 August—31 October Production Design: Scene Architects Build On-Screen Worlds Ryu Seong-hee, Cho Hwa-sung, and Han Ah-reum Production Design: Scene Architects Build On-Screen Worlds is a curated exhibition spotlighting the artistry of production design in contemporary Korean cinema.

Featuring the works of three renowned art directors—Ryu Seong-hee, Han Ah-reum, and Cho Hwa-sung—the exhibition unveils the creative processes behind five critically acclaimed films. Presented in partnership with the Korean Cultural Centre Australia and the Korean Film Archive, this touring exhibition is part of the “2025 Touring K-Arts Program” initiated by the Ministry of Culture, Sports and Tourism (MCST) and the Korea Foundation for International Cultural Exchange.

Lavender Bay Gallery www.royalart.com.au Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 See our website for latest information.

The Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists.

Lismore Regional Gallery www.lismoregallery.org Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thu until 6pm.

22 August—16 November We Marry You, O sea, as a Sign of True and Perpetual Dominion Sonia Levy

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.

Club Ate, Ex Nilalang, (video still) 2017.

Courtesy the artists and Art Gallery of New South Wales.

207

artguide.com.au Lismore Regional Gallery continued...

5 September—16 November Islands not to scale (Maru a’o) – Act II Mark Maurangi Carrol 13 September—9 November Bulaan Buruugaa Ngali Exhibition … we weave together 10 October—30 November El tiempo es oro (time is gold) Estefania Minniti 21 November—15 February 2026 Ex Nilalang, Episodes 1-4 Club Ate

A ‘lock-on’ is a powerful, non-violent civil disobedience tactic used by protesters– using bicycle locks, handcuffs and other DIY materials–to secure themselves in their place of protest. Honouring the legacy of non-violent protest, Karla Dickens presents her first solo exhibition in Muloobinba/Newcastle in a cocommission presented by The Lock-Up Contemporary Art Space and New Annual, a “lock-on at The Lock-Up”. Addressing themes of climate crises through ecofeminism, Locked On interrogates the legacies of colonialism, capitalism and patriarchy, and their effects on postcontact Aboriginal experiences and the natural world.

Liverpool Powerhouse www.liverpoolpowerhouse.com.au

celebration family, feasts, and the global food cultures that flavour the heart of the city.

Maitland Regional Art Gallery www.mrag.org.au Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm.

Café, 8am–2pm. Free entry, donations always welcomed.

See our website for latest information.

20 September—9 November Recycled Monster Art Darren Horsfield

Dharawal Country 1 Powerhouse Road Casula NSW 2170 [Map 11] 02 8711 7123 Until 10am–5pm Sat 10am–9pm, Sun 10am–4pm.

Clare Milledge, S: gel radiance, 2023, oil on tempered glass, reclaimed Agathis robusta timber frame. Courtesy the artist and Station Gallery.

29 November—15 March 2026 Clare Milledge: Complex notophyll vine forest: ground-proof 5 December—1 February 2026 Memory of motion Sonka Pietrek

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.

Mia Middleton, Seven Metals, 2024, oil on linen. Courtesy of the artist and COMA.

8 November—19 April 2026 REVEALING DRESS: Fashion as portraiture Benjamin Akuila, Atong Atem, Cigdem Aydemir, Hannah Gartside, Jordan Gogos, Lily Golightly, Megan Hanson, Alix Higgins (with Joan Banoit, Dan Harden and Gian Manik), Wackie Ju, Grace Lillian Lee, Patrick McDavitt, Jacquie Meng, Mia Middleton, Claudia Nicholson, Nicol & Ford, Nik Pantazopoulos.

Revealing Dress is an ambitious new exhibition that explores fashion as a powerful language of identity, storytelling, and self-expression.

Exhibition view, Karla Dickens, Locked On, 23 August—16 November, The Lock-Up Contemporary Art Space, Muloobinba/ Newcastle. Courtesy of the artist.

Photograph: Lauren Moulton.

23 August—16 November Locked On Karla Dickens 20 8

Touring to Yellamundie (Liverpool Library): 6 December—22 March 2026 Dear Belly: Food Stories from Liverpool Idil Abdullahi, Yvonne Koolmatrie, Loc Ngyuen, Jason Phu, Keg de Souza, Jayanto Tan, Leanne Tobin, Geoffrey Watson and Justine Youssef Dear Belly: Food Stories from Liverpool is a vibrant exhibition served like a mezze; rich, diverse, and meant to be shared. It is a

Juz Kitson, The Sanctuary; All That Is, 2021, Jingdezhen porcelain, southern ice porcelain, Indonesian porcelain with volcanic sand, reclaimed rabbit fur, resin, marine ply and treated pine.

Donated through the Australian Government’s Cultural Gifts Program

by Juz Kitson, 2022.

25 October—1 February 2026 Mud To Masterpiece: Australian Contemporary Ceramics Tracie Bertram, Penny Evans, Bonnie Hislop, Juz Kitson, Alfred Lowe, Ramesh Mario Nithiyendran, Mark Patterson, Monica Rani Rudhar, Ebony Russell, Gabriella Smart, Vipoo Srivilasa, Gerry Wedd 25 October—8 February 2026 Summer Holliday Xander Holliday 1 November—8 February 2026 Shared: From The MRAG Collection Celebrating 50 years of sharing the Maitland Regional Art Gallery Collection.

8 November—1 March 2026 The Wooden City Benjamin Gallagher 15 November—22 February 2026 The Show Lucy Culliton

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

Macquarie University Art Gallery

Australian modernism. Presented in collaboration with the Consulate General of Italy in Sydney, and the Italian Cultural Institute, Sydney, with support from the Anita & Luca Belgiorno-Nettis Foundation, Avion International, MAG&M Society, and the Rubbo family.

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.

of remembrance and transformation.

Their fleeting presence – the hush of wings, the echo of birdsong and the arc of migration – mirror the way memories drift between clarity and obscurity, shaping our sense of time loss and connection. Works featured include del Kathryn Barton, Brett Whitely, Arthur Boyd and Jeffrey Smart.

This special exhibition is presented in partnership with the Art Gallery of New South Wales, with the generous support of TLE Electricals and the Friends of the Manning Regional Art Gallery.

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.

Donald Laycock, Rear, 1968, oil on canvas, 152 x 137.5 cm; 156 x 141.2 cm framed.

Photograph: Effy Alexakis, Photowrite.

31 October—13 February 2026 Australian Abstraction Sophie Cape, Julia Davis & Lisa Jones in collaboration, Helen Eager, Louise Forthun, Michael Goss, Gary Gregg, Sean Hogan, Dale Frank, Michael Johnson, Kirtika Kain, Donald Laycock, Ian Milliss, Kyle Murrell, NOT, Louise Olsen, Ana Pollak, Jeanette Siebols, Aida Tomescu, Savanhdary Vongpoothorn and Chris Wise. Curated by Rhonda Davis and Kon Gouriotis.

The Australian Abstraction exhibition series continues its exploration of the evolving nature of abstraction within the Australian context. This second stage retraces the diversity, episodic developments, and layered narratives that have shaped abstraction as an enduring force in Australian art. What began as an international movement has been reconfigured and transformed by artists working within the unique socio-political, cultural, and environmental conditions of this country.

19 September—30 November Beyond the Box What happens when the cardboard box becomes a vessel for ideas or concepts?

In this exhibition we explore ways in which Australian artists in the 21st century leverage the materiality of such a modest item and incorporate it into their artworks as a way of engaging in the concepts which concern them. The participating artists are Gabrielle Bates, Patrizia Biondi, Tracey Clement, Scott Duncan, David Manley, and Sean Rafferty.

19 September—30 November Maestri: influences from Italy to Australia This exhibition draws on MAG&M’s rich collection, along with loaned works from National Art School and private collections, to explore Antonio Dattilo-Rubbo’s (1870-1955) early influences, legacy as a teacher, and impact on 20th-century

5 December—15 February 2026 Garden Variety Part of MAG&M’s Collective for Environmental Art & Design initiative, this exhibition presents the work of five contemporary Australian artists, along with works from the MAG&M and AGNSW Collections to create a hanging garden of art within the gallery. Through motifs associated with gardening, horticulture, and landscaping, the artists Natasha Bieniek, Lucy Culliton, Nic Fern, Michael Kempson, and Louise Zhang skilfully traverse this complex psychological landscape through a range of cultural narratives and media.

5 December—15 February 2026 Counterpoint: Jude Rae, Ruth Waller, and Toni Warburton This exhibition brings together the work of three artists whose practices resonate through material, form, and process.

The interplay of their work suggests a counterpoint of ideas: materiality and illusion, perception and process, intuition and structure. Growing up within a few kilometres of each other on Sydney’s Northern Beaches, the artists also share early experiences of place.

Martin Browne Contemporary www.martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

See our website for latest information.

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.

Michael McHugh, Beyond the Canopy, 2025, acrylic on canvas, 153 x 140 cm.

26 September—29 November Feathered: Birds in Myth and Memory Birds, with their graceful forms and enigmatic behaviours, have long been entwined with human myth and memory as symbols

Louise Zhang, Tapestry Peony and Pearl, 2024. Courtesy of the artist and N.Smith Gallery, Sydney.

30 October—22 November Camouflage Michael McHugh 27 November—20 December Summer Group Exhibition 20 9

artguide.com.au

The Maritime Museum www.sea.museum 2 Murray Street, Darling Harbour, NSW 2000 [Map 7] 02 9298 3777 Open daily 10am–4pm, 9:30am–5pm (School Holidays).

The Australian National Maritime Museum is Australia’s museum of the sea. A place to explore our relationship to the oceans, rivers and lakes around us and to dive deeper into the rich maritime heritage that binds us all. Australia’s maritime history abounds with people who lived, worked, and explored our waters. The maritime museum brings a modern perspective to these narratives, exploring topics of migration, commerce, archaeology, ocean science and culture and lifestyle.

Mosman Art Gallery → Alex Seton, Everything was Beautiful, and Nothing Hurt, 2022, soda glass, nylon, steel, marble offcuts. Glassblower: Katie Ann-Houghton. Image courtesy of The Lock-Up, Newcastle and the artist. © the artist. Photograph: Mark Pokorny. and how we have lived on, utilised, and enjoyed it throughout history. Examining the Indigenous, military, industrial and leisure history of Mosman’s foreshore, this exhibition draws together the work of contemporary artists, with historic works from the Mosman Art Collection.

15 November—15 February 2026 The Cube: Alex Seton

Image © Romain Barats.

6 November—3 May 2026 Ocean Photographer of the Year Celebrate the wonder and fragility of our blue planet through the world’s leading ocean photography competition, returning to the Australian National Maritime Museum this November. Ocean Photographer of the Year showcases more than 15,000 submissions from around the globe, distilled into a breathtaking gallery of winning and finalist images. From intricate macro shots of tiny amphipods to vast underwater vistas and dramatic drone scenes, these photographs reveal both the beauty of the ocean and the urgent need to protect it.

Royston Harpur, Predator, (detail), 1990. © The Estate of Royston Harpur.

Photograph: Jonathan Stenson.

26 September—7 December Royston Harpur: A Painter’s Painter This exhibition is a retrospective exhibition celebrating the life and work of the late Australian abstract painter and poet, Royston Harpur (1938–2023).

www.mosmanartgallery.org.au

15 November—15 February 2026 Foreshore Will Asthon, Mark Brown, Ethel Carrick Fox, Albert Henry Fullwood, Elioth Gruner, Peter Kingston, Jasper Knight, James R Jackson, Anna May Kirk, Sydney Long, Juanita McLauchlan, Techa Noble, Thea Anamara Perkins, Margaret Preston, Susan Rothwell and Arthur Streeton An exhibition focused on where the land and harbour meet in Mosman 210

www.mudgeeartsprecinct.com.au 90 Market Street, Mudgee, NSW 2850 [Map 8] 02 6378 2850 Open daily 9am–5pm.

Closed Christmas and Boxing Day.

Alex Seton’s artistic practice incorporates sculpture, photography, video, and installation to examine problematic ideas and concepts, giving them form. Always carefully considered, Seton’s artworks playfully sit at the junction of an idea, forcing a choice in the viewer as a litmus test of their own disposition. Whether contemplating notions of nationhood, legacy and privacy or the problematic relationship between individual and society, the personal and cultural collide in his work in a complex relationship between form and substance.

Mosman Art Gallery 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.

Mudgee Arts Precinct

Liam Benson, Dew, 2022, lace, organza, diamantés, glass seed beads, acrylic beads, faux pearls, crystal glass faceted beads, glass bugle beads, cotton, sequins. Image courtesy and © the artist.

Photograph: Jacquie Manning.

8 November—15 February 2026 In Profile: Liam Benson and the Mosman Embroiderers’ Guild Textile artist Liam Benson will collaborate with the Mosman Embroiderers’ Guild through a series of workshops, that focus on the exchange between foundational and experimental textile practice. As a process driven collaboration, the exchange will inform a combination of short and long term outcomes within each makers textile practice.

24 October—15 March 2026 Icons of Pop Art: Warhol and Lichtenstein This exhibition is the first in a series of four major exhibitions made possible through the Australian Government’s Sharing the National Collection initiative.

12 December—15 March 2026 A Nest in the Hills: The Symbiosis of Women and Birds in Contemporary Australian Art This exhibition delves into the complex and multifaceted relationship between women and birds. Exhibiting artists include: Petrina Hicks, Leila Jeffreys, Anna-Wili Highfield, Deborah Kelly, Lucy Culliton, Lorraine Connelly-Northey,

N E W S O U T H WA L E S Michelle Cawthorne, Dianne Fogwell, Kim Goldsmith, Denise Faulkner, Fleur MacDonald, Aleshia Lonsdale, Kim Harding, Michelle Steven and Pamela Welsh.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm.

Closed Tuesdays.

14 August—15 February 2026 A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul In collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid.

5 September—8 March 2026 Primavera 2025: Young Australian Artists September—April 2026 Neil Balnaves Tallawoladah Lawn Commission 2025 Thomas J Price 3 October—8 June 2026 Yasmin Smith

Nasha Gallery www.nasha.com.au Gadigal Land, L1, 215 Thomas Street, Haymarket, NSW 2000 [Map 9] See our website for latest information.

National Art School Gallery → Photograph: Peter Morgan.

Ngununggula www.ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

6 September—9 November Lisa Reihana: Voyager

5 September—16 November Lismore Regional Gallery: Islands not to scale (Maru a’ o) – Act II Mark Maurangi Carrol

Jyoti Uikey, Scorpion, acrylic on paper.

Developed with partners in Australia and India, this exhibition connects First Nations and tribal artists across cultures. Showcasing contemporary practices informed by deep traditions, the exhibition highlights resonating stories and cultural language while reflecting on the countries’ ancient connection as part of the Gondwana supercontinent.

National Art School NAS Gallery www.nas.edu.au Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Open daily 11am–5pm.

Free admission.

7 November—16 November The Postgrad Show

Clarice Beckett, Evening landscape, c1925. National Gallery of Australia, Kamberri/Canberra, purchased 1974.

22 November—25 January 2026 Clarice Beckett: Paintings from the National Collection

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.

Photograph: Peter Morgan.

5 December—14 December The Grad Show

14 November—1 February 2026 Echoes of the Earth: Tribal and Desert Art

Rowen Mathews, Shadow Dam, 2025, oil on canvas.

14 November—1 February 2026 WATER: Rowen Mathews

Rowen Mathews explores the unique landscapes of the New England highlands through the lens of water. Focusing on the region’s many dams—distinct visual and ecological features—Mathews’ paintings reflect his deep connection to place, capturing the interplay of environment, memory, and identity shaped over three decades living and working in Armidale.

211

artguide.com.au New England Regional Art Museum continued...

8 November—1 February 2026 How to Weather Together

How to Weather Together is a multiartform project exploring how we experience climate change through everyday and extreme weather. Combining illustration, art, writing, film and activities, it invites audiences to reflect on adaptation, ask unusual questions, and imagine new habits, practices and selves for a shared ecological future.

14 November—1 February 2026 The Garden: Lae Oldmeadow 14 November—1 February 2026 Gather Around my Table: Kim Bizo

Orange Regional Gallery www.orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

Outback Arts Gallery → Sooty Welsh, Our Stories. Photo taken by Andrew Hull.

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.

David Capra, Birthing Things in the Spirit: The Waterbirth, 2014, high definition video, sound; duration 00:20:30 minutes Commissioned by Campbelltown Arts Centre. © David Capra.

Sussan Baird, Pines Along the Track, (detail), 2025, oil on linen, 70 x 80 cm.

6 September—16 November Wynne Prize 2025 4 October—30 November HERE/NOW 29 November—22 February 2026 Harrie Fasher: Before Dawn 29 November—26 January 2026 Varied Edition

Outsider Gallery www.outsidergallery.com.au 144 Commonwealth Street, Surry Hills [Map 10] 0422 509 508 Weds to Sat 10am–6pm or by appointment.

Outsider is a contemporary art gallery based in Sydney. The gallery presents an eclectic programme of artists whose practices are fearless, distinctive and outward-looking. Its exhibitions champion urgent and visionary work, creating a platform for artists who reframe how we see and engage with the world.

212

Prue Cullen. Photo taken at the collective.

3 November—16 January 2026 Kiln & Canvas Coonamble Ceramics Collective A collective exhibition of works from across the studio, featuring works by Wailwan Artist Sooty Welsh, Prue Cullen and Julia Borowski. Operating for over a decade the Coonamble Ceramics Collective continue to create in the remote outback community volunteer run studio.

The collective strength empowers creative practice, sharing stories, inspiring the next generation, and exploring the grit and grace of country life.

Penrith Regional Gallery www.penrithregionalgallery.com.au Darug Country, 86 River Road, Emu Plains, NSW 2750 [Map 11] 02 4735 1100 Mon to Sun 10am–4pm.

8 November—15 February 2026 The Pool Show

Ian Abdulla, Katerina Asistin, Marian Abboud & The Forked Tongue Storytellers Collective, Liam Benson, Robert Campbell Jnr, Mervyn Bishop, Harold Cazneaux, Max Dupain, Rennie Ellis, Ian Fairweather, Dennis Golding, Ludwig HirschfieldMack, David Hockney, Tracey Moffatt, David Capra, Ingeborg Tyssen, Jd Reforma and Wendy Sharpe An often-repeated claim is that swimming pools are democratic spaces in Australia — places where everyone can cool off and connect. But in Penrith, which in January 2020 was officially the hottest place on Earth, access to water is far from simple.

The Pool Show dives into the local swimming pool in our art and collective imagination — not just as a site of leisure, but as one where social and cultural politics ripple beneath the surface. Who swims, who doesn’t, and how we behave in these spaces reveals much about who we are.

Responding to the cultural, climatic and social realities of Western Sydney, The Pool Show brings together new and existing artworks exploring Australia’s enduring fascination with swimming pools — from municipal aquatic centres to wild rivers and rock pools carved into the coast. Featuring artists such as Harold Cazneaux, David Hockney, Tracey Moffatt, Robert Campbell Jnr and Dennis Golding, the exhibition invites us to reconsider the mythology of the pool and imagine new

N E W S O U T H WA L E S meanings of “swimability” in the hottest part of Australia’s biggest city.

The Pool Show is presented in collaboration with the Art Gallery of New South Wales, and with the generous support of TLE Electricals.

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.

30 October—16 November After Civil Twilight, (RC) & Just Being, (AR) Rachel Carroll & Audrey Rhoda Abstract expressionism in landscapes and in life. A Tandem show. Carroll says “I want the viewer to feel as if they are in the land walking through the hills and grasses, seeking to look upwards to the sky, to see what can be seen of it. Immersion is a calming effect that allows nature to take over our everyday thoughts.”

Margaret Hadfield, Kangaroos in the Mist, 2025, oil, 122 x 76 cm. her love of the high country is reflected in detailed oil paintings that capture the changing seasons of the alpine environment. Through exploration of light and shade, Hadfield brings depth and atmosphere to the landscapes she portrays.

David R Hill, Kata Tjuta, The Gathering, 2025, oil on canvas, 76.2 x 76.2 cm.

21 November—14 December Medley Magic, a mini survey + new works David R Hill Hill is now 87 and has painted in a small cottage located in North Katoomba for some nearly 50 years. His oeuvre covers landscapes, still life, and as he calls them, ‘astral paintings’.

Angus Hamra, Sitto, Batroun, 2025, oil on polycotton, 175 x 130 cm.

6 November—22 November Jidu and Sitto Angus Hamra

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.

19 December—4 January 2026 Christmas Show

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.

November—December Daniel Boyd

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.

22 November—13 December The Power of Contrast Allsorts Collective This group exhibition brings together distinctive styles and personal responses to the theme of contrast. Each artist explores the theme through different ways of engaging the elements of art: form, colour, tone, texture, shape, pattern and line. The Allsorts Collective began as a workgroup within the Artists Society of Canberra about a decade ago. Meeting weekly, the group provides creative support and a welcoming space to grow their practices.

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.

25 October—15 November Monaro and the Snowy Mountains

9 October—8 November The SCA Alumni Fauvette Loureiro Memorial Scholarship 2025

Having lived and painted in and around the Canberra region for 35 years, artist Margaret Hadfield is heavily inspired by the natural surrounding environment of Monaro and the Snowy Mountains.

Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Margaret Hadfield

Rachel Carroll, Civil Twilight, 2025, acrylic on canvas, 100 x 100 cm.

Michele Mack, The Swimming Place, 2025, acrylic, 40 x 50 cm.

Mid-Career/Established Finalists: Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver.

213

artguide.com.au SCA Gallery continued...

Courtesy of Sydney College of the Arts.

Photograph: Document Photography.

4 December—13 December New Contemporaries 2025 Sydney College of the Arts Graduating Cohort Opening event Wednesday 3 December, 6pm–9pm.

Scieppan Gallery www.scieppan.com.au Shop 2/1 Francis Street, Darlinghurst, NSW 2010 [Map 8] 0420 818 028 Contact for opening hours.

See our website for latest information.

exhibition. These enigmatic works challenge the notion of the romantic sublime; the figure is not simply diminutive and in awe of the landscape but also threatens it - the dark figures creating nature’s doom, destroying the ground that they walk on. The contemporary reality of climate change is evident in the changes that artist has witnessed to the glacier and whilst we appreciate its magnificent beauty the need to avert the impending tragedy is urgent. Euan Macleod is represented by King Street Gallery on William, Sydney.

South East Centre for Contemporary Art www.secca.com.au Yuin Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm, Sat 10am–2pm.

Closed Sun and public holidays.

Brian Reid, Portrait#2.

Alick Tipoti, Photo: Marinco Kojdanovski, Australian National Maritime Museum.

Wang Yigang.

27 September—29 November Mariw Minaral Alick Tipoti

15 November—13 December Solo exhibition Wang Yigang

Pennie Steel.

Viewings and artworks by Pennie Steel and Brian Reid by appointment.

S.H. Ervin Gallery

State Library of NSW

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.

www.sl.nsw.gov.au 1 Shakespeare Place, Sydney, NSW 2000 [Map 8] 02 9273 1414 See website for opening times.

Lucy Culliton, Summer Zinnias, 2025, oil on canvas, 140 x 140 cm. Courtesy the artist.

13 December—28 February 2026 Close to Home Lucy Culliton Euan Macleod, Self portrait and mountain triptych, 2023-24, oil on polyester, 180 x 522 cm.

8 November—14 December

SteelReid Studio

Euan Macleod: Glacier

www.steelreidstudio.com.au

Penny Evans, Proof, 2015.

Euan Macleod has been regular visitor to the Haupapa Tasman Glacier in New Zealand’s South Island for over fifty years and it features in the works in this

Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

11 August—3 May 2026 Paper Universe: The book as art

214

Discover rare and beautiful works by leading contemporary artists, from the

N E W S O U T H WA L E S Library’s little-known collection of artists’ books. Featuring striking and innovative creations by leading artists including Ed Ruscha, Judy Watson, Bill Henson, Nathalie Gautier-Hartog and more, the exhibition reveals how artists transform the idea of a book into works of art.

Ranging in size from just 5 centimetres to an astonishing 40 metres, and made from a range of materials and techniques, these works reveal intimate, moving and powerful stories beyond the written word.

Studio A www.studioa.org.au Level 11, 601 Pacific Hwy, St Leonards, NSW 2065 Visits by appointment only.

See our website for latest information.

Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5247 Tue to Fri 10am–5pm, Sat & Sun10am–4pm.

Portrait of Michelle Brodie in her home studio.

8 November—30 November Portraits in Peculiar Places Michelle Brodie Opening Saturday 8 November, 11am–5pm.

8 November—30 November Amidst Gillian Adamson Opening Saturday 8 November, 11am–5pm.

6 December—31 January 2026 SUMMER SALON 2025 Opening and meet the artists: Saturday 6 December, 11am–5pm. Artist Talks: 13 December 11am, 1pm & 3pm. Christmas drinks: Saturday 20 December, 2pm–4pm.

Thom Roberts, Mixco City, 2024, acrylic on cardboard, 104 x 83 cm.

Studio A is a leading Australian supported studio for professional artists with intellectual disability, representing some of the nation’s most acclaimed contemporary artists, including Archibald Prize finalists Thom Roberts, Emily Crockford, Daniel Kim and Catherine McGuiness. The studio is dedicated to ensuring artists with intellectual disability have a voice in contemporary culture and sustainable careers within the creative industries.

Visits to Studio A’s vibrant working space are welcome but are by appointment. For current exhibitions, public artworks and creative projects, see the Studio A website.

Collecting artwork or design product from Studio A directly supports an artist with intellectual disability and enriches Australia’s cultural life with diverse voices.

Sullivan+Strumpf Gadigal/Sydney

13 September—30 November

www.sullivanstrumpf.com

Tin Sheds Gallery

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

Bush Lines Group Exhibition.

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.

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.

7 November—6 December 2026 Mirror-view: Artists by Artists Tweed Regional Gallery collection

Straitjacket www.straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 Gallery closed 22—31 December, open by appointment January 2026.

See our website for latest information.

Shaun Gladwell, Approach to Mundi Mundi, 2007, (production still, detail), from the series MADDESTMAXIMVS, John Kaldor Family Collection, Art Gallery of New South Wales © Shaun Gladwell, photo: Josh Raymond.

Julia Gutman, even my dreams were asleep, 2025, found textiles, embroidery and acrylic paint on linen, 230 x 170 cm.

13 November—13 December A fine line Julia Gutman

Drawn largely from the Tweed Regional Gallery collection, Mirror-view: Artists by Artists presents a selection of portraits, focussing on artists as both the subject and portraitist. Spanning photography, painting, works on paper and ceramics, the exhibition shares insights of artists as sitters, captured through the mirrored lens of a fellow artist or self-portrait. Includes collection works by Ken Done, Julie Fragar, Ben Quilty, Wendy Sharpe, Greg Weight, Monica Rohan and more, along 215

artguide.com.au Tweed Regional Gallery continued... with commissioned portraits by Jo-Anne Driessens of First Nations artists featured in the Gallery’s collection. A Tweed Regional Gallery initiative.

14 November—8 February 2026 Along the Shore and Under the Trees Leah Thiessen Regional artist, Leah Thiessen is constantly aware of nature’s pull as her senses attune to the natural world around her. Her studio is nestled amongst the bush and estuary of the Northern Rivers, with the ever-changing surrounds becoming the catalyst for her practice.

14 November—8 February 2026 Between Appearance Nat Kafka Between Appearance by Northern Rivers artist Nat Kafka explores themes of duality, perception, and the contrasts between what is seen and what lies beneath the surface. This exhibition is the outcome of the Tweed Regional Gallery - Byron School of Art (BSA) 3rd Year Graduate Award, 2024. A Tweed Regional Gallery initiative.

connection we have with everyday objects and their role in our lives through migration experiences and memories. re/JOY is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program and Creative Australia, its principal arts investment and advisory body.

15 August—30 November Material Memory Dean Stewart Regional artist, Dean Stewart, deconstructs and rearranges found objects to evoke emotion and memory in his latest solo exhibition, Material Memory. The works explore how materials hold meaning through the stories we attach to them, and the traces of the past they ultimately carry.

A Tweed Regional Gallery initiative and outcome of the PLATFORM program.

3 October—15 February 2026 Figure and Field Lucia Canuto, Hilary Herrmann, Meg Stoios Figure and Field brings together three artists from Northern New South Wales and the South East Queensland region: Lucia Canuto, Hilary Herrmann and Meg Stoios, each exploring the human figure in their work. Between them, they illuminate our emotional and spiritual state in relation to the physical world around us. From the mythic-leaning paintings of Herrmann and the ennui-imbued urbanity of Stoios to the medium-blurring evocations of Canuto, see three unique perspectives, born of local life. Curated by Bradley Vincent.

A Tweed Regional Gallery initiative.

UNSW Galleries www.unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Kensuke Todo, Two rocks sitting, 2018, and Tilted rock, 2017. Installation view, Matters of Time: Contemporary Metal Practices, UNSW Galleries, 2025.

Photo: Jacquie Manning.

29 August—16 November Matters of Time: Contemporary Metal Practices Matters of Time brings together Australian artists and designers who explore the evolving role of metal in contemporary practice and its relationship with time.

Featuring new and recent works by Isabel & Alfredo Aquilizan, Elliot Bastianon, Bobby Corica, Wurrandan Marawili, Yioryios Papayioryiou, Vedika Rampal, Shireen Taweel, Kensuke Todo, Simone Tops, Zoë Veness, and Augusta Vinall Richardson.

Mason Kimber, Keystone 2, 2025. Photo: Jacquie Manning.

29 August—16 November Mason Kimber: A Caressing Gaze Vipoo Srivilasa, Tree of New Life, 2024, ceramic and mixed media, 178 x 60 x 34 cm.

Photograph: Simon Strong © The artist.

15 November—8 February 2026 re/JOY: Vipoo Srivilasa re/JOY is a major exhibition by Thai-born Australian artist, Vipoo Srivilasa, that honours and celebrates the multi-layered personal migration stories of people from all over the world who have made Australia home. Encapsulated in seven new 1.5 metre tall ceramic sculptures, are the stories and broken pieces of objects that held significant meaning to fellow migrants along their journey. An eighth sculpture references the artist’s own experiences migrating to Australia, based on his grandmother’s button that holds strong family connections.

The exhibition examines the emotional 216

Ben Quilty, Margaret Olley, 2011, oil on linen, 170 x 150 cm © The artist.

12 September—8 March 2026 Ode: Margaret Olley and Sally Anderson

Ode: Margaret Olley and Sally Anderson is a celebration of important still life paintings

by Margaret Olley (1923–2011) together with new work by Gadigal/Sydney-based artist Sally Anderson. During her 2025 residency at the Nancy Fairfax Artist in Residence Studio, Anderson embarked on a new body of work that responds not only to Margaret Olley’s remarkable still life paintings featured in Ode, but also to selected objects from the re-creation of Olley’s home studio.

A Caressing Gaze spans painting, sculptural relief, and site-specific installation, drawing from Mason Kimber’s long-standing interest in the social dimensions of architecture. Working with casts and impressions of surfaces from the built environment, Kimber reconfigures fragments into new assemblages that activate relations to place, history, and memory.

29 August—16 November Emma Fielden: The Sky Swallowed a Stone The Sky Swallowed a Stone traces Emma Fielden’s evolving body of work with silver and stone, where painting, drawing and performance converge through acts of impact, connection, and transformation.

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

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 The University Galleries are committed to creating collaborative opportunities for our students, staff and the public to connect with art and artists. We aim to foster cultural understanding and appreciation through the visual environment of the University, as well as encourage the intersection between art, research and collaboration.

Wagga Wagga Art Gallery 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.

13 September—25 November All These Years Mary Coughlan 10 May—31 December 50 Years / 50 Treasures Wagga Wagga Art Gallery Collection

Celebrate Wagga Wagga Art Gallery’s 50th anniversary, featuring treasures from the National Art Glass Collection, collected over the past 5 decades.

8 November—25 January 2026 Christian Thomspon – House of Gold Christian Thompson House of Gold by Dr Christian Thompson AO draws inspiration from a line of Song Dynasty poetry 书中 自有黄金屋 [shū zhōng zì yǒu huáng jīn wū], or, ‘a book in the hand holds a house of gold’, and explores the artist’s Chinese heritage, dating back to the 1850s Gold Rush migration boom. The exhibition chronicles a personal history of intersectional identity at generational scale, where Thompson gives us glimpses of intimate moments shared between both his First Nations Bidjara and Cantonese family – learnings of language, food and self that make the artist whole. A 4A Centre for Contemporary Asian Art exhibition, in partnership with Golden Dragon Museum Bendigo, supported by The Robert H.N. Ho Family Foundation Global and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

26 July—16 November Arthur Wicks – Paintings 1967 - 1974 Arthur Wicks In glorious colour - rarely seen large abstract paintings from the personal archive of groundbreaking colour field artist Arthur Wicks.

27 September—31 January 2026 Glass Chrysalis II Jordan Benson, Madeline Cardone, Calum Donaldson, Hamish Donaldson, Carman Skeehan and Isobel Waters.

Glass Chrysalis II is a triennial exhibition which celebrates exceptional promise in the work of early career Australian glass artists. Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and JamFactory, Glass Chrysalis II seeks to elevate individual artist practices, and in doing so provide a window into the wider field and direction of contemporary Australian studio glass.

13 September—25 November Covered in Roses / Covered in Ashes Mary Coughlan Covered in Roses / Covered in Ashes is artist Mary Coughlan’s extraordinary and intimate exploration of childhood sexual assault and its aftermath. Trained as both an artist and a social worker, Mary Coughlan has spent a lifetime processing trauma through her art practice. These confronting works reveal the artist’s personal journey of recognition, rage and resolution. Content Warning: The exhibition contains sensitive material regarding trauma, sexual assault, and violence.

Viewer discretion is advised.

Dr Christian Thompson AO, House of Gold Chapter 11 (Chinese Museum), 2023, c-type print on Moab Slickrock Metallic Pearl paper, courtesy Studio Dr Christian Thompson AO.

with each other. This exhibition presents all new work shaped by an extraordinary residency experience at Bibbaringa, a regenerative farm at Bowna, NSW.

Jo Davenport, From my Window, (detail), 2024.

29 November—12 February 2026 From My Window Jo Davenport Recent experimental work from acclaimed artist, Jo Davenport. New paintings which feature explosive colour, life, and mark making inspired by masters of calligraphy.

21 November—7 December The Rural Savant-Garden II ‘Distance makes the Art grow fonder III’ Sam Sharman The Rural Savant-Garden II: ‘Distance makes the Art Grow Fonder III’ is the latest instalment in an ongoing project by artist and teacher Sam Sharman, reflecting on the intersection of landscape, education, and personal experience. Drawing inspiration from his time teaching and living in rural Australia, particularly in Temora, this exhibition presents a multi-disciplinary exploration of place and memory. The exhibition invites visitors to reflect on the teacher’s journey, the landscapes that shape their creativity, and the connections formed along the way.

Wentworth Galleries www.wentworthgalleries.com.au 175 Pitt Street, Sydney NSW 2000 [Map 8] 02 9223 1700 Open 7 Days, 10am–5.30pm.

See our website for latest information.

At Wentworth Galleries, we go to great lengths to make your art buying experience the pleasure that it should be. From the quality of the artwork we carry to our free home trials.

22 November—1 February 2026 Staying with The Trouble Regeneration Wendy Teakel, Linda Dening, Kim Mahood, Sally Simpson Staying with the Trouble is evolving process of exploration by Linda Dening, Kim Mahood, Sally Simpson and Wendy Teakel, four senior practitioners in concert

From 13 November Cake Kate Florence x Holly Terry x Rosie Woods 217

artguide.com.au

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.

18 June—16 November Tender Comrade 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, nonnormative sexualities, and transgender 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.

Louisa Magrics, Nestled, 2025, (room (detail)), acrylic yarn, 300 x 300 x 300 cm, (approximate dimensions).

Marie Hadley and Adam McDade, Grey Lines, 2025, (room detail), installation.

Time Traces Martin K. Koszolko and Max Schleser Huang Yongping 黄永砅, Les Consoles de Jeu Souveraines, 2017, steel, aluminium, bronze, wood, plastic, fibreglass, paper, straw, taxidermied horse, 345 x 586 cm diameter. Image courtesy of the artist and the White Rabbit Collection.

18 December—17 May 2026 The Hooligans Rabble-rousers, riffraff, scoundrels, and criminals. Troublemakers, wanderers, deviants, misfits. They’ve gone by many names—but to the Chinese state, they were once known simply as The Hooligans.

For as long as rules have existed, people have found ways to break them. In the face of relentless restrictions, Chinese artists have learned to think beyond imposed boundaries. Refusing to cooperate, daring to defy, and stirring up trouble, the artists in this exhibition speak for those sacrificed to keep the peace.

Watt Space Gallery www.newcastle.edu.au/wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 17 September—15 November BIO ASSEMBLY Part of the NEW ANNUAL Festival featuring: 218

Nestled Louisa Magrics Ampulla of Lorenzini Sandy Sanderson (composer Tim Merrikin)

Katie Barron, Jason Barwick, Monika Behrens, Lee Bethel, Brenda Blackman, Janine Brody, Jeremy Brook, Terri Butterworth, Fran Callen, Julie Cane, Regi Cherini, Jason Clark, Kirsten Coelho, Olivia Cotovich, Lucinda Crimson, Simone Darcy, Penelope Davis, Marian Drew, Christine Druitt-Preston, Blair Garland, Guy Gilmour, Phil Greed, Melissa Grisancich, Raelean Hall, Nazila Jahangir, Freya Jobbins, Alun Rhys Jones, Brittany Jones, Nicole Kelly, Suzanne Knight, Isaac Kozlovskis, Michael Langley, Justin Legaspi, Susan Lemke, Rosalind Lemoh, Donna Marcus, Kiata Mason, Sarah McGrath, Tully Moore, Kendal Murray, Adam Oste, Denise Pepper, Tamasin Pepper, Jasmine Poole & Chris Sewell, Sherry Quiambao, Matthew Quick, Victoria Reichelt, Bruce Reynolds, Elvis Richardson, Elizabeth Ryan, Cass Samms, Joshua Shrubb, Anne Smerdon, Ken Smith, Filthy the Bear, Emma Thorp, John Van Der Kolk, Emma Varga, LeAnne Vincent, Liz Walker, Gerry Wedd, Cleo Wilkinson, Cat Wilson, Paul Yore, Christopher Zanko, Peggy Zephyr.

HOSSEI, ESSSENSSSE, 2023.

Performer Lauren Booker. Photography

by Jacquie Manning.

22 November—1 February 2026 HOSSEI: ESSSENSSSE ESSSENSSSE is a Verge Gallery exhibition, touring in partnership with Museums & Galleries of NSW, supported by the University of Sydney and proudly funded by the NSW Government. Verge Gallery is supported by the University of Sydney Union.

Grey Lines Marie Hadley and Adam McDade

Yarrila Arts and Museum www.yarrilaartsandmuseum.com.au Gumbaynggirr Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.

Until 9 November Natural Capital: Carbon Webs, Energy and Me (us) Alexandra Byrne 6 September—9 November STILL | National Still Life Award 2025 STILL is Yarrila Arts and Museum’s biennial art award that aims to recognise excellence, diversity and innovation in contemporary still life practice while broadening the interpretation of this enduring genre.

STILL 2025 FINALISTS: S.A.Adair, Summer Aldis, Miguel Aquilizan, Svetlana Bailey,

Deborah Kelly, from the CREATION collage suite, 2019-ongoing, image courtesy of the artist.

22 November—15 March 2026 Deborah Kelly: CREATION CREATION has been assisted by the Australian Government through Creative Australia.

22 November—9 February 2026 Yearbook ‘25: HSC Visual Arts Students from the Coffs Coast Ongoing Yaamanga (around here)

Queensland

Exhibitions

GOOD AS

GOLD 8 NOV 2025 - 1 MAR 2026

www.rmoa.com.au Rockhampton Museum of Art is owned and operated by Rockhampton Regional Council Image: Ben QUILTY (b. 1973) The Evo project, Sheep Wash Road (detail), 2012 oil on canvas, 170.5 x 150.5 cm | Purchased with funds from the Rockhampton Art Gallery Trust the Kele family and public donations 2012 © Courtesy of the artist | Image: Courtesy of the artist and Jan Murphy Gallery, Brisbane

NOVEMBER/DECEMBER 2025

Image: Delvene Cockatoo-Collins, Mermaid in the Bay from Future History collection, presented by Mob in Fashion at Melbourne Fringe Festival, March 2022. Modelled by Preston Cockatoo-Collins and Xanthe Evans. Photograph by Josh Howlett.

Redland Art Gallery, The Mezz at RPAC 7 September – 9 November 2025

Redland Art Gallery, Cleveland 7 September – 18 November 2025 3829 8899 | artgallery.redland.qld.gov.au ADMISSION FREE

artguide.com.au practices that Bancroft was connected to and how we continue to be impacted by them today. Exhibition devel­oped by City of Moreton Bay.

18 October—20 November Caught in the Rear-view Ricky Larry As a multidisciplinary artist, Ricky Larry explores concepts of home, nostalgia, and identity. In Caught in the Rear-view, Ricky captures familiar landscapes and community life through sculptures and paintings.

22 November—20 December On a roll: Contemporary interpretation of the paper scroll Papermakers and Artists Queensland connects artists who share a passion for paper as an art medium. Their exhibition examines how contemporary artists use scrolls to encode layers of meaning.

Caloundra Regional Gallery Artspace Mackay → Euan Macleod, Watching Sunrise Off Mackay, 2024, oil on polyester, 90.0 x 110.0 cm. Photograph: Michèle Brouet.

Artisan www.artisan.org.au 45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 Wed to Fri 10am–5pm, Sat 10am–4pm.

Artspace Mackay

Caboolture Regional Art Gallery

www.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.

www.moretonbay.qld.gov.au/ caboolture-gallery Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission.

See our website for latest information.

26 September—14 December En Plein Air 20 September—14 December Leonie Wood: aMuse

Brian Robinson, A path in the sky, 2022, vinyl cut print on paper from one block, 97 x 202 cm. Courtesy of the artist and Onespace Gallery. Photo: Michael Marzik.

20 September—14 December Focus on the Collection: Ripples Through Time 222

Marni Stuart, After the Fire, 2022, digital surface design paint and pen on board, 40 x 60 cm. Image courtesy of the artist.

17 October—30 November Wildflowering by Design

Shivanjani Lal, ek story bathao, (still), 2020, 5-channel digital video. Winner 15 Artists 2020, City of Moreton Bay Art Collection.

The Wildflowering by Design exhibition draws inspiration from ground-breaking women such as artist/environmentalist Kathleen McArthur to present contemporary responses by artists from the Sunshine Coast and beyond. New artworks and

20 September—14 March 2026 Yield Kaya Barry, Megan Cope, Fernando do Campo, Joe Furlonger, Libby Harward, Shivanjani Lal, Jason Murphy, Sean Rafferty, Jasmine Togo-Brisby, Judy Watson, Elizabeth Willing, Anne Zahalka.

Joseph Bancroft was a physician, amateur botanist and agricultural scientist who in 1864 migrated from England to Brisbane.

Bancroft’s story is one of many colonial scientists who lived in 19th century Australia. Yield interrogates the methods used by these scientists, the knowledges they employed and the knowledges they ignored, to consider how we have arrived in our current environmental state. Yield will consider the legacies of early agricultural

Judith Laws, Tilt, 2021, mixed media, 101 x 101 cm. Image courtesy of the artist and CoolArt Gallery.

QUEENSLAND

Caboolture Regional Art Gallery → Ricky Larry, Ceramic tiles, underglaze, various sizes. designs reimagine and celebrate native wildflowers and women’s connection to place.

Curated by Dr Sue Davis & Dr Lisa Chandler.

5 December—1 February 2026 The Language of Laws A deep insight into the extraordinary making of one of the Sunshine Coast’s favourite Contemporary Australian artists, Judith Laws. With works drawn from private and public collections, this exhibition examines the depth and breadth of Judith’s making from her early works through to her extraordinary and vivid works all drawn from trips out west, from the top end, visits overseas and her own backyard.

Court House Gallery, Cairns www.cairns.qld.gov.au/ courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Mon to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

17 September—8 November Australian Watercolour Muster 2025 Australian and International Watercolour artists The Australian Watercolour Muster features an exhibition of watercolour paintings by artists from around the nation and the world, and a six-day public program of workshops and events. The biennial Australian Watercolour Muster is part of a network from over 90 countries - engaged and linked together via the FabrianoIn Acquarello - Italy Art Symposium, held annually in Italy over the last sixteen years.

Ed Koumans In worldwide cultures, rites of passage are markers of birth, of reaching adulthood, getting married, elderhood, and death.

Cairns artist, Ed Koumans, has been making art for six decades and this exhibition marks his elder status and celebrates his prolific oeuvre. Human rituals and ceremonies are key subjects of Koumans’ work, his observations interpreted through an artist-as-anthropologist’s eye. Collectors of Koumans’ art in this region and further afield value the exuberance and wry wit of his themes. Thanks to these collectors’ generosity in lending their assemblages, ritual figures, body adornments, drawings, paintings and textiles, a lifetime of art making is on display here.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Yuru Country, Townsville, QLD 4810 [Map 14] 07 4724 4898 and 0408 287 203 Wed and Sat 12noon–5pm, or by appointment.

See our website for latest information.

1 November—31 December Hot Dry Spring Theodore Kennett-raj

Gladstone Regional Art Gallery & Museum www.gragm.qld.gov.au Cnr Goondoon & Bramston Sts, Gladstone, QLD 4680 [Map 14] Mon to Fri 10am–4.30pm, Sat, 10am–2pm.

Immerse yourself in the lives and beloved memorabilia of Gladstone Region locals.

Showcased Special Seniors are over 70 years of age, have lived in the area for over 30 years and have been nominated by the community.

8 November—24 January 2026 The 50th Rio Tinto Yarwun & QAL Martin Hanson Memorial Art Awards An exhibition of entries created by established, emerging and amateur artists Australia wide, full of colour following diverse themes.

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.

23 August—16 November Girra: Fraser Coast National Art Prize 2025 The biennial art prize invites entries from artists working in any visual art medium from across Australia, offering a $25,000 major acquisitive prize. The finalists’ exhibition forms a compelling story of our nation’s relationship to the environment told through diverse perspectives and aesthetic approaches. The 2025 prize finalists are: Lino Ah-Honi (QLD), Ariella Anderson (QLD), Amanda Bennetts (QLD), Jacqueline Bradley (ACT), Johnathon World Peace Bush (NT), Shoufay Derz (NSW), Christophe Domergue (NSW), Claire Ellis (VIC), Baylee Griffin (QLD), Georgia Hayward (QLD), Joseph Williams Jungararyi (NT), Ingvar Kenne (NSW), Anna May Kirk (NSW), Aaron Perkins (VIC), Brian Robinson (QLD) and Paul Snell (TAS).

23 August—16 November Strange Kinship

Ed Koumans, Spirit figure, 1997, mixed media on canvas. Courtesy Claudine and Michael Marzik.

14 November—24 January 2026 Rites of Passage

2025 Special Seniors and participating students from Toolooa State High School.

Photograph: MGR Photography.

17 September—15 November Our Priceless Past 2025

Taking its name from the work of French philosopher Maurice Merleau-Ponty, Strange Kinship asks us to consider our co-habitation of a shared physical world, while acknowledging the unique ways we experience and inhabit it through our vastly different bodies. Featured artists trace the importance of mythology, spirituality and storytelling in connecting with animals in the past and present. Including work

by Australian and international artists Allora & Calzadilla (in collaboration with Ted Chiang), Fernando do Campo, Dolphin 223

artguide.com.au Hervey Bay Regional Gallery continued...

Milk, Gabriella Hirst, Nicholas Mangan, Trent Mitchell, Deb Mostert, the Unbroken Whispers project team (Dr. Jodi Edwards, Natalia Baechtold & Dr Chels Marshall) and featuring The Dolphin Embassy Archives (curated by the New Landscapes Institute).

7 October—16 November Creative Generation The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state and non-state schools.

initiated by papermaker Zela Bissett with Butchulla Traditional Custodians and volunteers working in forest rehabilitation.

Using plant matter as a sustainable form of creative expression, this exhibition suggests a new way of regarding weeds —as a resource rather than a nuisance.

Through a process of chopping, cooking and blending, the pest or waste plants are converted into a pulp from which sheets of paper can be extracted using a process called couching. Works in this exhibition use handmade papers to create collage, linocuts and three-dimensional casting.

Together this group of Indigenous and non-Indigenous creatives have developed community of skill-sharing and knowledge exchange, built on a foundation of caring for Country. Partners: FIDO - the watchdog of K’gari, Butchulla Aboriginal Corporation (BAC) and Butchulla Native Title Aboriginal Corporation (BNTAC).

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.

Until 20 September 2026 National Interests: Australian Art in the 20th Century

Tyza Hart, Bellybutton to Bellybutton, 2023, stoneware with porcelain slip, 14 x 26 x 26 cm. Photo: Louis Lim. Courtesy of the artist and Darren Knight Gallery.

29 November—15 February 2026 Tyza Hart: Appearing Tyza Hart’s artworks foreground embodied experience through combinations of abstract gesture and figuration. In this exhibition, a new installation of ceramic objects and dyed fabric is contextualised with key self-portraits, oil paintings, sculptures, poems, and videos, drawn from the past ten years of Tyza’s practice. Appearing is the first early-career survey of Tyza’s practice and will tour to Gympie Regional Gallery in March 2026.

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 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Rosemary Laing, a dozen useless actions for grieving blondes #6, 2009. Courtesy of Ames Yavus.

4 October—21 December Confronting Femininity

Curated by Sal Edwards and Robert Leonard.

Featuring Michaela Stark, Natalya Hughes, Rosemary Laing.

Diggermode 2: Cloud Ceding Joel Sherwood Spring Curated by Ellie Buttrose and Robert Leonard, and supported by Create NSW, the Keir Foundation, and IMA Commissioners Circle. A joint project with the 2026 Adelaide Biennial.

29 November—15 February 2026 Dion Beasley: Six Dogs Alywarr man Dion Beasley is an award-winning artist and illustrator. Born in Alice Springs, he has spent most of his life in communities throughout the Barkly region of the Northern Territory. Most recently Dion lived in Tennant Creek, before moving to Hervey Bay in 2020. As a Deaf artist with muscular dystrophy, Dion uses drawing to communicate with the world.

Joel Sherwood Spring, Diggermode 2, 2025. Courtesy Institute of Modern Art.

Toshio Matsumoto: Funeral Parade of Roses Formally inventive, Matsumoto’s feature film has been called a ‘shattering kaleidoscopic masterpiece’ and ‘one of the most subversive and intoxicating films of the late 1960s’. On show in the IMA Screening Room.

Ken Done, Big Black reef, 2015, (detail), oil on linen. Private collection, USA. Courtesy Ken Done Gallery.

13 September—15 February 2026 Ken Done: No Rules Image courtesy of Zela Bissett.

29 November—15 February 2026 Weeds to Paper Weeds to Paper is a collaborative project 224

“There are no rules. And if there are rules, then you may as well break them” - Ken Done. Ken Done: No Rules features artworks from the 1980s to today which are largely drawn from Done’s personal collection.

Ipswich Art Gallery www.ipswichartgallery.qld.gov.au Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich, QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm.

Free admission.

QUEENSLAND

4 October—30 November Residue + Response: Tamworth Textile Triennial Amy Hammond, Anne Graham, Blake Griffiths, Casselle Mountford, Dana Harris, Daphne Banyawarra, Fiona Gavino, Hannah Quinlivan, Joan Ross, Jumaadi, Kait James, Kate Harding, Kate Just, Kyra Mancktelow, Leanne Zilka + Jenny Underwood, Liz Williamson, Lucy Irvine, Maggie Hensel-Brown, Makeda Duong, Mandy Quadrio + Jan Oliver, Norton Fredericks, Paula do Prado + Tamara Burlando, Rachael Wellisch, Sophie Honess and Sybil Orr. Curated by Carol McGregor.

Residue + Response: Tamworth Textile Triennial builds on the tradition of the Tamworth Fibre Textile collection which first began in 1973, showcasing 50 years of contemporary textile artists. This exhibition has been developed by Tamworth Regional Gallery and is supported by the Visions of Australia and Region Arts Fund, an Australian Government program aiming to improve access to cultural material for all Australians.

Vicki Stavrou, Late Afternoon Sprinklers, 2021, acrylic on gallery cotton canvas, 63 x 94 cm. Image courtesy of the artist and Anthea Polson Gallery.

Paul Davies (AUS), Rosi Griffin (AUS), Jim Isermann (USA), Troy Kudlac (USA), Lance O’Donnell (USA), Kim Stringfellow (USA), Vicki Stravrou (AUS), Robyn Sweaney (AUS), Gosia Wlodarczak (AUS).

Lost in Palm Springs, brings together the creative minds of 14 internationally recognised artists, photographers and thinkers from America and Australia. Curated

by Dr Greer Honeywill, Lost in Palm Springs explores the magical qualities of the landscape and the cele­brated mid-century modern architecture found in the desert city of Palm Springs, California. Lost in Palm Springs is a touring initiative developed

by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland and proudly sponsored by IAS Fine Art Logistics and o2 Architecture.

Jan Murphy Gallery www.janmurphygallery.com.au

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 The Sharing the National Collection initiative, funded under Australia’s National Cultural Policy Revive, enables major works of art to be exhibited outside the nation’s capital. Ipswich Art Gallery now feature powerhouse American artists Mark Rothko (1903-1970) and Agnes Martin (19122004), 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 works of art are on long-term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

13 December—15 March 2026 Lost in Palm Springs Kate Ballis (AUS), Tom Blachford (AUS), Darren Bradley (USA), Anna Carey (AUS), Sam Cranstoun (AUS),

Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

28 October—15 November Visitors Monica Rohan 18 November—6 December Endlings Drew Connor Holland

Emma Currie, Hidden Intention, 2025, oil on canvas, 31 x 25.5 cm.

In You Open Always, Emma Currie explores the quiet tension between intimacy and restraint. Through cropped fragments of hands, hair, and flowers, Currie’s paintings trace the gestures that linger in the body - touch, memory, and tenderness held in suspension.

7 October—31 December The Site of Return Emily Ebbs This small body of work by Emily Ebbs, composed of six pieces, draws from both past and present. Some works are built upon fragments of earlier artworks; pieces Ebbs created years ago, tore apart and set aside.

Others originated as part of a larger whole, now reimagined through segmentation. The title of the show - The Site of Return, implies a revisiting — to old works, to nature, to a former self; the hibernation of winter offering a time of reflection and contemplation.

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 November—6 December Summer group exhibition

14 November—17 January 2026 Horizons Joe Furlonger

Leighton Contemporary

Drawn from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Collection Joe Furlonger: Horizons traces the artist’s career through a range of media from painting to ceramics, sculpture and drawing.

www.leightoncontemporary.com 5/64 Gateway Drive, Noosaville QLD 4566 [Map 13] 0413 477 947 Tue to Fri 10.30am–2pm, or by appointment.

10 October—31 December You Open Always Emma Currie

14 November—17 January Grandmothers Shirley Yamala Collins Through a series of paintings, prints, textiles, objects, artefacts and jewellery, Shirley and Susan, as grandmothers themselves, explore the custodianship, cultural knowledge, survival knowledge and storytelling relevance of their generation.

225

artguide.com.au Logan Art Gallery continued...

refining her first solo exhibition for Logan Art Gallery’s Young Peoples Gallery.

10 December—17 January Little Ghosts of Christmases Bygone Dante Coetzee Little Ghosts of Christmases Bygone draws on the artist’s experience of dwindling populations of Christmas beetles while living in Queensland. Painting, ceramics and mosaics are used to explore themes of extinction, exploitation, capitalism and ecocide. 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

Shirley Yumala Collins, Grandmothers tools, 2025, air dried clay, sand, acrylic paints, sealant, wood, gauze, polymers, fabric, string, natural dyes, emu feathers.

Courtesy of the artist.

Metro Arts @ West Village 97 Boundary Street, Yuggera Country, West End, QLD 4101 [Map 15] 07 30027100 Mon to Fri 10am–5pm.

Anastasia Booth, A man that didn’t have betrayal in his heart, 2025, digital collage, found and captured material.

Fragments amass into scapes of mock dramaturgy, where luxury and sensuality are fraught with cheapness, unable to sustain the projections of arousal we attribute to them.

Mitchell Fine Art www.mitchellfineartgallery.com

Bianca Tainsh, Terra Culture, 2025.

Photograph: Louis Lim.

4 September—15 November Terra Culture Bianca Tainsh Laila Bjornsson, Flash of yellow, 2023, oil on canvas. Courtesy of the artist.

14 November—6 December In Your Nature Laila Bjornsson, Fadja Haddad, Raman Kaur, Julie Breathnach-Banwait In Your Nature presents paintings inspired by both domestic and native landscape environments by 4 Logan artists.

14 November—6 December Stories from Underdogs Stories from Underdogs is an exhibition of highly-commended short films, and film posters, from Logan high school students who entered their work in the Underdog Film Festival, held at the Kingston Butter Factory, September 2025.

10 December—17 January Ripple Effect: out of Artwaves Sienna Considine Each year, Logan Art Gallery selects 2 outstanding young artists who exhibited in the annual Artwaves: Logan and adjacent areas secondary schools art exhibition to participate in its Ripple effect: out of Artwaves mentoring program. Sienna has spent the last 12 months developing and 226

Turrbal and Yuggera Country, 86 Arthur St, Fortitude Valley, QLD 4006 [Map 15] 07 3254 2297 Mon to Fri 10am–5.30pm, Sat 10am–5pm.

See our website for latest information.

18 November—19 December Kim Wilson

Terra Culture is an exploration of terra-biomes—symbiotic bodies of flora and microfauna, intimately connected by underground fungal networks. Audiences will encounter an immersive space, where interaction with living sculptures invites human entanglement in the complex agency and culture of other natural beings.

The exhibition will also provoke a visceral self-identification, uncovering the human state as its own multi-species biome.

4 September—15 November A man that didn’t have betrayal in his heart Anastasia Booth A man that didn’t have betrayal in his heart harkens back to a younger me, poetically reconstructing engagements in erotic scenario by delving into past memories.

Capricious and foolish longing, desire gone awry and where the toil of sensuality (its unpronounced labour) is a submission to melancholy. Instead of using erotic abstraction and post-structuralism to reclaim intimacy, these sculptures revel in floundering inadequacy. An ontology both anxious and self-aware which draws from love hotel interiors, industrial materials, kink environments, classical statuary, ball gags, fetishism and diaristic modes.

Betsey Lewis Napangardi, Women’s Dreaming, 2007, acrylic on linen, 90 x 120 cm.

18 November—19 December Xmas Salon

Mulgrave Gallery, Cairns www.cairns.qld.gov.au/ mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Mon to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

QUEENSLAND creative documentary-making. This body of work celebrates both the resilience of Yidinji cultural practices and the adaptability of contemporary art in maintaining living traditions.

11 October—24 December Intimate Worlds II Jenny Valmadre, Kat Hall, Lachlan Mackee, Lois Hayes, Pam Kusabs

Installation and work on paper, Claudine Marzik and Tijn Meulendijks. Photographed by Michael Marzik.

31 October—29 January 2026 The Body Language of Plants Claudine Marzik & Tijn Meulendijks European-born artists Claudine Marzik (Switzerland) and Tijn Meulendijks (Netherlands) have lived in Cairns for over three decades. The Body Language of Plants is their fifth collaborative exhibition, continuing their exploration of the natural world through painting and ephemeral, site-responsive installation. Their work reflects close observation and a deep sensitivity to nature’s underlying structures and organic rhythms.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm.

Free entry.

Precious, Museum of Brisbane.

Photo: Joe Ruckli.

Micro Museum, Museum of Brisbane. objects hold. Inspired by major exhibition Precious, in this space you are the curator.

You can select, sort and arrange a wide array of items, many of which are second-hand or vintage. Each object holds memories, and now you can create your own. Micro Museum is proudly supported

by Major Partner Brisbane Airport.

Intimate Worlds II brings together NorthSite makers whose practices are grounded in material exploration, slow processes, and thoughtful making. This exhibition highlights the space where art and design overlap—showcasing creators who work with sensitivity to their chosen materials and an enduring drive to test their potential.

Micro Museum is generously supported

by Ian and Cass George, and Holly and John Livingstone.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm.

6 October—22 November MINJIL Cultural Knowledge is Currency: Generation. Transmission. Protection.

Cultural Knowledge is Currency is a new exhibition led by Yidinji Traditional Owner and cultural leader Carl Fourmile, in collaboration with Minjil. Centred on the revival and reinterpretation of the Yidinji people’s unique square-cut nautilus shell regalia, the project extends traditional knowledge into the present through hands-on fabrication, storytelling, and

2 April—April 2027 Precious What makes a collection? Museum of Brisbane is giving you the keys to some of the most awe-inspiring collections across our amazing city. An irresistible array of breathtaking curiosities, Precious brings together thousands of remarkable items from more than 20 public and private collections. From textiles to tin-toys, micro-architectural marvels to marine treasures, this exhibition is a joyful celebration of the art of assemblage. We invite you to immerse yourself into the incredible stories of some of the prolific collectors of Brisbane, and get to know what makes a keepsake and collectible truly Precious.

Taloi Havini, Habitat, 2017, Installation View 2025, NorthSite Contemporary Arts, 3 channel HD video projection with sound.

13 September—22 November Shared Aspirations Marilyn ‘Taleo’ Havini and Taloi Havini Bringing together archives, video, and paintings, Shared Aspirations is presented at a critical juncture in Bougainville’s journey towards Independence. Inviting us to share the art of two women whose lives have both contributed to – and been shaped by – the Bougainville’s people’s pursuit of cultural, economic and political self- determination.

Onespace Gallery www.onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Mon: By Appointment Tues to Fri 10am–5pm, Sat 12noon–5pm. By appointment.

12 December—24 January 2026 Middle World: Every change a continuation, every season a story Teho Ropeyarn Carving his love for Country, the exhibition Middle World: Every change a continuation, every season a story sees Teho Ropeyarn illustrate the transient seasons of Cape York. With organic design, Ropeyarn draws on the interface of cultural memory and time to traverse the landscape in its wet, dry, and burnt form.

22 March—2026 Micro Museum

12 December—24 January 2026 Mudang Butbut Konstantina

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

Onespace proudly presents Konstantina’s Mudang Butbut in the Lounge Gallery, beautifully closing our exhibition program for the year. This body of acrylic paintings

Lachlan MacKee, Bud Vase, 2025, woodfired stoneware.

227

artguide.com.au Onespace Gallery continued...

their reasons for getting tattooed are as varied as the people themselves, self-expression and belonging play a part. They also share a common purpose in getting inked to remember.

as a catalyst for future experimentation, reinvention, and possibility. Opening night: Friday 28 November, 6pm–8pm.

PARKER Contemporary

PARKER Contemporary’s summer exhibition, Contemporaries, marks the gallery’s end-of-year show, offering opportunities to collect works that reimagine printmaking, papermaking, and artists’ books. Bringing together dynamic practices, the exhibition highlights these mediums as living processes, transformed by contemporary urgency and experimentation. Opening night: Friday, 12 December, 6pm–8pm.

www.parkercontemporary.com.au 38 Hope Street, South Brisbane Queensland, 4101 [Map 15] 0438 389 762 Wed 12–4pm, Thu & Sat 11am–4pm, Fri 12noon–5pm, or by appointment.

12 December—20 December & online until 10 January Contemporaries: Summer

Konstantina, Decade Four, 2025, acrylic on linen, 91 x 91cm. Image: Rhianna Phillips. Courtesy of the artist and Onespace.

Philip Bacon Galleries

on linen explores trees as metaphors for the living heart - repositories of memory, connection, and resilience. Through her vibrant mark-making, Konstantina translates the language of tree-growth into a visual meditation on identity, sovereignty, and belonging. Each work becomes a living document, painting traces of the artist’s personal and cultural histories while reflecting universal stories of endurance and renewal for First Nations people. Mudang Butbut invites viewers to reflect on the invisible threads that bind ancestry, land, and the human heart through the enduring resilience of trees.

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.

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.

www.philipbacongalleries.com.au

Tim Mosely, In the Cleft of the Rock Face, 2025, Four colour hand cut reductive linocut relief print on hand made Awagami Kozo Paper, Image: 61 × 43cm | Paper 65 × 49cm, Edition of 7 + AP.

5 November—22 November Tim Mosely: Revisiting the Bush Revisiting the Bush presents a significant new body of work by contemporary artist Dr Tim Mosely. Through hand-carved reductive linoprints, Mosely re-engages the Australian Bush as subject and site, foregrounding the hand-printed surface as a means to consider touch, memory, and material presence in contemporary print culture. Opening night: Friday, 14 November, 6pm–8pm.

26 November—6 December Looking Forward // Looking Back Looking Forward // Looking Back presents new works by emerging artists from QCAD’s print: praxis. Responding to the folio box as both object and idea, the exhibition explores printmaking’s dual role as a vessel of history and memory, as well

Rick Amor, The Room at the end of the corridor, 2023, oil on canvas, 100 x 130 cm.

11 November—6 December Rick Amor 9 December—24 December Summer Exhibition

Pine Rivers Art Gallery 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.

Image courtesy of the Australian War Memorial.

11 November—4 February 2026 Ink in the Lines - An Australian War Memorial Touring Exhibition.

Tattoos are a conversation starter. Many members and veterans of the Australian Defence Forces have tattoos, and while 228

Alethea Richter, Pulse 3 (1.1.3.4.5.5), 2025, Hand printed multilayer silk screen on Fleur De Coton, Image Size: 28.2 x 28.2cm, Paper Size: 46 x 38cm, Edition of 5 + AP.

Merinda Davies, Earth Refuge 3000, (installation view), 2022-23, dual channel video 5:36 minutes, speculative performance and installation.

Photograph: Louis Lim.

QUEENSLAND

2 August—29 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? Earth Refuge is both an imagination of our future and a reflection of our current state. In the fourth exhibition of the Art that makes you feel … series, artist Merinda Davies encourages us to consider the future of our planet and how we can work together now to preserve our environment. Exhibition developed by City of Moreton Bay.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

QAGOMA → Archie Moore / Kamilaroi/Bigambul peoples / Australia b.1970 / kith and kin (installation view, Australia Pavilion, Venice Biennale) 2024 / Presented to Queensland Art Gallery | Gallery of Modern Art and Tate by Creative Australia on behalf of the Australian Government 2024 / Collection: Queensland Art Gallery | Gallery of Modern Art / © Archie Moore / Photograph: Andrea Rossetti / Image courtesy: The artist and The Commercial, Sydney.

24 October—5 October 2026 Croc! Lost Giants to Living Legends Experts from Queensland Museum, the Australian National Maritime Museum and Museum and Art Gallery of the Northern Territory have created this world premiere exhibition. Walk alongside one of the planet’s most powerful and fascinating animals, on a journey stretching back over 130 million years. Croc! features bold and beautiful artworks sharing First Nations connections to Sea Country.

Until 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.

QUT Galleries and Museums www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au

Olafur Eliasson / Denmark b.1967 / Beauty 1993 (installation view, Fondazione Palazzo Strozzi, Florence, Italy, 2022) / Spotlight, water, nozzles, wood, hose, pump / Spotlight, water, nozzles, wood, hose, pump / Installed dimensions variable / Purchased 2025. The Josephine Ulrick and Win Schubert Charitable Trust / Collection: The Josephine Ulrick and Win Schubert Charitable Trust, Queensland Art Gallery | Gallery of Modern Art / © 1993 Olafur Eliasson / Photograph: Ela Bialkowska, OKNOstudio.

6 December—12 July 2026 Olafur Eliasson: Presence 27 September—18 October 2026 Archie Moore: kith and kin

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.

Queensland Museum, Markus Ravik.

Until 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.

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.

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.

Un/tethered exhibition view. Queensland Museum, Lee Wilkes.

Archie Moore, Mīal, 2022/23, (detail), Purchased 2023. © Archie Moore.

229

artguide.com.au Redcliffe Art Gallery continued...

16 August—8 November Mīal Archie Moore On tour from the National Portrait Gallery’s collection, Mīal is an abstract, conceptual self portrait that continues Archie Moore’s practice exploring the politics of identity, racism and language systems. The monumental self portrait is composed of multiple geometric paintings, each representing a part of the artist’s body and replicating shades of his skin colour. Archie Moore (Kamilaroi/Bigambul) is a cele­brated multidisciplinary artist based in Southeast Queensland. In 2024, he be­c ame the first Australian to win the Venice Biennale’s prestigious Golden Lion award for best national participation. A National Portrait Gallery exhibition. Mīal 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.

Redland Art Gallery, Cleveland → Joe Furlonger, Off Manly, 2019, gouache on paper. Courtesy of Redland Art Gallery Collection. Donated through the Australian Government’s Cultural Gifts Program, 2022. Photograph by Carl Warner.

McGuire present new bodies of work that reflect their relationship to this changing landscape. Exhibition developed by City of Moreton Bay.

29 November—8 February 2026 Two Girls From Amoonguna Sally M Nangala Mulda and Marlene Rubuntja Teho Ropeyarn, Ani, Ipi, Achah (land, water, sky), 2021, vinyl-cut print on paper.

City of Moreton Bay Art Collection.

Image courtesy of Onespace, Brisbane.

30 August—22 November Spirits in the Ink 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.

Shown alongside recent acquisitions from the City of Moreton Bay Art Collection, the works in this exhibition showcase the rich and diverse cultures of Aboriginal and Torres Strait Islander artists in the region, expressing their strong and vast cultural connection to Country. Spirits in the Ink is a collaborative exhibition between City of Moreton Bay and NorthSite Contemporary Arts. Curated by Aven Noah Jr.

22 November—7 March 2026 Fresh Eyes 2025 Rachel Bywaters, Zartisha Davis, Amanda Ivy Gardner and Emily McGuire Fresh Eyes is a biennial exhibition that in­ vites four artists to respond to the evolving landscape of the Moreton Bay Region.

This exhibition series explores what draws artists to depict certain landscapes or histories of this place and the connection they hold to them. In 2025 artists have been asked to unpack the meaning of change and how they witness it in the landscape, the community and within themselves. Ra­chel Bywaters, Zartisha Davis, Amanda Ivy Gardner and Emily 23 0

Two Girls From Amoonguna is an exhibition featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. Encompassing video, bush-dyed hand-sewn soft sculptures and observationalist paintings, it recounts their intertwining stories of friendship and resilience. Arrkutja Tharra, Kungka Kutjara, Two Girls was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood, and The Strange Chores, and is an Artbank + ACMI co-commission.

An ACMI touring exhibition.

This exhibition is part of a three-year project of artist-led exhibitions and activations, collectively titled CREATE EXCHANGE. Create Exchange is supported

by Haymans Electrical, Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and Redland Art Gallery | Redland City Council.

30 November—27 January 2026 Water Works Joe Furlonger Regarded as one of Australia’s most respected landscape painters, Water Works celebrates Joe Furlonger’s relationship with the sea. Drawing inspiration from his early years fishing with his father and working on fishing trawlers, Water Works pays homage to Furlonger’s life-long connection to the sea and fishing on the Queensland coast.

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.

Holly Anderson, The door, 2025, oil on panel, 30.5 x 40.7 cm. Photograph courtesy the artist and N.Smith Gallery.

7 September—18 November CREATE EXCHANGE: Wearing Country Delvene Cockatoo-Collins

30 November—27 January 2026 Some Things Too Bright to See Holly Anderson

Quandamooka artist and designer Delvene Cockatoo-Collins provides rare insight into her creative practice. With a deep respect for Country, her unique garments reveal the natural beauty of Minjerribah (North Stradbroke Island) and family stories as a source of inspiration for wearable art woven into runway pieces.

Holly Anderson invites you into a luminous world where light and water converge.

Inspired by visits to Minjerribah/North Stradbroke Island, her new paintings explore the ‘glitter path’ - dazzling light reflected across a body of water - to evoke the presence of the celestial in the everyday.

QUEENSLAND

Redland Art Gallery, The Mezz

works from the RMOA Collection that depart from depicting conventional likeness. The works utilise various abstract techniques including the manipulation of colour, form, shape, and expressive mark-making. Beyond Abstraction highlights diverse approaches to abstraction but also critiques established artistic norms. Curated by Robert Connell.

www.artgallery.redland.qld.gov.au Redland Performing Arts Centre, 2–16 Middle Street, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8131 Mon to Fri 9am–4pm, and 1 hour prior to all performances.

Admission free.

2 August—2028 Sally Smart: The Artists Ballet

7 September—9 November CREATE EXCHANGE: Wearing Country Delvene Cockatoo-Collins A continuation of the exhibition Wearing Country features Cockatoo-Collins’ design commissions. With a focus on her Brisbane Broncos jerseys and theatre costumes, visitors can follow the progression of Cockatoo-Collins’ wearable art practice, her continued connection to Country and representation of identity. This exhibition is part of a three-year project of artist-led exhibitions and activations, collectively titled CREATE EXCHANGE.

24 November—16 January 2026 In Focus 2025 – Flourish In Focus 2025 - Flourish explores artistic growth as a dynamic process, honouring creativity’s evolution, experimentation and grounding. It invites artists from the Redlands Coast to present individually authentic work shaped by place, practice and flourishing as an evolving creative journey.

Rockhampton Museum of Art www.rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

11 October—26 April 2026 Locust Jones: To Bear Witness For over 20 years, Locust’s practice has woven layers of stories and images that replicate the frenetic pace at which society consumes everyday news and current affairs, in a variety of mediums. To Bear Witness will feature large scale vertical drawings cascading through RMOA’s Atrium Gallery.

Monica Rohan, The Fold, 2022, oil on board, 61.5 x 45.5 cm. Rockhampton Museum of Art Collection, purchased 2023. Photo and © courtesy the artist and Jan Murphy Gallery.

8 November—1 March 2026 Good as Gold Good as Gold is an expansive selection of paintings from artists featured throughout the Gold Award’s first decade-plus.

Featuring an assortment of winning, donated and purchased works, the exhibition brings together many works that have never been seen together before, or indeed even in the context of the Gold, offering a surprise selection of deep cuts and greatest hits from the popular and much-anticipated biennial prize, as well as non-Gold works from Gold artists. Named for benefactor Moya Gold, the exhibition is a celebration of the rich culture of giving and philanthropy in Rockhampton. Curated by Jonathan McBurnie, Tessa McIntosh and Shanna Muston.

16 August—9 November Rosella Namok: Sure Lines The Gold Award 2024 winner Rosella Namok returns to RMOA with Rosella Namok: Sure Lines. Namok’s paintings reflect both traditional stories and contemporary themes across cultural and social concerns with candid observations about changing lifestyles and the environment.

Curated in partnership with FireWorks Gallery and Sally Butler.

22 November—15 February 2026 The Bayton Award 2025 Finalist Exhibition The Bayton Award 2025 is the seventh iteration of this biennial art prize and exhibition, named in recognition of the Right Reverend John Bayton AM for his significant contribution to the development of the Rockhampton Museum of Art Collection.

Stanthorpe Regional Art Gallery www.srag.org.au Weeroona Park, Stanthorpe, QLD 4380 [Map 13] 07 4681 3991 Tues to Fri 10am–4pm, Sat & Sun 10am–1pm.

See our website for latest information.

Karen Johns, A Moment in Time.

9 October—23 November A Moment in Time Karen Johns

8 November—1 March 2026 Danish Quapoor: desolate vessels Danish Quapoor has memorialised suspended moments within the cyclical timeline of death, grief and regrowth.

Desolate vessels are devoid of physical contents, yet metaphorically filled with personal lamentations and broader considerations such as the climate crisis.

Danish Quapoor is a visual artist based on Gurambilbarra/Townsville. His multidisciplinary practice is typically unified by repetitive processes and a flat-colour style in which stylised forms float amidst sparse compositions.

Sally Smart is one of Australia’s most dynamic and sought after contemporary visual artists. Living and working on Wurundjeri/Boon Wurrung Country, Melbourne, Smart is recognised internationally for her large-scale assemblage installations, collage painting and film performance works. The artist takes collage out of its traditional domain of small-scale paper and scales it up to dramatic effect, applying it to other media, including textiles, sculpture and even metal, creating captivating installations that invite and suggest multiple perspectives and interpretations.

9 October—23 November Reflections and Celebrations: Maryke Miller and Laurie Astill Michelle Black, Overflow I, (detail) 2019, intaglio print with oil-based ink on cotton.

Gifted by the Friends of the Rockhampton Art Gallery from The Bayton Award 2019.

6 September—1 February 2026 RMOA Collection: Beyond Abstraction Beyond Abstraction investigates the field of non-representational art, showcasing

1 October—4 March 2026 $50,000 Stanthorpe Art Prize 2026 Calling entries from all artists.

27 November—11 January 2026 LOOKING OUT LOOKING IN: exploring the self-portrait QAGOMA Touring Exhibition.

231

artguide.com.au

State Library of Queensland → Coopers Plains, 1965-1975, Frank and Eunice Corley house photographs. Acc. 6169, John Oxley Library, State Library of Queensland.

State Library of Queensland

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.

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.

Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council, Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art.

20 September—9 November Brisbane Portrait Prize 2025 6 December—8 February 2026 Driven: Every car has a story Take a drive down memory lane at the Driven exhibition, celebrating the milestones we’ve shared with our cars, the adventures across bitumen, sand, and dirt, and the enduring passion driven by our love for them.

25 October—22 February 2026 Billy Missi’n Wakain Thamai Billy Missi’n Wakain Thamai honours the late Torres Strait Islander artist Billy Missi (1970-2012). Featuring 26 of his artworks including rare monoprints, etchings, and linoprints, this retrospective is a tribute to Missi’s artistic legacy and his dedication to maintaining the language and culture of his people.

Tanks Arts Centre, Cairns www.tanksartscentre.com 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.

7 November—7 December Our Garden of Tropical Delights Jamie Cole and Gabrielle Cooney Once a storehouse of oil and industry, the Tanks Arts Centre now blooms with new life. In Our Garden of Tropical Delights, 232

2025 Excellence Award, Sylvia Nevistic, To have and to hold, 2025, patinated sterling silver, archival wax, 21 x 3.5 x 2.2 cm. Photographer: Jo Armstrong © Sylvia Nevistic.

Jamie Cole & Gabrielle Cooney, Our Garden of Tropical Delights. artists Jamie Cole and Gabrielle Cooney explore the fertile meeting point between the natural world and the industrial past.

Creator of Flintstone Designs, Gabrielle’s ceramics embrace the philosophy of wabi-sabi – finding beauty in imperfection, impermanence, and transformation. Her tree trunks, seed pods, and pipe-like forms echo both the resilience of nature and the remnants of human structures. In vivid contrast, Jamie’s paintings pulse with fluorescent colour, gold leaf, and graffiti-like layers. Drawing on foliage, camouflage, architecture, and pop motifs, his works channel the dynamism and spectacle of the urban environment

3 September—23 November The Jewel Box

Six fortnightly pop-up shows in The Bolton Reading Room: Housing the Lionel Lindsay Library featuring rare books and contemporary jewellery, complementing Contemporary Wearables 25 – Biennial Jewellery Award and Exhibition.

18 October—16 November Creative Generation Excellence Awards in Visual Art 2025 The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state

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.

30 August—23 November Contemporary Wearables ’25

Felicity Peters, Inspired by the gherkin, 2007, sterling silver, thread and ear plugs, 4.9 cm high, 22 cm diameter. Toowoomba Regional Council – Toowoomba City Collection 1639. © Felicity Peters.

QUEENSLAND and non-state schools. This regional exhibition displays the creative talents of students from the Darling Downs South West region for 2025.

The Creative Generation Excellence Awards in Visual Art would like to thank program partner QAGOMA and regional event partner Teacher’s Mutual Bank for their ongoing support.

22 November—8 February 2026 Colour Pop Colour Pop bursts with vibrancy, showcasing works from the Gallery’s collections and local artists. Through colour, light, and form, this kaleidoscopic exhibition invites viewers to experience emotion, movement, and meaning in bold pigments and luminous installations.

29 November—22 February 2026 The Art Club that Built a Gallery: Celebrating Toowoomba Art Society For the past 100 years the stories of Toowoomba Regional Art Gallery, its contemporary art collection and the Toowoomba Art Society have been intriguingly entwined. This exhibition unravels and celebrates this relationship through the artworks that founded the City’s Collection.

University of the Sunshine Coast Art Gallery → Phoebe Wallace, A conversation with chaos, 2024, Inkjet prints on paper. Courtesy of the artist.

by the artist mentees (Alicia Allen, Simsala Grimm, Daniel Meza and Natalie Simpson) with an essay by the writing mentee Michael Smith.

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.

Vicki Katthagen, Veyra, (detail), 2025, digital photograph on cotton rag paper, 84 x 119 cm.

Kathy Cornwall, Psychedelica, 2023, acrylic, driftwood and polymer clay, 9 x 40 x 20 cm. Photograph: Amanda Galea.

7 November—21 December Florae II Alexandra Boscacci, Bernadette Boscacci, Ellen Clark, Katherine Cornwall and Naomi Smith Florae II is a group exhibition featuring artworks across diverse media, created in response to native plants and the endemic plant communities of the wet and dry tropics of North Queensland.

7 November—21 December Transitions: Undertones Alicia Allen, Simsala Grimm, Daniel Meza and Natalie Simpson, with Michael Smith Transitions is a partnered program between Umbrella Studio Contemporary Arts and Townsville City Galleries. The program fosters mentorship for emerging North Queensland artists, and for the first time this year, an emerging arts writer.

This year’s exhibition outcome pairs works

7 November—21 December Lightborne Vicki Katthagen Vicki Katthagen investigates elements of the intricate relationship between humans and nature in Lightborne.

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.

The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the Art Gallery was redeveloped in 2020 establishing itself as the leading regional university art gallery in Australia.

31 October—22 November Illuminate This exhibition showcases the work of over 50 graduating UniSC Design students across digital culture, visual communication, screen, game design, and interactive media. The multisensory exhibition included immersive installations, photography, illustrations, experimental video art, soundscapes, and augmented reality. Design at UniSC is an interdisciplinary program with dynamic pathways that encourage students to discover their creativity and develop critical thinking through experimentation in an inclusive and exploratory environment. This versatile interdisciplinary program equips students with theoretical knowledge, creative skills, cultural awareness and critical thinking to imagine and shape a future that is changing rapidly by design.

UQ Art Museum www.art-museum.uq.edu.au 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.

22 July—6 December to come together as water Various artists NORTHERN WATERS Rachel O’Reilly WE CALL YOU! Sisters! Mothers!

Workers!

Petra Bauer in collaboration with: Southall Black Sisters, SCOT-PEP, Marius Dybwad Brandrud, Carolina Sinisalo, Frances Stacey and Marta Dauliūtė 25 July—22 November SUNA (Middle Ground) Yuriyal Bridgeman 233

Australian Capital Territory

Exhibitions

NOVEMBER/DECEMBER 2025

AU S T R A L I A N C A P I TA L T E R R I T O R Y

Aarwun Gallery www.aarwungallery.com.au Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

Aarwun Gallery is a premier destination for Australian art. We present distinguished landscape and portrait artists, dynamic contemporary voices, and celebrated Indigenous practitioners.

Our diverse collection spans painting, printmaking, ceramics, glass, bronze, and sculpture — each work curated for excellence, authenticity, and creative vision.

military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 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.

Australian National University Drill Hall Gallery www.dhg.anu.edu.au 29 Kingsley Street, Acton, ACT 2601 [Map 16] 02 6125 5832 Wed to Sun 10am–5pm, Free admission.

See our website for latest information.

Situated on the Australian National University campus, the gallery is housed in a historic drill hall built in the 1940s to train soldiers for the Second World War. Today the Drill Hall Gallery is the venue of choice for many of Australia’s leading contemporary artists, curators and collectors, continuing a proud tradition of impeccably presented landmark exhibitions accompanied by scholarly publications.

Australian War Memorial www.awm.gov.au Fairbairn Avenue, Campbell, ACT 2612 [Map 16] 02 6243 4211 Daily 10am–4pm.

See our website for latest information.

Judy Drew, Still Life with Tapestry, pastel on paper, 47 x 41 cm.

From 19 September Perceptions in Pastel Judy Drew

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 11am–4pm.

Top: David Helmers, Transgressions: studies in material agency, 2025. Middle: Catherine Anselmi, Entangled Stories, 2022. Bottom: Murray and Burgess, SCOOP: YA, 2025. Images courtesy of the artists and ANCA Gallery.

29 October—16 November Threshold: the Other Space Murray and Burgess (Ro Murray and Mandy Burgess), Catherine Anselmi, and David Helmers (Artist and Curator) Threshold: the Other Space presents a series of works by artists Catherine Anselmi, David Helmers, Murray and Burgess. Their sculpture, video, and drawing practices explore personal transitions and transgressions. Reflecting on the privilege embedded in the act of crossing a threshold, these three projects

by National Art School graduates turn a queer lens to question normative transitions. The works aim to open up spaces that facilitate new kinds of crossings.

Margaret Hadfield, Of,-Country Road, oil.

A private gallery by award-winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school and gallery. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on

22 November—7 December ANCA Members Exhibition The studio members of ANCA Inc. exhibit works in the annual year-end exhibition, featuring work from 20+ artists working at ANCA’s studios. The show opening coincides with a day of open studios at ANCA’s Dickson campus: take a look inside the studios at one of Canberra’s creative hubs.

The Australian War Memorial combines a shrine, a world-class museum, and an extensive archive. The Memorial's purpose is to commemorate the sacrifice of those Australians who have died in war or on operational service and those who have served our nation in times of conflict. Its mission is leading remembrance and understanding of Australia’s wartime experience.

Belco Arts www.belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

17 October—30 November Behind the View Cassandra Dove Behind the View presents Cassandra Dove’s personal experiences in the landscape in Canberra and surrounding NSW, and her inner world as the artist.

17 October—30 November Kaleidoscope IV An Open Exhibition Celebrating LGBTQIA+ pride. In its fourth year, Kaleidoscope IV is an open exhibition where LGBTQIA+ artists in Canberra and Australia-wide can express their experiences of queerness, sexuality, gender, and unique individuality through art.

17 October—30 November Millinery – A Fine Art Cynthia Jones Bryson 23 5

artguide.com.au Belco Arts continued...

An exhibition that gives credence to millinery being art. A visual sensational feast of wearable millinery that can also adorn a room as a work of art.

18 October—30 November 2025 CAPO Art Auction and Exhibition

Belco Arts is displaying the artworks from Capital Arts Patrons Organisation’s annual Art Auction in 2025. The exhibition spotlights some of the region’s most exciting emerging and established artists.

5 December—1 February 2026 Disclosed Impressions Migrant Women’s Art Group Disclosed Impressions highlights the diverse artistic contributions of the Migrant Women’s Art Group in Gungahlin. These culturally relevant works explore colour, composition and personal stories using a wide variety of mediums and techniques.

Canberra Glassworks www.canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Enrico Taglietti in his studio in Griffith Canberra, c1976. Photograph: Ted Richards.

7 June—3 May 2026 Taglietti: Life in Design Enrico Taglietti Until 16 November Outer Space: Stromlo to the Stars Permanent Exhibition Canberra/Kamberri, Place & People

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.

Andy Sumner, Late Afternoon, Wanniassa (detail).

Until 8 March 2026 A Total Work of Art: Sidney Nolan and the Stage Sidney Nolan

5 December—1 February 2026 Dialogue with Dissonance Amelia Mollett, Andy Sumner, Diane McWhirter, Helen MacArthur, Jeanette Muirhead, Justin Wasserman, Lesley Andersen, Sallie Saunders

Until 1 February 2026 Wearing Joy: Beautiful Brooches Carla Velting (Collector)

An exhibition of works by a group of local artists exploring our human disposition to live with contradiction.

Until 1 February 2026 Australia’s Home Front: 1939–1945 Rohan Goyne (Collector) Gabriella Bisetto, This Skin I’m In, 2024.

6 November—25 January 2026 Gabriella Bisetto

Barbara Hodgson, Fantasy Garden, (detail).

5 December—1 February 2026 The Art of Celebration: Reflecting 50 years plus of Canberra Art Workshop Members of Canberra Art Workshop (CAW) The exhibition enables the diverse and talented members of CAW to celebrate their enthusiasm for art making by sharing it with others.

5 December—1 February 2026 subcultures Curated by Red Saunders An open exhibition reflecting on how fashion, music, political ideals, and shared lifestyles converge to create powerful subcultural identities that thrive within and enrich our community.

236

2024 Tom Malone Glass Art Prize winner, Gabriella Bisetto has developed a sculptural practice that explores organic and visceral objects. Drawing inspiration from the shapes and structures found within the human body, she considers the connection between the human body and the act of blowing glass. Opening event Saturday 8 November, 4pm.

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.

Until 23 November Maree Clarke: Seeing the Invisible Maree Clarke

Craft + Design Canberra www.craftanddesigncanberra.org Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

See our website for latest information.

Craft + Design Canberra is a not-for-profit organisation and one of Australia’s longest running membership bodies, now celebrating 54 years. We are deeply committed to our creative community. Our artists, exhibitions, and programs are central to our lives and to celebrating Canberra’s rich design legacy and future.

Craft + Design Canberra operates a vibrant gallery showcasing contemporary craft and design exhibitions year-round, a retail shop featuring locally made handcrafted objects, workshops and public programs, and the biennial Craft + Design Canberra Festival.

AU S T R A L I A N C A P I TA L T E R R I T O R Y

Civic Art Bureau www.civicartbureau.com Melbourne Building, Upstairs Smiths Alternative, 76 Alinga Street, Canberra City, ACT 2601.

0488 056 988 See our website for latest information.

exploration of identification and dis-identification, of personal and cultural histories, and of the bridges and glitches between ways of knowing and seeing.

6 December—11 January 2026 ICONOLOGY: New Faces Various artists. Curated by Mark Bayly New Faces was an Australian talent show that ran on television from 1963 to 1985.

The program was an energetic, low-brow combination of all-dancing, all singing form of exhibitionism that rated well with peak hour viewers and advertisers alike.

The works in this exhibition resonate with aspects of popular culture in a similar manner, from transgressive drag artists, to actors, models, and those who perform and celebrate their identities through gender or sexuality.

Grainger Gallery

Rowena Evans body of work is inspired by walking, observing and drawing from scattered viewpoints in the Jerrabomberra Wetlands - translations of observations in August and September. The sounds of birds, human activity, weather and the artist’s visual impressions of Jerrabomberra come together in a series of incised and carborundum collagraphs.

13 November—30 November Between Worlds: Abstraction as Language Group Exhibition Between Worlds: Abstraction as Language brings together six Australian artists, Carol Batchelor, Veronica Cay, Sara Freeman, Solomon Grainger, Mark Howson, Jasmine Mansbridge and Leah Thiessen, exploring how abstraction allows artists to move between worlds using shape, colour, form, and texture as their vocabulary.

www.graingergallery.com.au Ngunnawal Country, Bldg 3.3, 1 Dairy Road, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm.

See our website for latest information.

Clare Thackway, Saintly Death, 2024, oil on linen, 81 x 65 cm.

1 November—23 November Coil and Roar Clare Thackway and Emily O’Brien

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.

Works by Paris-based painter Clare Thackway and Melbourne sculptor Emily O’Brien exploring depictions of hysteria and the womb from antiquity, religion and psychology.

1 November—23 November Lines Along Signals of Crossings Michael Graeve In the window gallery, works by Castlemaine-based artist Michael Graeve, paintings that build upon non-representational and abstract traditions.

6 December—24 December Agus Wijaya In the window gallery, recent works by Sydney-based Indonesian artist Agus Wijaya. His works are a multi-medium

Peter Syndicas, Native Lifeforms, bronze, 95 x 17 x 95 cm.

13 November—30 November Native Lifeforms Peter Syndicas Native Lifeforms presents a retrospective of Adelaide sculptor Peter Syndicas, tracing the evolution of his practice from 1997, when his journey with figurative twig forms first began, to the present.

Annika Romeyn, Tuross Falls 2, 2015.

Image courtesy of the artist.

1 November—23 November 40 x 40 Anniversary Exhibition and Auction M16 Studio Artists and Alumni 1 November—23 November On the Map’ StudioMAP 1 November—23 November GORGEOUS Hands On Studio Rowena Evans, Wind In My Ears At Kellys Swamp, collagraph on paper, 96 x 73 cm.

Bea Maddock, Male III, 1967, woodcut print, 50.3 x 40.3 cm.

13 November—30 November Sights and Sounds (walks in Jerrabomberra wetlands) Rowena Evans

Opening Saturday 1 November, 6pm–10 pm.

29 November—14 December M16 Artspace Drawing Prize 29 November—14 December M16 Artspace Young Drawers Prize 237

artguide.com.au M16 Artspace continued...

Until 19 April 2026 Bilong Papua New Guinea: 50 Years of Independence

National Portrait Gallery www.portrait.gov.au Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

See our website for latest information.

Lindy Lee, The long road of the river of stars, 2015. National Gallery of Australia, Kamberri/Canberra, purchased 2018. © Lindy Lee/Copyright Agency.

Hands On Studio, GOREGOUS, 2025.

Image courtesy of the studio.

29 November—14 December 2025 EASS Residency Exhibition Litia Roko and Jackson Taylor Opening Saturday 29 November.

National Gallery of Australia www.nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Until 15 February 2026 Lindy Lee Until 8 February 2026 Hot tropics Until 22 February 2026 Enjoy this trip: the art of music posters Until 9 March 2026 Heavens above Until 9 March 2026 Yuk Wuy Min Ngantamp – Aurukun’s Artistic Legacy Until 1 March 2026 Women photographers 1853–2018

Kaylene Whiskey Flying over Indulkana 2022. AIATSIS Collection © Kaylene Whiskey.

15 November—9 March 2026 Super Kaylene Whiskey Kaylene Whiskey Super Kaylene Whiskey celebrates one of Australia’s leading contemporary artists, proud Yankunytjatjara woman Kaylene Whiskey. This major survey brings together works from across Whiskey’s career, showcasing her dynamic practice that is grounded in stories of First Nations joy and strength.

Until 2 February 2026 Kulata Tjuta: Tirkilpa Until 26 July 2026 Know My Name: Kee, Jackson and Delaunay Until 12 April 2026 Know My Name: global Until 18 April 2027 New Asian art Until 2 August 2026 Proofs and processes: the Kenneth Tyler Collection Until 23 August 2026 Hermannsburg Until 23 August 2026 Talking Blak

Vincent Namatjira, Western Aranda people, Royal Albert, 2025. © Vincent Namatjira, courtesy the artist and Iwantja Arts, Indulkana, and Ames Yavuz, Sydney.

6 December—26 April 2026 5th National Indigenous Art Triennial: After The Rain 1 November—6 September 2026 Trent Parke: The Christmas Tree Bucket 7 November—February 2027 Body Adorned 29 November—July 2026 Richard Lewer: Steve Until 2 August 2026 Proofs & Processes: The Kenneth Tyler Collection 23 8

30 October—24 January 2026 Nan Goldin

Touring Exhibition Bank Art Museum Moree (BAMM), NSW

6 December—22 February 2026 Olive Cotton and Her Contemporaries Touring Exhibition Gippsland Art Gallery, VIC

22 November—25 January 2026 Clarice Beckett: Paintings from the National Collection

Touring Exhibition Ngununggula Southern Highlands Regional Gallery, NSW

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. Featuring over 50 collection works, new acquisitions and selected loans, watch the walls blossom with loved and lesser-known works from the National Portrait Gallery collection.

Tasmania

Exhibitions

NOVEMBER/DECEMBER 2025

artguide.com.au

Bett Gallery www.bettgallery.com.au

24 October—17 November New works Adrian Barber

Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Madeline Gordon Gallery represents a convergence of passion and expression.

It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator alike in celebrating contemporary art in all forms.

21 November—8 December Group exhibition Handmark artists

Joan Ross, This was no discovery, 2025, hand-painted digital print on cotton rag paper 58 x 49.5 cm (image size), edition of 15 plus 2 artist’s proofs.

24 October—15 November Joan Ross

Sue Pedley, Threads of Light #2, 2025, cyanotype, A3.

21 November—13 December Lynne Uptin 21 November—13 December Effie Pryer 19 December—31 January 2026 Summer Exhibition

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.

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 [Map 17] Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

Sebastian Galloway, The Waratah, 2025, oil on plated stainless steel, 81 x 55 cm.

12 December—5 January 2026 New works Sebastian Galloway

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.

See our website for latest information.

15 February—16 February 2026 MIRRORSCAPE Théo Mercier

Handmark

Madeline Gordon Gallery

www.handmark.com.au

www.madelinegordongallery.com.au

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm and by appointment.

24 0

Peggy Pedley, Threads of Light #15, 2025, woollen tapestry, 190 x 155 cm.

November Generational Genevieve de Couvreur + Bertie Blackman, Katie + Margie Stackhouse, Sue + Peggy Pedley December Expect the Unexpected Group exhibition December Pets Alive Group exhibition

TA S M A N I A

Penny Contemporary → Nicole Robson, Indistinct Chatter.

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

We represent, local, national and international artists each with a distinctive approach to creating art, emerging or established.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 [Map 17] 03 6323 3777 Daily 10am–4pm. Free admission.

Queen Victoria Art Gallery:

14 June—9 March 2026 Sam Jinks || Mortal Reflections The first major Tasmanian exhibition of renowned hyperrealist sculptor Sam Jinks also marks the largest collection of his works ever shown. Renowned for his painstakingly crafted figures, Jinks’ practice reflects the deeply felt moments of our lived experience. Transforming the entire upper level of QVMAG’s Royal Park site, this intimate presentation invites audiences to reflect on the mysteries of — life || death, and all in-between.

Helen Wright, Little wonders for tiny tomorrows 4, 2017, bronze, 17.5 x 11 x 8 cm.

From the collection of Bett Gallery and the artist. Image: QVMAG. Queen Victoria Art Gallery:

23 August—1 February 2026 Shapeshifting: Art of Helen Wright

Spanning over four decades of creative inquiry, Shapeshifting explores one of Tasmania’s most enduringly vital and visionary artists and her remarkable capacity for enduring transformation.

Helen Wright’s work responds to a world marked by ecological unease and existential fragility. Working across painting, drawing, printmaking, and sculpture, Wright embodies the archetypal shapeshifter—an artist capable of moving between mediums and meanings, inhabiting different states, and slipping between boundaries both physical and metaphysical.

Queen Victoria Museum:

6 September—30 November David Hamilton: Fragments and Artefacts

For over four decades, Tasmanian artist David Hamilton has shaped an extraordinary career as a sculptor and educator. His creative practice is a conversation between material and maker, an exchange that draws on the

Nikala Bourke, REACH.

7 November—1 December Eclat Nikala Bourke 12 December—9 January 2026 Indistinct Chatter Nicole Robson Queen Victoria Museum → Sam Jinks, Still Life (Seated Pietà), 2007, silicone, human hair, acrylic, nylon, polyurethane foam, timber. Collection of Penny Clive, AO. Image: QVMAG. 241

artguide.com.au Queen Victoria Museum continued... deep traditions of sculpture while pushing the boundaries of contemporary form.

Spanning sculpture, installation, drawing and digital media, Hamilton’s work moves from intimate, small-scale objects to monumental public commissions.

Under his hand, fragments become vast; springs and knots seem to rise from the earth; and ancient weapons reappear as contemporary artefacts.

Rosny Farm www.rosnyfarm.com.au 22 Rosny Hill Road, Rosny Park, TAS 7018 03 6217 9607 Wed to Sun, 11am–5pm.

Rosny Farm is a bold, welcoming arts precinct tucked into Nipaluna / Hobart’s sunny east — a place where stories are shared, ideas take shape, and creativity has room to grow. Lots of it.

Our distinctive venues, sprawling parklands, and surprising spaces host a year-round program of exhibitions, gigs, workshops, festivals, artist residencies, and community events.

25 October—16 November Poochibald™ Art Prize for dog portraiture Tasmanian Museum and Art Gallery → The World of Butterflies, installation view.

Photograph: TMAG.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Free admission.

See website for opening times.

See our website for latest information.

will be presented at the Tasmanian Museum and Art Gallery (TMAG) and public spaces in Hobart. The Creative Directors for Hobart Current: Here are Denise Robinson and Travis Tiddy.

Hobart Current is an innovative partnership between TMAG and the City of Hobart. More information on the program is available at hobartcurrent.com

8 August—26 January 2026 The World of Butterflies Join us at the Tasmanian Museum and Art Gallery (TMAG) for The World of Butterflies, a special exhibition celebrating the diversity and beauty of butterflies on our planet. Featuring stunning displays of rare and exotic specimens, this exhibition is a must-see for nature lovers and curious minds alike.

Liam Ross Baker, Waking Dream, oil on canvas, 2025.

21 November—14 December Sea Above, Sky Below

Discover the unexpected side of butterflies in this vibrant exhibition showcasing hundreds of specimens from around the world.

14 November—26 April 2026 Hobart Current: Here

Dan Tucker, Brain Funk, timber, metal.

21 November—14 December Even the most delicate branch is connected to the strongest root Dan Tucker 242

The third iteration of biennial contemporary art program Hobart Current explores the theme ‘Here’. Ten selected artists Marion Abraham, Jodi Haines, Andy Hutson, Jade Irvine, Jenni Large, Sara Morawetz, Jonny Scholes, Mary Scott, Dylan Sheridan, Peter Waller – will create new works spanning a diverse range of creative practices and media responding to the theme. These works

Often seen as delicate, butterflies are in fact bold survivors - clever mimics, skilled travellers, and masters of transformation. Learn how colour, camouflage and behaviour help them survive.

Trace the history of butterfly collecting, from 19th-century explorers to modern-day citizen science. Learn how scientific names help us understand species and their evolution, and why the word butterfly has stranger origins than you might expect.

South Australia

Exhibitions

NOVEMBER/DECEMBER 2025

ngaratya Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrianne Semmens and Raymond Zada (together, us group, all in it together) Barkandji / Barkindji artists share travels together on Country Flinders University Museum of Art 10:00am – 5:00pm Weekdays, Thursdays until 7pm 7 October – 28 November Free Entry ngaratya (together, us group, all in it together) is a Bunjil Place Gallery exhibition toured by NETS Victoria. Curated by Nici Cumpston and Zena Cumptson.

This project has been assisted by the Australian Government’s Visions of Australia program as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

Image: Nici Cumpston, Barkandji people, Old Mutawintji Gorge I, from the series mirrimpilyi, happy and contented (detail), 2023, Adelaide, Kaurna Country, pigment inkjet print on Hahnemühle paper, hand coloured with PanPastel, crayon and pencil, 44 x 120cm, Courtesy the artist and Michael Reid Gallery. Photo: Michael Haines

The South Australian art sales platform, Shop SALA, celebrates and supports South Australia’s living artists by offering a wide range of artworks, across mediums such as painting, printmaking, sculpture, ceramics, glass, and photography for all budgets.

Discover artists, buy art, and support South Australia’s living artists. shopsala.com.au

Judy Morris, Sunshine Blues, 2024, Ink, Pencil, Paper

24 4

S O U T H AU S T R A L I A 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.

Adelaide Contemporary Experimental → Libby Harward (Ngugi), WARIBUL WAYIRA (hungry waterways), 2020, digital film, 2.43sec. Location: Mulgumpin-Lake Carrurra.

Courtesy of the artist.

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.

17 October—12 December Rewriting Landscapes Troy-Anthony Baylis, Patrick William Carter, Dylan Crismani, Adam-Troy Francis, Libby Harward, r e a, and Darren Siwes

Adelaide Town Hall Gallery www.vasgallery.org.au 128 King William Street, Adelaide, SA 5000 08 8203 7590 Mon to Fri 9am–5pm.

the APY Studio in Adelaide. Rooted in the Pitjantjatjara word Purkarari, meaning a deep calm through work, Fielding explores the meditative act of creation in partnership with celebrated artists Sandra Pumani, Yaritji Tingila Young, Nyunmiti Burton, Jennifer Ingkatji, Yaritji Heffernan, Margaret Richards, and Megan Lyons. Together, their work speaks to the restorative nature of painting—where movement, expression, and shared creativity quiet the mind and strengthen cultural connections.

1 July—3 July 2026 South Australian Music Hall of Fame Adelaide is a city with music as its heartbeat - home to thriving independent artists, iconic venues, and a dynamic industry.

Internationally renowned for its festivals and music institutions, music is central to South Australia’s identity and economy.

Presented by the City of Adelaide across two levels of Adelaide Town Hall this exhibition celebrates Adelaide’s 10-year milestone as Australia’s only UNESCO City of Music in 2025.

Debra Nangala McDonald, Women’s Body Painting, 184 x 200 cm.

1 November—31 December Debra Nangala Mcdonald 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.

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.

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.

Installation Kulata Tjuta, by artists from the Anangu Pitjantjatjara Yankunytjatjara Lands, at Tarnanthi 2017, Art Gallery of South Australia, Adelaide; photo: Saul Steed.

17 October—18 January 2026 Too Deadly: Ten Years of Tarnanthi

Zaachariaha Fielding and Yaritji Tingila Young, Tjungu (Together), acrylic paint on linen, 2023, 200 x 248 cm. Photograph: Andy Francis, courtesy of the APYACC.

1 July—2 February 2026 Purkarari: Slow Down

Bernadine Johnson, Kemarre Bush Flower collection.

Purkarari: Slow down is an exhibition of major new works by Zaachariaha Fielding alongside collaborative paintings created with Senior artists working out of

1 November—31 December Bernadine Johnson Kemarre Bernadine Johnson Kemarre (Santa Teresa, NT) is gaining recognition for

This exhibition assembles more than 200 diverse works of outstanding contemporary Aboriginal and Torres Strait Islander art in celebration of a decade of Tarnanthi.

Alongside the exhibition, AGSA hosts artist and curator talks, guided tours, performances, film screenings, workshops and creative activities in The Studio as part of the Tarnanthi Festival 2025.

24 5

artguide.com.au

David Roche Gallery www.rochegallery.com.au 241 Melbourne Street, North Adelaide, SA 5006 08 8267 3677 Tues to Sat 10am–4pm.

See our website for latest information.

Flinders University Museum of Art → Kent Morris, Barkinji people, karta-kartaka (pink cockatoo) #2, 2023, Mutawintji, Traditional Owners Country and Melbourne, Yalukit William Country, inkjet print on Moab Somerset Museum Rag paper, 100 x 150 cm.

Courtesy of the artist and Vivien Anderson Gallery.

Rene Lalique, Statuette, Suzanne, 1925.

8 November—31 January 2026 Art Deco: A Modern Vision Celebrating 100 Years.

Discover the origins of Art Deco, its global journey, and see how this distinctive style became a part of everyday Australian life.

From its extraordinary debut in 1920s Paris to its lasting influence on Australian art and architecture, explore the timeless legacy of this modern vision.

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.

See our website for latest information.

curated by Nici Cumpston and Zena Cumpston, touring with NETS Victoria.

The six Barkandji/Barkindji artists include Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrianne Semmens and Raymond Zada.

ngaratya (together, us group, all in it together) is a Bunjil Place Gallery exhibition, 24 6

Exploring the complex relationship between loss, longing and the continual evolution of our identities.

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.

See our website for latest information.

Until 16 November Youth Art Prize 2025 Celebrating diverse artistic talents, our annual Youth Art Prize is a platform for young people to express their views about collective and personal experiences.

Lottie Emma, Untitled (in progress, detail), 2025, repurposed beads, wool, silk, tulle, teddy bear eye, faux fur and curtain, cotton thread, aerosol, dimensions variable.

29 November—25 January 2026 ‘Super Mum’ Strikes Back Lottie Emma Lottie Emma’s radically experimental art practice centres around wrangling emotions, championing compassion, speaking out and keeping it real.

Flinders University Museum of Art (FUMA) is located south of Adelaide’s city centre at the University’s main campus at Bedford Park.

FUMA is custodian of some 8000 Australian and international works spanning the 15th to 21st centuries, making it one of the largest public collections of art in South Australia. FUMA serves the University and wider community as an academic resource and dynamic site of cultural and intellectual exchange through its cross-disciplinary and collaborative projects, exhibitions, education and public programs.

7 October—28 November ngaratya (together, us group, all in it together)

29 November—25 January 2026 Hollow Donna Gordge

JamFactory www.jamfactory.com.au Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

See our website for latest information.

Donna Gordge, Knowing things that can’t be spoken, 2025, mid-fire clay, hand-dyed altered pipe cleaners, 17 x 26 x 29 cm.

27 September—23 November Kuruṉpa Kuṉpu | Strong Spirit & Nurnakanha Lyaartinya Urrkaapuntja | Our New Work on Glass Artists from the lltja Ntjarra Art Centre have partnered with Canberra Glassworks

S O U T H AU S T R A L I A

Raelene Inkamala, Tjoritja - West MacDonnell Ranges, 2025, watercolour, gouache, glass paint, glass. Photograph: Connor Patterson. to reinterpret the Hermannsburg School watercolour tradition through the medium of glass. Following a series of collaborative workshops in Mparntwe (Alice Springs), the Canberra Glassworks has created glass ‘blanks’ that were sent to Mparntwe for artists to work on, and these were then returned to CGW for engraving and hand finishing. The result is a spectacular series of blown glass vessels featuring the artists’ landscape paintings in a continuation of Albert Namatjira’s work. The collaboration follows an artist-led approach, focusing on stories and the curatorial rationale at Iltja Ntjarra Art Centre.

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.

Riddoch Arts & Cultural Centre → Deanna Newchurch and Lynette Newchurch, Point Pearce, South Australia, 2023. Photograph: Sam Roberts.

4 October—7 December JamFactory ICON 2025 Aunty Ellen Trevorrow: Weaving Through Time

Newmarch Gallery 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.

Alycia Bennett, Meat Management, hand tufted carpet, wool and polypropylene fibre, felt backing, wood insert, 159 x 120 cm.

5 December—10 January 2026 18th Prospect Portrait Prize The Prospect Portrait Prize is a non-acquisitive juried exhibition of contemporary portraits in any medium.

Riddoch Arts & Cultural Centre www.theriddoch.com.au

Rosina Possingham, The Patch, UV exposure dye print on canvas, 33 x 48 cm.

31 October—29 November Vermillion Nicole Clift and Rosina Possingham

Aunty Ellen Trevorrow, Murnong (Yam Daisy Flower) Woven Dress, 2025, sedge grass, jute string. Photograph: Connor Patterson.

Vermillion presents new collaborative works by artists Rosina Possingham and Nicole Clift. The works are experimental and process-driven, as the artists share their respective knowledge in screen printing, alternative photography, painting, and tapestry weaving.

Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

8 November—18 January 2026 Saltbush Country A Country Arts SA touring exhibition In this exhibition seven diverse artists tell stories of their culture, community and connection to Country. Often personal and occasionally raw, their works reflect the world as seen through their eyes while 247

artguide.com.au

Sauerbier House Culture Exchange www.onkaparingacity.com/ sauerbierhouse Kaurna Country, 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

Samstag Museum of Art → Sean Cordeiro and Claire Healy, Psychopomp, 2025, production still. Image courtesy the artists, N. Smith Gallery and MAGMA Galleries.

Riddoch Arts continued... expressing their culture, language and community – a contemporary articulation of Aboriginal life in regional South Australia. Saltbush Country provides a rare opportunity to experience the works and worldviews of Aboriginal artists working independently across regional South Australia. Their works, curated by Tarnanthi Regional Curator Marika Davies, are the result of a series of community workshops, mentoring and professional development opportunities catering for prominent regional artists and supported by Tarnanthi and Country Arts SA. Featuring work by Josephine Lennon, Marli Macumba, Juanella McKenzie, Deanna Newchurch, Lynette Newchurch, Sandra Saunders and Heather Shearer.

the warm and gentle hand of Ian Abdulla’s narrative landscapes that recall stories and express intimate feelings, Big Sky showcases a group of artworks that feel bigger than their frames.

Samstag Museum of Art www.unisa.edu.au/connect/samstagmuseum

Sauerbier House is a vibrant contemporary arts space which champions the practical development of site responsive projects and independent creative outcomes. Located on Kaura Yerta next to the Ngankipari/Onkaparinga River, the heritage listed house, once domestic dwelling, sustains an interactive studiobased artist in residence program alongside a vibrant calendar of exhibitions.

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 08 8302 0870 [Map 18] Tue to Sat 10am–5pm.

Samstag Museum of Art is South Australia’s largest contemporary art gallery.

Its establishment, in 2007, reflects the University of South Australia's determination to make a dynamic contribution to the intellectual and cultural life of South Australia and to the Australian tertiary education sector.

16 October—5 December Sean Cordeiro and Claire Healy: Psychopomp A cacophonous and vibrant moving image work that explores the porous relationship between science and mysticism. Turning their attention to rocket technology and its links to spirituality, the pair explore the expressive potential of motion, technology and pagan rituals.

Ian W Abdulla, Way to go, (detail), 1997, synthetic polymer paint on paper.

Collection of Flinders University Museum of Art 3351. © the estate of the artist.

8 November—18 January 2026 Big Sky An exhibition of stellar artworks by prominent contemporary First Nations artists, Big Sky surveys pieces from significant South Australian institutions, including Art Gallery of South Australia, Samstag Museum of Art, Flinders University Museum of Art and the Riddoch’s own collection.

From the focused and penetrating gaze of Beaver Lennon’s highly realised desert and seascapes, where you can almost walk into the painting and feel the air on your skin, to 24 8

16 October—5 December AFF Expand Moving Image Commission: 5 Steps For Better Living, Maximum Gains And Manifesting Your Most Optimised Self!!

A multi-channel installation that offers a satirical, critical reflection on the trends of commodified, masculine “wellness” in times of existential crisis. Nisa East, Anna Lindner and Yasemin Sabuncu.

16 October—5 December Ryan Presley: Daydreamer Figurative paintings by Marri Ngarr artist Ryan Presley weave personal and cultural motifs with art historical references to evoke First Nations narratives of strength, sovereignty and survival.

Kavan Chay, Evolution of Stars.

30 August—1 February 2026 Australian Geographic Nature Photographer of the Year exhibition The annual Australian Geographic Nature Photographer of the Year competition calls on photographers from around the world to celebrate the fauna, flora and natural formations of the Australia, New Zealand, Antarctica and the New Guinea region.

Submitted entries capture incredible moments in time, bearing witness to the unique beauty of the world around us.

The competition, owned and produced by the South Australian Museum, results in a stunning collection of images that provoke us to explore and understand the changing nature of our environment and appreciate the wonder that surrounds us while enriching our knowledge of this extraordinary region.

Western Australia

Exhibitions

MIDLANDJUNCTIONARTSCENTRE.COM.AU

REVISITING THE MUGHAL GARDENS S U LTA N A S H A M S H I

22 NOV - 8 FEB

A 15-year retrospective of jewellery and sculpture exploring identity, culture, and global injustices.

Image: Sultana Shamshi, Beautiful Bloody Blossoms, 2016, brooches, embroidery, silver.

NOVEMBER/DECEMBER 2025

lintonandkay.com.au

Venice Reflections Kiara Rechichi-Baker Zabou Sabrina Dowling Giudici

22 October—16 November Subiaco Gallery 2

Zabou: Jewellery Kiara Rechichi-Baker: Paintings & Prints Sabrina Dowling Guidici: Glass Art 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

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

David Giles, The depth of my soul, acrylic on canvas, 73 x 73 cm.

David Giles Art Galleries 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 0416079204

lintonandkay.com.au

Min Woo Bang & Joshua Cocking Chance Encounters 5 December—11 January Subiaco

Min Woo Bang, ‘Lifting’ 2025, oil on linen, 100 x 180 cm.

Johnny Romeo, ‘Moon Stare’ 2025, acrylic and oil on canvas, 122 x 122 cm

Holly Grace, ‘Walking Light - A Self-Portrait’ 2024, H65 cm x W35 cm x D35 cm, blown glass with gold lustre surfaces and sandblasted imagery.

With wall mounted projector and video footage filmed by the artist.

Photographer David McArthur.

Johnny Romeo Everything At Once

Holly Grace Tread Lightly

29 October—17 November Subiaco

13 November—1 December Cottesloe

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

W E S T E R N AU S T R A L I A

Art Collective WA www.artcollectivewa.com.au Whadjuk Country, 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

Penny Coss, Favourites - Iced Vovos, 2025, lead crystal glass, 33 x 20 x 1.7 cm.

1 November—29 November Accretions Penny Coss In Accretions, Penny Coss expands her practice across media, exploring the material agency of geological processes.

New glass sculptures are shown alongside raw canvas paintings, revealing a shared logic of heat, gravity and self-organisation.

Cast glass forms — including impressions of her geologist father’s tools — evoke fragility, strength and spectral transformation. Through layered pigments, earth materials and textile remnants, Coss reflects on the porous boundaries between matter, memory and self.

The Art Gallery of Western Australia → Paola Pivi, exhibition view, It’s not my job, it’s your job, 2023, [mac] musée d’art contemporain de Marseille. Urethane foam, plastic, feathers, variable dimensions. Courtesy the Artist and Perrotin. © Paola Pivi.

Photograph: Hugo Glendinning.

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.

From 8 November Paola Pivi – I don’t like it, I love it

Michele Theunissen, Dispersion to Red, 2024–25, mixed media on canvas, 102 x 102 cm.

1 November—29 November Something from Nothing and Nothing from Something Michele Theunissen Michele Theunissen’s latest body of work is a study in emergence — paintings that move beyond intention toward the unknown and unseen. Each work grows from a stable organic structure, built through a minutiae of marks that gather into rhythm. As layers of colour accumulate, the structure is dismantled, creating tension and dissonance. Through deletion and struggle, resolution is found where the marks open into an expansive field of harmony. Feeling and sensation arise from colour, gesture and material alone.

Pippin Drysdale, Dusk ridge line, 2011, porcelain, 9 vessels, dimensions variable.

The State Art Collection, The Art Gallery of Western Australia. Purchased through The Art Gallery of Western Australia Foundation: TomorrowFund, 2012.

This expansive and vibrant exhibition marks one of globally celebrated artist Paola Pivi’s biggest and most ambitious projects in her almost 30-year career. The installation at The Art Gallery of Western Australia (AGWA) features major commissions created especially for AGWA’s unique architectural spaces, as well as other new works and key selected works from across Pivi’s career. Together, these works offer a once-in-a-lifetime experience that reimagines the possibilities of art in public space.

through porcelain. Surveying forty years of practice, Infinite Terrain reveals how she blends technical mastery with experimentation, drawing inspiration from journeys across Australia and abroad. Drysdale’s vast fields of flowing lines and mesmerising colour evoke landscapes both intimate and expansive, inviting viewers into layered readings that intwine memory, place and imagination.

Until 30 November Elise Blumann: Music in motion

This display considers State Art Collection works from the 19th, 20th and 21st centuries through the now ubiquitous lens of ‘attachment styles’. Bridging psychological, self-help and artistic cultures, Attachment Styles offers works depicting subjects who may display signs of possessing avoidant, anxious, or disorganised relational styles.

In doing so, it offers various reflections on how artists have made works that are formed by (and comment on) the tensions underpinning the complex romantic, social and political bonds between people and places. The show’s conceptual framing device also encourages us to playfully consider how we might approach art itself from our own attachment styles.

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.

From 6 December Pippin Drysdale: Infinite Terrain A major retrospective on internationally acclaimed ceramicist Pippin Drysdale.

Featuring works from the State Art Collection as well as significant loans, the exhibition showcases Drysdale’s adventurous spirit, collaborative processes and unique interpretations of the world

From 13 December Attachment Styles

From 20 December Theo Koning: Object Syntax Theo Koning: Object Syntax presents works from the State Art Collection by 25 3

artguide.com.au The Art Gallery of Western Australia continued...

Theo Koning (1950–2022), a leading Western Australian figure in installation and process-driven art. At its centre is The hot chook shop, a pivotal work from 1974, later realised in its current form in 1991. Retaining a rickety, makeshift character, the installation playfully critiques consumer culture, grounding itself in the familiarity of local working-class communities while opening onto broader global concerns.

Also featured are works from the late 1970s to mid-1980s, reflecting Koning’s rich legacy and his attentive exploration of the nuance and intimacy of objecthood.

Until 5 January 2026 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.

Until 8 February 2026 HALE TENGER / BORDERS / BORDERS The first museum survey of Hale Tenger, a pioneering Turkish artist whose poetic installations span over three decades.

Through sound, image and language, her work explores power, memory and belonging, offering vital reflections on borders— political, psychological, and environmental—in our turbulent world.

Until 1 March 2026 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.

Artitja Fine Art Gallery

Fremantle Arts Centre www.fac.org.au

Pmara Nurnakanha Tukutrta IkumaHolding, We hold our country in our hearts and minds, 2022, installation.

Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

See our website for latest information.

15 November—15 February 2026 Monument Carla Adams, Emma Buswell, Jacky Cheng, Jennifer Cochrane, Erin Coates, Tarryn Gill, Amy Perejuan-Capone, Jenny Scott, Monique Tippett, and Emily Wilde 15 November—15 February 2026 Angry Underwear Tania Ferrier 15 November—15 February 2026 The Good Anna Louise Richardson

City of Perth Council House Gallery www.perth.wa.gov.au 27 St Georges Terrace, Perth, WA 6000, Mon to Fri, 10am–4pm, Closed public holidays.

See our website for latest information.

12 November—5 December North Metropolitan TAFE fashion graduate show 6 December—28 December Santa will be gracing our gallery space with a Santa Station. Please visit our website to find out times.

Theo Koning, 1989. Photograph: John Austin.

15 November—8 February 2026 Theo Koning and his creative self The City of Fremantle Art Collection will present a major retrospective exhibition, related public program and substantive illustrated publication about the art practice and creative life of celebrated Fremantle based WA artist Theo Koning (19502022). This is the first comprehensive exhibition of Koning’s art in Australia. With the assistance of his friends and family, and with the unanimous support of leading WA art curators, writers, academics and collectors the exhibition will be a thorough record of Koning’s work and impact on the

www.artitja.com.au Exhibiting at Earlywork: 330 South Terrace, South Fremantle, WA 6160 [Map 20] 0418 900 954 See our website for latest information.

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.

6 September—18 January 2026 Clay on Country Various artists 25 4

Bunbury Regional Gallery → Tania Ferrier, ANGRY UNDERWEAR NYC. Photograph: Tania Ferrier.

W E S T E R N AU S T R A L I A visual arts of WA. The exhibition will include artworks spanning his entire oeuvre with examples of assemblage, sculpture, collections of his repurposed materials, series of paintings, drawings, collage and print editions, including artist books and examples of his mail and poster art. Audiences will see examples of Koning’s Super 8 and 16-mm films, image/word poetry shared through email and Instagram, and documentation of his performance art and TV appearances. The exhibition will trace the artist’s career in WA across five decades revealing aspects of his collaborations with community partners, artist organisations, commercial galleries and through numerous local gardening projects and residencies at Artsource Basel Atelier Mondial studio after 2015.

Goolugatup Heathcote www.melvillecity.com.au 58 Duncraig Road, Applecross, WA 6153 08 9364 5666 Tue to Sun, 10am–4pm.

29 November—18 January 2026 TILT Commission 2025 Jessee Lee Johns 29 November—18 January 2026 Dismantle Jess Day 29 November—18 January 2026 post 2 post Paul Boye and Ella Valentine

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

blend of comic book nostalgia, rock’n’roll theatrics, sci-fi mysticism and humorous art history revisionism envisages a Technicolour universe where the sensory overload of Pop culture offers us both the promise of transcendence and the potential road to our ruin.

Cottesloe:

13 November—1 December Tread Lightly Holly Grace “The exhibition is both a geographical journey and a personal memoir as I seek to understand what motivates and binds us to places within the landscape. How real are these connections, what are its ramifications and how can I tread lightly in an increasingly fragile environment.”

Holly Grace.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

See our website for latest information.

Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300 Subiaco:

Amy Perejuan-Capone, Vdes, (detail), 2025, bees, copper, dimensions variable.

Image courtesy of the artist.

20 September—16 November Melville Contemporary 2025 Amy Perejuan-Capone, Andrew Varano, Ayo Busari, Bennet Miller, Brighde O’Hara, Bryce Olsen, Pip Lewi.

29 October—17 November Everything at Once Johnny Romeo In a world driven by overstimulation and endless impressions, how do you cope when every sight, sound and thought crashes over you all at the same time?

Hyper-saturated colours, high octane imagery and punchy word assemblages blaze across the canvas. Romeo’s frenetic

Joshua Cocking, Ever Present, 2025, oil on canvas, 60 x 60 cm.

Subiaco:

5 December—11 January Chance Encounters Min Woo Bang & Joshua Cocking Min Woo Bang’s imagery explores nature’s transitional moods, often portraying elements of disintegration, loss and renewal in the final moments of daylight, a shifting cloud or a gust of wind. Joshua Cocking draws on years spent living in remote Indigenous communities in the Kimberley region of northern Western Australia to create realist works anchored in the landscape. The ambiguously placed objects juxtapose natural and artificial materials, capturing the cross-cultural tensions involved in the experience of contemporary outback Australia.

Subiaco Gallery 2:

22 October—16 November Venice Reflections Kiara Rechichi-Baker, Zabou, Sabrina Dowling Giudici

Jessee Lee Johns, TILT Commission, image courtesy Ruby Kingsmill.

Holly Grace, Walking Light - A Self-Portrait, 2024, (detail), blown glass with gold lustre surfaces and sandblasted imagery, 65 x 35 x 35 cm. With wall mounted projector and video footage filmed by the artist.

Photograph: David McArthur.

Zabou, Kiara Rechichi-Baker and Sabrina Dowling-Giudici value collaboration, and “Venice Reflection” is a collaboration of these artists around their Venetian experiences. Thus Zabou, from her atelier in Dijon, enters that magic world of antique and contemporary Venetian glass beads and other timeless elements that have been used in jewellery in all cultures around the world, travelling through time, tracing connections between people, places and memories, be they bygone empires, silk road caravans or colours of Africa. Kiara Rechichi-Baker works from her Perth hills studio. In 2013-14, 25 5

artguide.com.au Linton & Kay Galleries continued... whilst attending residencies at the Venice Printmaking Studio with the late master printmaker, Gianfranco Gorini, her focus shifted to observing and reflecting the waters of the Venice lagoon. Since this time, the laguna Veneta has enthralled her, the tides connecting civilisation and nature. Rechichi-Baker explores different mediums that inform one another and deepen her visual interpretation of the lagoon. Italo-Australian artist, Sabrina Dowling-Giudici presents a body of glass vessels that celebrate seagrasses as the unsung heroes of the sea. Four species of sea grasses call the Venetian lagoon home.

The visual language is tightly executed with continuity from each glass object to the next one in the exhibition. At all times, the perforated glass surfaces include air gaps as an integral part of the presentation of the artwork, an invitation to focus on the contribution of seagrass meadows to the vitality of human breathing.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 11pm–4pm.

community. Each artist takes inspiration from the gritty realities of everyday life to re-frame these moments as extraordinary, with nuanced and closely observed narratives offering diverse perspectives for understanding the world. Spanning from the 1920s to the present day, the exhibition features new and loaned works alongside holdings from the Cruthers Collection of Women’s Art.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Whadjuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

7 September—9 November Where Do We Truly Belong?

Nazerul Ben-Dzulkefli and Kasia Kolikow Shaped by experiences, relationships and the ever-evolving landscapes of our lives, Nazerul Ben-Dzulkefli and Kasia Kolikow explore the intricate nuances surrounding home and belonging.

7 September—9 November Vessels Sakshi Agarwal, Tanija & Graham Carr, Carmela Corvaia, Njalikwa Chongwe, Madoda Fani, Fiona Gavino, Victoria Martinez Zurbano, Claire Ng, Philip Noakes and Martien Van Zuilen

22 November—8 February 2026 Revisiting The Mughal Gardens Sultana Shamshi Revisiting the Mughal Gardens is a 15 year retrospective of jewellery and sculptural forms translating identity, history and culture into Western Australian materials while exploring a personal response to injustices around the world.

22 November—8 February 2026 Djoowak Moordidjabiny | Generations Becoming Stronger Curated by Candice Nannup This exhibition showcases Yamaji and Noongar women artists working with textiles and fibres. Through weaving, stitching and dyeing, their works carry stories of ancestry, resilience and connection to Country — celebrating fibres as a powerful medium of memory, creativity and cultural strength across generations.

MOORE CONTEMPORARY www.moorecontemporary.com Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

See our website for latest information.

In complement to the offerings of Wedge: the Australian Ceramics Triennale, Vessels presents the works of 11 accomplished artists as they investigate the tension between function and form, contemporary techniques and traditional craft.

7 September—9 November Ripairian Vahri McKenzie and Gemma Ben-Ary With a team of artists and local creatives, this presentation explores the Helena river’s vulnerability to waste and neglect, and its vibrancy and resilience despite this.

Jacobus Capone, Coeur (Crystal furnace study no. 6), 2025, giclée print, 82 x 56 cm, (framed).

Fiona Foley, HHH #3, 2004, ultrachrome print on photographic rag paper, 112.1 x 83.8 cm, The State Art Collection, The Art Gallery of Western Australia, Purchased through The Art Gallery of Western Australia Foundation: TomorrowFund, 2009, © Fiona Foley, 2004.

17 October—15 November GENESIS Jacobus Capone

27 September—6 December Place Makers Fiona Foley, Gladys Milroy, Margaret Morgan and Edith Trethowan Place Makers draws attention to the work of four exceptional artists whose work is grounded in relationships of place and 25 6

Sultana Shamshi, Beautiful Bloody Blossoms, 2016, brooches, embroidery, silver.

GENESIS takes us into the heart of a landscape millions of years old, within the sacred confines of “crystal furnaces” naturally occurring, crystal-filled cavities - located high in the French Alps. These exquisite, jewel-like spaces reference the moment of the Alps’ creation, yet tragically are only becoming accessible as a warming planet destroys the mountains that house them, exposing the furnaces to

W E S T E R N AU S T R A L I A the light of day. Embracing the beauty and pathos of creation and destruction, GENESIS continues Capone’s investigation into the condition of human being within nature.

Mossenson Galleries www.mossensongalleries.com.au 115 Hay Street, Subiaco, Western Australia 6008 0413 803 998 Saturday 12noon–4pm and by appointment.

Mundaring Arts Centre → Rowena Morgan, My Grandmothers Country, 2018, screen printed on dupion silk. Image courtesy of Nagula Jarndu Designs. the cultural offerings of exceptional local artists and craftspeople. MAC also presents a range of community projects, workshops and cultural events at the arts centres, local schools and in the wider hills community.

Solomon Booth, Awareness (XXI), Monotype on printing paper, 76 x 56 cm, 2025.

19 November—20 December Changing tides Solomon Booth In this series of works Solomon Booth who is of Torres Strait and Aboriginal heritage explores themes that affect him as an indigenous man and how he navigates and makes sense of the modern world he is currently living in. Asking questions of “how far we have come to, where we need to go to maintain our identity and heritage”.

Solomon was a founding Committee member of Moa Arts and is the current Chairman, a role he takes seriously and with great pride and purpose. “This is a most exciting time in my career” he says. He is “inspired by the beautiful surroundings of my island home, my works draw upon Torres Strait and Melanesian influences.”

Mundaring Arts Centre

8 November—21 December Adornment Amanda Alderson, Vicki Ames, Jan Baljagil Gunjaka Griffiths (Waringarri Aboriginal Arts), Liz Berry, Joanna Brown, Ric Burkitt, Melissa Cameron, Pamela Cary, Kim Christian, Dee Constable, Barbara Cotter, Moira Court, Nicola Cowie, Mary Ann Dawson, Jane Donlin, Michelle Dujmovic, Angela Ferolla, Barbara Gell, Pam Gray, Andrea Green-Ugle (Yamaji Art), Dimity Gregson, Julie Hein, Cath Inman, Jessica Jubb, Eden Lennox, Bethamy Linton, Susan Mader, Rowena Morgan (Nagula Jarndu), Nathan Thomas (Waringarri Aboriginal Arts), Lesley Parker, Allery Sandy (Yinjaa-Barni Art), Joy Denise Scott, Aaron C.N. Seymour, Amelia Sonnekus, Susie Vickery and Katrina Virgona.

MAC Inc. Members share exquisite and intriguing works that interpret the word adornment, celebrating the power to transform the ordinary while bringing beauty, individual expression and honouring cultural traditions of embellishment.

Ongoing National Anzac Centre Collection

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 12pm–5pm.

See our website for latest information.

National Anzac Centre www.nationalanzaccentre.com.au 67 Forts Rd, Mount Clarence, WA 6331 08 6820 3500 Open daily 9am–5pm.

www.mundaringartscentre.com.au 7190 Great Eastern Highway, Whadjuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature new exhibitions bi-monthly and showcase

National Anzac Centre. Frances Andrijich Photography.

Joel Sherwood Spring, SETTLED, 2024, installation view, Australian Centre for Contemporary Art (ACCA), Melbourne.

Courtesy the artist. Photograph: Andrew Curtis.

17 October—21 December SETTLED Joel Sherwood Spring

National Anzac Centre. Base Imagery Photography.

In SETTLED, Joel Sherwood Spring critically examines how new technologies are altering human ways of seeing and being, alongside the continued capitalist exploitation of Aboriginal culture.

257

artguide.com.au PICA continued...

Alana Hunt, The deceptively simple need for a home (on other peoples’ land), 2025, super 8 mm film still, image courtesy of the artist.

17 October—21 December A Deceptively Simple Need Alana Hunt A Deceptively Simple Need by Alana Hunt considers the realities of daily life on un-ceded land, encouraging reflection on the universal need for a home. Guest curated by Jasmin Stephens.

17 October—21 December Vádyé Eshgh ‫( وادی عشق‬Valley of Love) Second Generation Collective Second Generation Collective’s Vádye Eshgh (Valley of Love) is a major new commission developed with mentorship from artist Abdul-Rahman Abdullah. Inspired by the spiritual text The Seven Valleys, this multi-disciplinary work explores grief, memory and the enduring power of love.

‫وادی عشق‬

7 February—21 December Cement Frogs the Ghost of a Swamp Tyrown Waigana

Noah Birch, it’s not rocket surgery, 2024, aluminium and automotive paint, 21 x 34 x 25 cm.

15 November—13 December the sum of all parts Noah Birch WA-based sculptor Noah Birch looks to make works with a sense of ‘completeness’, of beauty, and to provide a contemplative moment. Society is not homogeneous, nor are his cubes and squares. Equity, diversity, equality and interconnectedness form a strong conceptual underlay that allows him to focus on creating the works that fit within his view without cliche or contrivance. Birch uses abstraction as a unifier; there is nothing in the work that is not of the work, and it requires no specific knowledge to participate. All the elements, regardless of relative size or placement are part and parcel; it takes everything that is there to make the work complete.

Zig Zag Gallery www.kalamunda.wa.gov.au

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.

50 Railway Road, Kalamunda WA 6076 08 9257 9998 Mon to Fri 9am–4pm, Sat and Sun and public holidays 10am–4pm.

7 February—21 December F = m•a (five ways to make a rainbow) Amanda Bell

Nested in between the Kalamunda Library and the Kalamunda History Village, it was designed to encourage greater community involvement and allow visitors to experience the history, cultural and attractions that the City of Kalamunda offers.

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.

Stala Contemporary www.stalacontemporary.com.au 11 Southport Street, West Leederville, WA 6007 0417 184 638 Wed to Sat 10am–4pm and by appointment.

Stala Contemporary has exhibited and advocated for contemporary artists since 2006 across five gallery locations in Perth, WA. Gallery Director Sherri Staltari is passionately committed to presenting a dynamic and diverse range of Australian and international artists' work through a monthly program of exhibitions and projects.

25 8

When Will You Listen to Me? explores the artist’s experience growing up as an ethnic minority, indigenous to the Malay Archipelago where Singapore, his home country is situated. Nazerul’s new body of ceramic works takes the pressures he experienced from his cultural, religious, and state-driven pressures as a starting point and translated them into handbuilt medicinal jars decorated with classical Malay Language and Mandarin literary aphorisms that encapsulates the artist’s endeavour to heal psycho-social trauma.

Using Bahasa Melayu (Malay Language) rendered in the Jawi Script (modified Perso-Arabic script adopted to write Classical between the 12th to the late 20th century) and Mandarin aphorisms and proverbs surrounding the themes of secrets, healing, success and leaving home, Nazerul plans to convey his message using ceramic objects implying alchemical processes and vessels informed by medieval apothecary jars that contain ingredients for healing but are also storage containers wherein emotions are bottled and secrets are kept in fear of disapproval and rejection, only to ferment and bubble over in due time.

Nazerul Ben-Dzulkefli.

18 October—9 November When Will You Listen to Me? Nazerul Ben-Dzulkefli

6 December—4 January 2026 Chirriger Kwilla: An Exploration of Noongar Totems Peter Farmer Snr and Peter Farmer Jnr Opening event Friday 5 December, 6pm.

This intergenerational exhibition brings together celebrated Noongar artist Peter Farmer Snr and his son Peter Farmer Jnr, presenting new works on canvas created especially for this show.

At its heart are the artists’ deeply personal connections to their ancestral totems, the Chirriger (Blue Wren) and the Kwilla (Great White Shark), alongside the element totem Kaarl (Fire). Totems are guides connecting us to culture, language, and lineage. Through their art, the Farmers invite audiences to reflect on the strength of Noongar identity and its evolving place within contemporary art today. This exhibition is proudly supported by the WA Government’s Department of Creative Industries, Tourism, and Sport (CITS).

Northern Territory

Exhibitions

NOVEMBER/DECEMBER 2025

artguide.com.au

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Tue to Sat 10am–4pm Sun 10am–2pm.

The Araluen Arts Centre operates as the visual art and performance hub of Central Australia, presenting an annual program of exhibitions, performances, and film.

The Greenbush Art Group is back at the Araluen Arts Centre for their seventh exhibition, Outback. Greenbush Art Group is a collective of artists based at the Alice Springs Correctional Centre that are students or alumni of the Charles Darwin University’s Visual Arts program. The Greenbush Artists use repurposed and recycled materials, such as car parts, cutlery or garden tools to create unique sculptures. In this years’ exhibition, the artists show their new skills in welding and laser cutting, creating animals and figures inspired from their life experience in the outback working on farms and stations.

Robert Andrew, White wash over the burn, 2017, winner of the 2018 Alice Prize, featured in Deviate, Araluen Collection.

3 July—2026 Deviate Araluen Collection | Albert Namatjira Gallery

GM, Ilkaro, 2024, featured in Steel Life exhibition in 2024.

15 November—8 February 2026 Outback – Greenbush Art Group

This exhibition primarily draws from the Araluen Art Collection and considers artists who push the boundaries – depart from an established course – to challenge traditional art-making techniques and enable new outcomes to emerge. The artists captivate us with their diverse processes that lead to artworks that are innovative and original, feature bold colour or mark-making, integrate new materials, or themes. In addition to outstanding works

from Araluen’s Collection this exhibition features five significant Western Desert paintings, on loan from the National Gallery of Australia through the sharing the national collection initiative, that capture the groundswell of this movement born at Papunya. Paintings by Western Arrernte artist Albert Namatjira are spread throughout the exhibition to highlight the artist’s diverse practice, skill, knowledge of Country and influence – something that continues today. The Araluen Art Collection harnesses many incredible creative moments, art movements and art prizes and is significant in Australia and the world. This exhibition explores one element and demonstrates the capacity of artists to be endlessly creative regardless of their inspiration.

Spanning many decades, genres and subjects, these artworks are thoughtprovoking and unique, and the artist’s challenge us to engage fully with their artistic deviations and brilliance.

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.

An Artback NT exhibition

ceramics from the central desert

Touring Nationally

Bunbury Regional Art Gallery WA

6 September 2025 –18 January 2026 Geraldton Regional Art Gallery WA

7 February - 5 April 2026 Devonport Regional Gallery TAS

29 May 2026 – 25 July 2026 Midpul Art Gallery at Charles Darwin University

07 October 2026 – February 2027

This project has been assisted by the Australian Government's Visions of Australia program.

26 0

MAP 1 VI CTO RI A

26 MILDURA

SWA N H I L L 36

Victoria

5 WO D O N G A

38 S H E P PA RTO N BENDIGO

HORSHAM

21

9 11 A R A R AT

2

24

34

C A ST L E M A I N E

10 4

12

DAY L E S FO R D

3

31

35 13 H E A L E SV I L L E

32 29

19

40

WA R R N A M B O O L

G E E LO N G

39 LO R N E

& Gallery Australia Ararat Gallery TAMA Art Gallery of Ballarat Artpuff Arts Space Wodonga Benalla Art Gallery Bendigo Art Gallery Bendigo Visitor Centre Cascade Art Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Convent Daylesford Cusack & Cusack East Gippsland Art Gallery

15 16 17 18 19 20 21 22 23 24 25 26 27 28

6

8

B A L L A R AT

H A M I LTO N

1 2 3 4 5 6 7 8 9 10 11 12 13 14

7

WA N G A R AT TA

28

17 20 16 27 33 1 24 15

B A I R N S DA L E

4 30

Everywhen Art at Whistlewood Geelong Art Space Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery The Hive Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Liminal Gallery + Lab Maffra Exhibition Space Mildura Arts Centre Platform Arts QDOS Art Gallery

25

14

SALE

22

18

MORWELL

37

29 30 31 32 33 34 35 36 37 38 39 40

Post Office Gallery Art Academy Pt. Leo Estate RACV Goldfields Resort Ross Creek Gallery Salt Contemporary Art Shepparton Art Museum Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery

261

MAP 2 MELBOURNE CBD

LA

34 36

TR

OB

L LT

33

ES

ON

AL

SD

ES

T

29 LO

NS

ST

LE

25

OU

B LT

RK

ES

T

28

RIN

18

DA

SP

<

T

ITI

ST

ST

HIB

KE

G

EX

UR

37

ON

ELL

14

ST

LT

L CO

NS

10

T

BE

CO

LIN

T

30 35

LLI

TH

AM

ST

LLI

FLI

11

SS

ST

SS

S TO

ZA

WI

NS

ND

16

ST

E

L RS

N

6

13

24

5

ST

< 12

BO

RU

AN

ELI

< 20

SW

Melbourne CBD

38

9 32 17

7

FLI

15

4

< 21

ND

ER

SS

T

26

22

1 19

ST

3 4 5 6 7 8 9 10 11 12

262

Alcaston Gallery Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery

13 14 15 16 17 18 19 20 21 22 23 24 25 26

2

<

<

T

1 2

31

RD

8

DA

RT S

27

KIL

ST U

3

23

D’Lan Contemporary e.g.etal Flinders Lane Gallery fortyfivedownstairs Gallery at City Library Hellenic Museum Immigration Museum Jump Left Kings ARI Koorie Heritage Trust Fiona and Sidney Myer Gallery Mailbox Art Space Museum of Chinese Australian History National Gallery of Victoria –

The Ian Potter Centre

27 National Gallery of Victoria – 28 29 30 31 32 33 34 35 36 37 38

NGV International Neon Parc No Vacancy Gallery The Old Treasury Building Print Council of Australia Gallery Project8 RMIT First Site Gallery RMIT Gallery Sofitel Melbourne on Collins State Library of Victoria Tolarno Galleries Void_Melbourne

MAP 3 FI TZ R OY /C O L LI NGWO O D

A 21 LE X A N D R A P D E W E S TG

ARTH

ST M AT E R

ST

11 8 TO N S

10 6

T

18

12

W IC K S

20 ST

17

ST S M IT H

ST

Collingwood

16 U D E ST

22 4

2 LANGR

ID G E S

3 V IC TO

R IA P D

A LB E R

W E LL IN

H O D D LE

G TO N S

T

Fitzroy GERTR

24 ST

C A R LT ON GARDE NS

14

23 5

N A P IE R

MOOR

BRUNS

FI T Z R O

N IC H O

Y ST

T

LS O N S

T

JO H N S

7

13

19

1

T 10

15

E

T ST

FI T Z R O Y GARDE NS

1 2 3 4 5 6 7 8 9

ACAE Gallery @14 Australian Galleries Australian Print Workshop Arts Project Australia Backwoods Gallery Brunswick Street Gallery Centre for Contemporary Photography Fox Galleries

10 11 12 13 14 15 16 17 18

FUTURES Lamington Drive MAGMA Galleries Mary Cherry Gallery Melbourne Museum Nicholas Thompson Gallery North Gallery PG Gallery Sarah Scout Presents

19 20 21 22

Sullivan+Strumpf Sutton Gallery SOL Gallery This Is No Fantasy + Dianne Tanzer Gallery 23 West Space 24 Yarra Sculpture Gallery

26 3

MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N H E A L E SV I L L E

34

3

BUNDOORA

28

E LT H A M

33 15

L I LY DA L E

14

16

M A R I BY R N O N G

S EV I L L E

21

8 10 26 27

Melbourne

30

R I N GWO O D

1 20

32

7

12

W I L L I A M STOW N

29

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

23

13 24 6 11

5 18

EMERALD

2 DA N D E N O N G M O R D I A L LO C

31

4

PAKENHAM CRANBOURNE

22 9 F R A N KSTO N

M O R N I N GTO N

25 19

1 2 3 4 5 6 7 8 9 10 11

26 4

ArtSpace at Realm and Maroondah Federation Estate Gallery Bayley Arts Bundoora Homestead Bunjil Place Burrinja Cultural Centre Caelene Nee Glen Art Advisory and Gallery Deakin University Art Gallery Five Walls Gallery & Projects Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery

12 13 14 15 16 17 18 19 20 21 22 23

17

Gallery Elysium Glen Eira City Council Gallery Heide Museum of Modern Art Incinerator Gallery Ivanhoe Library and Cultural Hub Kelli Lundberg Art Kingston Arts Centre Lander—Se Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Museum of Australian Photography (MAPh)

24 25 26 27 28 29 30 31 32 33 34

Monash University Museum of Art Mornington Peninsula Regional Gallery One Star Gallery Parallel Projects TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yarra Ranges Regional Museum Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE < 16

Arts Project Australia Burke Gallery Chapman & Bailey correspondences Counihan Gallery In Brunswick The Dax Centre Gertrude Contemporary George Paton Gallery Haydens Ian Potter Museum of Art Islamic Museum of Australia Johnstone Collection Old Quad One Star Gallery Otomys Contemporary Divisions Gallery Red Gallery RMIT Project Space / Spare Room Rubicon ARI SHIVERS Gallery VAS Gallery | Victorian Artists Society West End Art Space

9

B R U N SW I C K

5

N O RT H C OT E

4

B R U N SW I C K E A ST

1 17 PA R KV I L L E C A R LTO N N O RT H

6 14 8 2

N O RT H MELBOURNE

19

10

F I TZ R OY

3

C A R LTO N

21

15

MELBOURNE CBD

2

Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Charles Nodrum Gallery CRITERIA Compendium Gallery Firestation Print Studio The Front Room Gallery Gallerysmith Jacob Hoerner Galleries Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Lennox St. Gallery Leonard Joel Linden New Art LON Gallery Lynn Jaanz Art Gallery Lyon House Museum Fiona and Sidney Myer Gallery MARS Gallery Midnight in Paris Niagara Galleries OTOMYS Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

3

C O L L I N GWO O D

18

14 22

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

7

12

17 4

2 23 8 CREMORNE

20

14 R I C H M O N D 25

19 15

B U R N L EY

SOUTHBANK

3

H AW T H O R N

5 SOUTH YA R R A

M I D D L E PA R K

WINDSOR

16

11 1

KO OYO N G

24

9

PRAHRAN

21 ST K I L DA W E ST

TO O R A K

26

22

10

12

6 7 A R M A DA L E

27 ST K I L DA

18

<

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

<

11

20

13 B A L AC L AVA

26 5

MAP 7 SY D N EY

< 15 28 GORDON

21 M AC Q UA R I E PA R K

LINDFIELD

7

S E A FO RT H

FA I R L I G H T

22

C H ATSWO O D

M A N LY

LANE C OV E

17

N O RT H B R I D G E

14 ST L EO N A R D S

G L A D E SV I L L E

16

23 N O RT H SY D N EY

9

24 20

13

MOSMAN

27

BALMAIN THE R O C KS

26 5

4

Sydney

R OZ E L L E

C R OY D O N

HABERFIELD

18 U LT I M O

2

8

6

1

12

DA R L I N G H U R ST

3

S U R R EY H I L LS

19

11

BONDI B E AC H

10

N E W TOW N ALEXANDRIA M A R R I C KV I L L E

1 2 3 4 5 6 7 8 9

26 6

16albermarle Annandale Galleries Annette Larkin Fine Art Australian National Maritime Museum Artereal Gallery Artsite Contemporary Art Space on the Concourse Boomalli Aboriginal Artists Co-operative Brenda Colahan Fine Art

10 11 12 13 14 15 16 17 18 19

25

Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Incinerator Art Space Interlude Gallery Gallery Lowe and Lee

20 21 22 23 24 25 26 27 28

Lavender Bay Gallery Macquarie University Art Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery Sullivan+Strumpf Sydney College of the Arts Gallery Sydney Road Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

18 8

10

14

CA HI LL ES

PY

11

ST

Sydney CBD

19

K IN G ST

FR WP

ER

WH

AR

M1

2

AR

T

G

AL

LE

RY

RD

CO

EL IZ AB ET

H ST

20

D

17

4

AR IE ST

3

C R OW

PA R K

ST

1 16

9

ST

5

IT IO N

6

DR UIT T ST

E X H IB

7

N ST

E AY S T

MAR KET ST

W IL L

M AC L

BR ID GE

M AC Q U

ND ER ST WE

YO RK ST

I ST

RIB

UT

OR

13

15

IA M

ST

12

1 2 3 4 5 6 7

Australian Design Centre Art Gallery of New South Wales Artspace CBD Gallery The Cross Art Projects Firstdraft Gaffa Gallery

8 9 10 11 12 13 14

The Ken Done Gallery Korean Cultural Centre Museum of Contemporary Art Australia (MCA) Museum of Sydney Scieppan Gallery The Sculptors Society S. H. Ervin Gallery

15 16 17 18 19 20

Stacks Projects Stanley Street Gallery State Library of New South Wales Sydney Opera House Wentworth Gallery Wentworth Gallery, Martin Place

267

M A P 9 & 10 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O & PA D D I N GTO N

PA R K

HA IS ST

314 Abercrombie Gallery 4A Centre for Contemporary Asian Art 3 Brett Whiteley Studio 4 Carriageworks 5 Chalk Horse 6 Chau Chak Wing Museum 7 Conny Dietzschold Gallery 8 Darren Knight Gallery 9 Flinders Street Gallery 10 Gallery 9 11 The Japan Foundation 12 King Street Gallery 13 Liverpool Street Gallery 14 Nanda/Hobbs 15 Nasha Gallery 16 National Art School 17 Powerhouse Museum 18 UTS Gallery 19 Redfern Art & Ceramic Gallery 20 Rogue Pop-Up Gallery 21 Sabbia Gallery 22 Verge Gallery 23 White Rabbit Gallery

5 12

13

Darlinghurst

RR

1 2

7

ST

17

10

2

16

CLEV

ELAN

1

C R OW

OX

9

Surry Hills

D ST

19 4

20

Redfern P H IL L

RD

ORE

ST

PA R K

3

21

RA GL AN ST

MO

FO

RD

RKE

22

14 23

Chippendale

BOU

5

18

11

BRO ADWAY

ST

Ultimo

N ST

15

IP S T

Waterloo

L AC H

LAN

ST

6

ST UR

8 4

IN

GH

ES ST

RL

1

IO N

FI

TZ

RO

YS

T

RD

AV

OX

FO

RD

E

U

ST

N

D

ADE

ST

EN

3

Paddington

H

ER

W

O

O

D

ER

H 13 A R W

G

C

PA A

D

D

ST L E D

O R D O

IN IN

O

N

D G

RD

G

TO

IA

N

R

R

N

ST

12

ST RE P ARK

LA

SO

N MOO

26 8

6 19 2 10 9 7 SU 16 T

M

15

18 ST

LD

CAS C

ALB

EI

GL

B

O

U

N

D

N

OR

A

R

Y

ST

DA

FORB

WILLIAM ST

11 GR EE NS RD

Arthouse Gallery Australian Galleries Barometer D’Lan Contemporary Fellia Melas Art Gallery Fine Arts, Sydney Fox Jensen Gallery Sally Dan-Cuthbert Justin Miller Art Martin Browne Contemporary N.Smith Gallery OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery UNSW Galleries Wagner Contemporary

M1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

ST

17 5

14 D

AV

AV E

ST S T4

5

ST

M A P 11 & 1 2 G R E AT E R SY D N EY & N E W S O U T H WA L E S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

Leo Kelly Blacktown Arts Centre Bankstown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre (C-A-C) Casula Powerhouse Arts Centre Fairfield City Museum & Gallery Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery McGlade Gallery Penrith Regional Gallery Rex-Livingston Art + Objects SteelReid Studio Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery

RICHMOND

3 13

8 17

14

C A ST L E H I L L

12

1

K ATO O M B A

Sydney

7 LIVERPOOL

B A N KSTOW N

11

2

6

10 9

C A M P B E L LTOW N

16

5

CRONULLA

BARGO

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

Bank Art Museum Moree Bathurst Regional Art Gallery Broken Hill Regional Art Gallery Ceramic Break Sculpture Park Cowra Micro Gallery Cowra Regional Art Gallery The Corner Store Gallery Fyre Gallery Glasshouse Port Macquarie Gosford Regional Gallery Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre The University Gallery New England Regional Art Museum Ngununggula Orange Regional Gallery Outback Arts Performance Arts Culture Cessnock The University Gallery Rusten House Art Centre South East Centre for Contemporary Art (SECCA) Shoalhaven Art Gallery Studio Altenburg Straitjacket Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery Yarrila Arts and Museum

18

15

WO L LO N G O N G

4

BY R O N 35 B AY 14

1

4

38 22

25 COBAR

34

37

3 BROKEN HILL

New South Wales

9

7

24 2 C E N T R A L 10 C OA ST

7

6 5

13

WO L LO N G O N G

36 18 EC H U C A

39

17 32 20 16 15 27 26 19 21

DUBBO

MILDURA

12

C O F FS HARBOUR

MOREE

BOURKE

11 23 30 28 31 33 8

KO S C I U S Z KO N AT PA R K

29

269

M A P 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

H E RV EY B AY 8

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

19 Karen Contemporary Artspace Bribie Island Seaside Museum Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Leighton Contemporary Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Art Gallery

7 11 14 9 SUNSHINE C OA ST

2 13 16 4

Brisbane 20 5

TO OWO O M B A

3 17

15 10

18 12 6 1 9

GOLD C OA ST

19 STA N T H O R P E

4 8 3 13 15 CAIRNS

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

270

Above and Below Gallery Artspace Mackay Cairns Regional Gallery Court House Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Museum of Art Tanks Arts Centre Umbrella Studio UMI Arts

11 10 14 6 1 M AC K AY

2

Queensland 9 R O C K H A M P TO N

12

5

G L A D STO N E

7

M A P 15 & 1 6 BRISBANE & CANBERRA

5

TU

R

B

A

N

N

R ST

EE

T

ET RE ST

T

UR

EE

TH

R

R ST T EN

Fortitude Valley EE

T

D

R

T

IC 4 K ST

A

ST

9 SW

O

T

N

R

O

EE

U

3

ER

22

T

12 16

YR

ST R E E

7 R

TH

DA R Y

23

B

K

BOUN

M

13 17

21

15

11

Brisbane CBD South Bank

18

19

RE ET

6

4

ST

14

ST SS

Acton

RO

CL

UN

IE

S

1 7

21

2

10

5

9

3

PA R K E

CO S WAY

N

ST

IT

U

TI

O

17

18 15

14 KIN

ADE

E AV

Deakin U

G

G

A

E AV

Barton 19

8 13

11

W

CAN AY

BER

TH

M

E

AV E

OR

6

L A ID

GS

N

Russell

16

TW EN W E AV

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT Hadfield Gallery M16 Artspace Megalo Print Studio National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

AR

G O D

20

EY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

G

W

10

8

GR

Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery Metro Arts Mitchell Fine Art Museum of Brisbane Onespace Gallery Parker Contemporary Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 18 Queensland Museum 19 QUT Art Museum 20 Robyn Bauer Studio 21 State Library of Queensland 22 UQ Anthropology Museum 23 UQ Art Museum

D R A W EET ED TR S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

ET

IC

T

K

H

ST

A

R

M

2

EE

ST

T

R

E

ET

1

RA A VE

12

20

271

M A P 17 & 18 H O B A RT & A D E L A I D E

3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Devonport Regional Gallery Handmark Gallery Madeline Gordon Gallery Penny Contemporary Plimsoll Gallery Queen Victoria Museum & Art Gallery Salamanca Arts Centre The TAG Art Gallery Tasmanian Museum and Art Gallery

A

M

P

B

E

LL

ST

R

D AV

A G Y E

EY S

L S T

T

1 2 3 4 5 6 7 8 9 10 11 12 13

C

10

7

5

H

A

R

Hobart R

IN

G

TO

1 N

M

ST

8

UR

12

EL

2 9

13

IZ

RA Y

AB

ST

ET

H

ST

11

4

6

SAL AM ANC A PL

16

17

FRO HA CK NE Y RD

22

RD

18

19 1 15

ME

Adelaide 4

NORTH TCE

20 13

10

6

21

3

8

5

EAST TCE

9

23

PULTENEY ST

272

ACE Adelaide Central Gallery Art by Farquhar Art Gallery of South Australia Art Images Gallery Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS Hahndorf Academy Hugo Michell Gallery JamFactory Murray Bridge Regional Gallery Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

14

7

11 2

12

M A P 19 & 2 0 P E RT H & F R E M A N T L E

BU

LW

ER

14

NE

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts Stala Contemporary

RO

WE

LL

ES

ST

7 W

CA

ST

LE

ST

T

ING

TO

NS

T

5

Perth

4

13 2

12

9

10 TH

EE

SPL

AD

AN

AD

3

11 EL

E

AID

1

ET

ER

6 RA

CE

8

3 4 OR DS

EL

D

ER

PL

T

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

2

ET

7 5

RK

1 2 3 4 5 6 7

HIG

HS

T

6

1

273

L A S T WO R D

“People are existing today in complete disconnection. We all want connection, safety, and to live a life in particular ways, yet these systems are built to ensure that you don’t, and can’t.”

— J O E L S H E R WO O D S P R I N G

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2025 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

I N S I D E Nan Goldin, Hale Tenger, Caleb Shea,

HOSSEI, Joel Sherwood Spring, Thomas Demand, Apichatpong Weerasethakul, Gabriella Bisetto, Kate Mitchell, Kaylene Whiskey, and more.

artguide.com.au