Art Guide Australia — September/October 2025

SEP TEM BER /OCTOBER 2025 $9

C OV ER S T ORY Lionel Fogarty: poetry beyond the page PLUS Pursuing beauty with Tschabalala Self PLUS The changing face of the Archibald

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EX HIBITION LISTINGS

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V IC

NSW

QLD

AC T

TA S

SA

WA

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

A Note from the Editor

A Glass Act: Jennifer Kemarre Martiniello

PR EV IEW

Shapeshifting: The Art of Helen Wright

Unseen Connections: The Neighbour at the Gate

Jacobus Capone: End & Being

STUDIO

Chloé Wolifson

Briony Downes Gok-Lim Finch

Georgie Mattingley: Project Pine Gap

Josephine Mead Light Source

Briony Downes Desert Mob 2025

Shonae Hobson

to come together as water

Josephine Mead

Second Generation Collective: Vádye Eshgh (Valley of Love)

Gok-Lim Finch

Maggie Hensel-Brown: Newcastle Art Gallery New Commissions

Camilla Wagstaff

Emma Do

Savanhdary Vongpoothorn

Sophia Halloway F E AT U R E

Life Cycles: Betty Kuntiwa Pumani

Emma O’Neill

Figuring it Out: Tschabalala Self

Oliver Giles

Seeing Double: Enninful x Mapplethorpe

Amelia Winata

Life Sized: Limitless

Giselle Au-Nhien Nguyen 20 Questions: Natasha Walsh

Anna Carlsson

Jo Higgins

COMMENT

Mirdidingkingathi Juwarnda Sally Gabori: Mundamurra Ngijinda Dulk—My Island Home

Chloé Wolifson

Shonae Hobson Place Makers

Jo Higgins

About Face F E AT U R E

Object Lessons: Kyoko Hashimoto

Steve Dow

F E AT U R E

Poetry in Motion: Lionel Fogarty

Timmah Ball

MAPS

1 V I C T O R I A

9 & 10

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

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

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MELBOURNE CBD 11 & 12

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

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

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

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

13 & 14

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

5 & 6

NORTHERN & SOUTHERN MELBOURNE

15 & 16

BRISBANE & CANBERRA

7 S Y D N E Y

17 & 1 8

HOBART & ADELAIDE

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19 & 20

PERTH & FREMANTLE

SYDNEY CIT Y

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Aarwun Gallery

ACAE Gallery

Alcaston Gallery

Adelaide Contemporary Experimental

Annandale Galleries

Ararat Gallery TAMA

Anna Schwartz Gallery

Artbank Melbourne

Art Gallery of Ballarat

Artbank Sydney

Art Gallery ofNew South Wales

Artists Shed

Araluen Arts Centre, Mparntwe

Art by Farquhar

Artitja Fine Art Gallery

Arts Project Australia

Art Leven

ACCA

Australian National Capital Artists (ANCA) Gallery Bankstown Arts Centre Bayside Gallery

Barometer Gallery

Bunbury Regional Art Gallery Burrinja

Ceramic Break Sculpture Park Civic Art Bureau Cowra Micro Gallery Darren Knight Gallery

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Belco Arts

Bett Gallery

Bunjil Place Gallery

Canberra Glassworks

Cascade Art Gallery

correspondences

Cowra Regional Art Gallery

David Roche Gallery

Blacktown Arts

Caelene Nee Glen Art Advisory and Gallery

Charles NodrumGallery

Colville Gallery

Bayley Arts

Brunswick Street Gallery

Campbelltown Arts Centre (CAC)

Canberra Museum and Gallery (CMAG)

Australian Galleries

Australian Tapestry Workshop (ATW)

Bundoora Homestead Art Centre

Caboolture Regional Art Gallery

Caloundra Regional Gallery

Artspace Mackay

Australian Galleries

Broken Hill City Art Gallery

Bundanon

Artisan

Artpuff

Bathurst RegionalArt Gallery

Beechworth Contemporary Artspace

Blue MountainsCity Art Gallery

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

CBD Gallery

City of Perth Council House Gallery Court House Gallery, Cairns

Craft + Design Canberra

Deakin University Art Gallery

Craft Victoria

Devonport Regional Gallery

Djaa Djuwima–First Nations Gallery

D’Lan Contemporary

D’Lan Contemporary

East Gippsland Art Gallery

Eloise Cato Gallery

Everywhen Art

Federation University Post Office Gallery

Fellia Melas Gallery

Fiona and Sidney Myer Gallery

Five Walls Gallery & Projects fortyfivedownstairs Gallery LNL

Flinders Lane Gallery

Frankston Arts Centre Gallerysmith

Goolugatup Heathcote

HOTA

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

Grainger Gallery

Hawkesbury Regional Gallery

Hellenic Museum

Hervey Bay Regional Gallery

Jacob Hoerner Galleries

JamFactory

Koorie Heritage Trust

Latrobe Regional Gallery

JamFactory at Seppeltsfield

Linton & Kay Galleries

Lennox St. Gallery

Liverpool Powerhouse

Macquarie University Art Gallery

Kelli Lundberg Art

Korean Cultural Centre Australia

Lauraine Diggins Fine Art

Leighton Contemporary

Incinerator Gallery

Islamic Museum of Australia

Jewish Museum of Australia: Gandel Centre of Judaica

Lawrence Wilson Art Gallery Linden New Art

Goulburn RegionalArt Gallery

Handmark

Ipswich Art Gallery

Gallery76

Glen Eira City Council Gallery

Hyphen — Wodonga Library Gallery

King Street Gallery on William

La Trobe Art Institute

Gallery 48

Gippsland Art Gallery

Glasshouse Regional Gallery

Heide Museumof Modern Art

Horsham Regional Art Gallery

Gertrude

Gosford Regional Gallery

Grace Cossington Smith Gallery Hazelhurst Arts Centre

Fremantle Arts Centre

Geelong Gallery

Gladstone Regional Art Gallery & Museum

Flinders University Museum of Art

Lavender Bay Gallery Liminal Gallery + Lab

Logan Art Gallery

Madeline Gordon Gallery

M16 Artspace

Mailbox Art Space

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Maitland Regional Art Gallery

Manly Art Gallery& Museum

Manning Regional Art Gallery

Martin Browne Contemporary

McClelland Sculpture Park + Gallery Mitchell Fine Art

Metro Arts

Monash University Museum of Art | MUMA

Mulgrave Gallery, Cairns

Mundaring Arts Centre

Ngununggula

Outsider Gallery

OTOMYS

Penrith Regional Gallery

Onespace Gallery

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One Star Gallery

Penny Contemporary

Performance Arts Culture Cessnock | PACC PG Gallery

Philip Bacon Galleries

Potter Museum of Art

Queensland Art Gallery | Gallery of Modern Art QUT Galleries and Museums

Newmarch Gallery

Outback Regional Gallery, Winton

PARKER Contemporary

Perth Institute of Contemporary Arts (PICA) Platform Arts

NGV International

National Portrait Gallery

Outback Arts Gallery

Parallel Projects

Museum of Old and New Art (Mona)

New England Regional Art Museum

NorthSite Contemporary Arts

Orange Regional Gallery

Pine Rivers Art Gallery

Museum of Australian Photography (MAPh)

National Gallery of Australia

The Ian Potter Centre: NGV Australia NCCA – Northern Centre for Contemporary Art

Mossenson Galleries

Murray Bridge Regional Gallery

Museum of Contemporary Art Australia

National Art School NAS Gallery

Mildura Arts Centre

MOORE CONTEMPORARY

Mosman Art Gallery

Museum and Art Gallery of the Northern Territory

Nasha Gallery

Mary Cherry Gallery

Midland Junction Arts Centre

Mornington Peninsula Regional Gallery

Museum of Brisbane

Manningham Art Gallery

Project8 Gallery

PIERMARQ* QDOS Fine Arts

Queensland Museum Kurilpa

RACV Goldfields Resort

Redcliffe Art Gallery

Redland Art Gallery, Cleveland

Redland Art Gallery, The Mezz

Riddoch Arts & Cultural Centre Roberson Art Gallery

RMIT Design Hub Gallery

Rockhampton Museum of Art

Samstag Museum of Art

S.H. Ervin Gallery

South East Centre for Contemporary Art State Library of NSW Straitjacket

RMIT First Site Gallery

Roslyn Oxley9 Gallery

Sauerbier House Culture Exchange

Shepparton Art Museum

STALA Contemporary

Scieppan Gallery

South Australian Museum Stanthorpe Regional Art Gallery

SteelReid Studio

Sullivan+Strumpf Gadigal/Sydney

RMIT Gallery

Rusten House Art Centre

SCA Gallery

Shivers Gallery

State Library of Queensland

Tamworth Regional Gallery

Rex-Livingston Art + Objects

Stockroom Kyneton

Sullivan+Strumpf Naarm/Melbourne

Tanks Arts Centre, Cairns

TarraWarra Museum of Art

Tasmanian Museum and Art Gallery

The Art Gallery of Western Australia

The Hive Gallery

The Ken Done Gallery

The Torch

Tin Sheds Gallery

The Lock-Up

Tolarno Galleries

The University Gallery

Toowoomba Regional Art Gallery

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

Umbrella StudioContemporary Arts

UNSW Galleries

Wagga WaggaArt Gallery

Warrnambool Art Gallery

Whitehorse Artspace

Wyndham Art Gallery

Town Hall Gallery

UQ Art Museum

Walker Street Gallery and Arts Centre

Watt Space Gallery

Wentworth Galleries

White Rabbit Contemporary Chinese Art Collection

Yarrila Arts and Museum

Zig Zag Gallery

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Dhambit Munuŋgurr August – September 2025

Roslyn Oxley9 Gallery

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

ROSE NOLAN WORD WORK

Big Words – NOW WHAT / WHAT NOW, 2025

29 August - 11 October 2025

ANNA SCHWARTZ GALLERY

FIRST NATIONS ARTS PARTNER

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

OPEN NOW FREE ENTRY Potter Museum of Art, the University of Melbourne, Cnr Swanston St and Masson Rd, Parkville, Naarm.

University of Melbourne Museums and Collections

The art of printmaking meets the technology of wood bending Available online and in-store.

Marimekko Sydney Westfield Sydney Shopping Centre 188 Pitt Street Sydney NSW 2000

Marimekko Chapel Street 576 Chapel Street South Yarra VIC 3141

marimekko.com

A SURVEY OF WORKS 1996 – 2025

JENNIFER MILLS

9 AUGUST – 16 NOVEMBER 2025 BUNJIL PLACE GALLERY

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

Thursday 23 October at 7.30pm Saturday 25 October at 2pm Arts Centre Melbourne, Hamer Hall César Franck’s expansive Symphony explores the full range of orchestral colours and textures in this compelling program of French music conducted

by Rodolfo Barráez.

Featuring Nicholas McCarthy performing Ravel Piano Concerto for the left hand

James Henry New commission Ravel Piano Concerto for the left hand Franck Symphony in D minor

Book Now mso.com.au

Impressions of Paris

A Note From the Editor

September/October 2025

A profound power of art is its capacity to open doors to new ways of seeing and understanding the world. This issue highlights some artists and exhibitions inviting viewers to consider things differently.

The paintings of poet and artist Lionel Fogarty, a Yugambeh man born on Wakka Wakka land in South East Queensland, light up the cover of this issue. As Timmah Ball reveals, Fogarty is using painting to transform and elevate the written word—connecting his poetry, informed by a lifetime of activism, with new audiences.

At the National Art School in Sydney, the exhibition The Neighbour at the Gate brings to light historic and ongoing ties between Indigenous and Asian-Australian communities, as Emma Do explains. Elsewhere, American artist Tschabalala Self speaks to Oliver Giles on the occasion of her first Australian solo exhibition about the multi-faceted figures in her works, and the universal experience of being embodied.

Camilla Wagstaff writes on the virtuosic blown glass works of Jennifer Kemarre Martiniello, in which generations of living practice are expressed in contemporary form. And Savanhdary Vongpoothorn tells Sophia Halloway how she brought the experience of a recent residency at a Laotian botanical garden back to her Canberra studio.

We hope you enjoy this issue and are inspired to spend some time in the many thoughtful and beautiful exhibitions taking place around the country this spring.

Chloé Wolifson Print Editor, Art Guide Australia

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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 #157

Timmah Ball, Anna Carlsson, Oslo Davis, Emma Do, Steve Dow, Briony Downes, Gok-Lim Finch, Oliver Giles, Sophia Halloway, Jo Higgins, Shonae Hobson, Josephine Mead, Ishita Moghe, Giselle Au-Nhien Nguyen, Emma O’Neill, Camilla Wagstaff, Amelia Winata, Chloé Wolifson SUB E D I TO R

Paul Sutherland P R I NTI NG

Postscript Printing P UBL I SHE RS

Graham Meadowcroft Kim Butterworth

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

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

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

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Cover artist: Lionel Fogarty

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

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.

lef t to r ight Lionel Fogarty, 339 Next Year All This Death, 2023, acrylic on unstretched tarpaulin, 185 x 244 cm, Goolahji, 2023, acrylic on unstretched tarpaulin, 146 x 187 cm, Happy Tears Dams the Sad, 2023–2024, acrylic on stretched linen, 76 x 61 cm, All countrys space a same, 2024, acrylic and fabric and glitter collage on unstretched tarpaulin, 121 x 207 cm.

Courtesy the a rtist a nd Da r r en K night Ga llery.

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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

Issue 157 Contributors T I M M A H B A L L is a writer of Ballardong Noongar

heritage who is influenced by studying and working in the field of urban planning.

Her writing has appeared in a range of anthologies and literary journals.

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.

O S L O DAV I S is an illustrator, cartoonist and

artist who has drawn for The New York Times, The Age, The Saturday Paper, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and State Library Victoria, among many others.

Oslo’s latest book is Oslo’s Melbourne.

E M M A D O is a writer and editor based in Naarm/

Melbourne. She runs an infrequent podcast called Smart Casual and fires off the occasional missive at spacesbetween.substack.com.

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.

G O K- L I M F I N C H is a writer, curator, and artist

living on Noongar Boodja Country. Their work has been published in Art Review, Westerly, Australian Poetry, Djed Press, Voiceworks, 4A Journal, and Fremantle Press. They are interested in abolition feminism, liberatory politics, Indigenous self-determination, queer histories, divination, and a free Palestine.

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.

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.

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

living and working on Wurundjeri Woi Wurrung & Dja Dja wurrung Country (Australia).

I S H I TA M O G H E is a photographer based in Australia,

focusing on producing work that celebrates spaces, people, travel, culture, art and design.

Through photography, she aims to create imagery that reflects her deep interest in how people shape and inhabit the world around them.

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

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

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

curator based on unceded Gadigal land.

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.

A M E L I A W I N ATA is a Naarm/Melbourne-based

writer and curator. She is an editor at Memo Review and was most recently Curator at Gertrude Contemporary. She holds a PhD in Art History from the University of Melbourne.

C H L O É WO L I F S O N is Print Editor of Art Guide

Australia. She has been writing on exhibitions around the Asia-Pacific in major mastheads and arts publications for over 15 years.

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.

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Previews W R ITERS

Briony Downes, Gok-Lim Finch, Jo Higgins, Shonae Hobson, Josephine Mead

Launceston/Stoney Creek Country Shapeshifting: The Art of Helen Wright

Queen Victoria Museum and Gallery: Art Gallery at Royal Park Until 1 February 2026

Looking back at the career of Helen Wright, curator Kellie Wells describes the Tasmanian artist as “an explorer at heart”. Freely experimenting across drawing, painting, printmaking and sculpture, Wright has maintained a steady focus on the natural world and dreamlike states for four decades, with architecture, birds and animals frequently becoming her delicately rendered protagonists.

Throughout the over 50 works included, Wright’s Helen Wright, Wonderland, 2011, oil on linen, seemingly effortless ability to shift between materials 122 x 137.5 cm. Photogr a ph: jack bet t. and disparate meanings is clearly revealed. “Wright’s Vessel and Ruin motifs reflect this deeply,” says Wells.

“Woven through decades-long contemplations are repeated sites of collapse, containment, and metamorphosis—each one simultaneously feminine and universal. The recurring avian figures suggest both vulnerability and transcendence, without ever abandoning the aesthetic beauty of their form.”

From MC Escher-esque drawings of Tasmanian landmarks as crumbled ruins to figurative sculptures crafted from bronze, Wright begins most works with a collage. Through a methodical process that enables her to, “freely amalgamate a diverse range of visuals sourced from imagination, invention and observation,” Wright then recreates the “sometimes illogically pieced together” image on paper or canvas. The final iteration is often sparse, with a sheer pale background occasionally broken by a twig harbouring tiny finches and wrens.

While there is clearly a sense of reverence for nature in Wright’s work, she says this is not without concern for the future. “I do not see my work shirking the reality of habitat destruction and its impact upon bird, marine and animal species.

My work seeks to shed light on the gap I perceive between a romantic and idealised vision of nature and the reality of actual experience.” It is a thought Wells echoes.

“Wright’s works are not easily reduced; they draw you in with beauty, then unsettle and provoke with layered meanings.” — B R I O N Y D OW N E S

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Helen Wright, Frankenflower, 2001, pastel on paper, 105 x 76 cm. Photogr a ph: Simon Olding.

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Halls Gap/ Budja Budja Jacobus Capone: End & Being

National Centre for Environmental Art Until 4 November The Gulf Stream is slowing down. Canadian academic David Suzuki claimed recently that catastrophic environmental collapse is unavoidable, and that politics, economics, and Jacobus Capone, End & Being, 2025, Wama Foundation the law are destined to fail in creating mean– the National Centre for Environmental Art, Halls Gap. ingful change. It is in this climate that the photogr aph: Astrid Muller.

National Centre for Environmental Art in Halls Gap, Victoria, hosts its inaugural exhibition, End & Being, a solo presentation from Jacobus Capone curated by José Da Silva.

Da Silva and Capone are long-time collaborators, most recently at the 18th Adelaide Biennial of Australian Art. In Capone’s Forewarning (Act 1) (2023), he draws a line across a glacier with a hunting knife, a sombre violence where the precarity of both artist and landscape are deeply felt.

Capone’s work is “quietly radical”, Da Silva says, “he places himself at risk in these landscapes, not to dramatise danger, but to express a profound form of surrender. It’s an act of listening and of accountability that feels central to both contemporary performance art and environmental practices today. Jacobus’s work reminds us that we’re not separate. We are entangled with the environment, and in that entanglement lies perhaps a different kind of hope, one based on humility and the capacity to face environmental realities without turning away. For me, the title is not just asking what is ending, but also how we might be amid that ending.”

Suzuki claims small, localised collectives and connections will pull humanity through in the days to come. Artistic practices like Capone’s offer space for imagining connections outside of what we know. “End & Being sets the tone for what this National Centre for Environmental Art can and should be: a place for art that brings together the philosophical, poetic, scientific and emotional.”

— G O K- L I M F I N C H

Alice Springs/ Mparntwe Georgie Mattingley: Project Pine Gap

Watch this Space 11 October—16 November

Georgie Mattingley examines how darker realties are tolerated through highly controlled images. Upon migrating from Naarm to Mparntwe, she attended a dinner party with a Pine Gap employee. The first question she asked: “Are there any artworks in the base?”

Georgie Mattingley, Pine Gap Artifact 1.5, 2025, acrylic on canvas, epoxy resin.

Pine Gap is an intelligence site, co-owned by the Australian Federal Government and the United States, 18km from Mparntwe. Movement through is highly controlled and operations are classified. Mattingley explains, “It plays a pivotal role in Western-led activities of war.” In the 1980s it came to light that the site was less focused on cosmological surveillance as its previous title, Joint Defence Space Research Facility, implied. It’s been a site of activism since.

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Through her website, Mattingley collects employees’ descriptions of the artworks inside the base. She notes, “Those who have an interest in the arts are more willing to participate.” AI is used to produce reference images from the descriptions, which are then transformed into paintings. AI often refuses to acknowledge real aspects of the base—a signifier of the software potentially being used to conceal truths. Mattingley explains, “The artworks are dead. Like art in hospitals or prisons—kitsch and nostalgic and chosen to uplift. This is how art functions in these institutions that hold, or distract from, the horrors of humanity.”

Mattingley will present the paintings, a video work, and a sound score by Zoë Barry.

The score will create “an emotional, subterranean element”, showing the complexity of what at first glance appear as trivial images. Further colonial violence arises through the description of Aboriginal artworks: sovereign works displayed on stolen land, under Western surveillance and control.

Mattingley is serious about protecting the employment and reputation of the interviewees, keeping conversations secure. This is one iteration of an ongoing social project. In Mattingley’s words, “Here is the project and it’s not going away.”

— JOSEPH IN E M EA D

Canberra/ Ngambri Country Light Source

Drill Hall Gallery Until 19 October

For his 1935 film, A Colour Box, New Zealand artist Len Lye painted abstract marks with watercolours directly onto clear celluloid film Taree Mackenzie, RGB Wave, 2025, light based media work and stock. Rather than using a camera to expose associated equipment. Courtesy OF the artist and Neon Parc. imagery from real life, Lye’s experiment with painting on film became one of the first forays into the handmade art film.

Using Lye’s innovations as a thematic springboard, curators Martyn Jolly and Tony Oates have brought together 10 artists whose work incorporates combinations of light, projection and performance. “The central premise is that light has this magical way of articulating movement and presence,” Oates explains.

“There’s a long history of optical science that blends sight, light and cognition all in one, so a lot of the artists in Light Source work with film to articulate colour and light, while others are working with the pure materiality of light.”

With much of the exhibition presented as screen-based work and largescale interactive installations, it is difficult not to become completely immersed in colour and light. Canberra-based Nicci Haynes creates coloured animations and combines their light-giving ability with mechanical structures; the resulting works recall the aesthetics of Lye’s films. As Oates says, “Haynes short-circuits disused technology in exciting ways, re-enlivening them to discover dynamics of movement, colour and the flux of light in time.” Mike Leggett’s filmed example of optical mixing using colours drawn from nature is included in Red+Green+Blue (1975) while Taree Mackenzie explores colour and pattern in her intricately constructed sets and light boxes.

In conjunction with the exhibition is a program of screenings featuring archival video work from the National Film and Sound Archives and a series of German abstract films. Live performance and happenings also expand the reach of the exhibition’s exploration into light and colour. As Oates puts it, “We are shining light through glass, projectors, cameras and lenses. It’s a history within Australia that’s not exactly untold but a little unheralded.” — B R I O N Y D OW N E S

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Returning to Mparntwe/Alice Springs this September, Desert Mob stands as a vital marker on the national cultural calendar—the longest-running Aboriginal art event after the Telstra NATSIAAs, and one of the most fiercely community-driven. Now in its 34th year, the festival brings together 35 art centres from across Desert Mob 2025 Central Australia, under the curatorial stewardship of Hetti Araluen Arts Cultural Precinct Perkins and Aspen Beattie, to celebrate the strength, innovation, 11 September—26 October and cultural leadership of desert artists and their communities.

The festival continues to uphold its artist-led ethos. As Beattie explains, “There is a real focus on artist-led and run projects.”

A highlight is the proliferation of works on paper, including a monumental collaborative work by 12 artists from the Northern Territory’s Barkly region, led by artist and arts worker Kathleen Nanima Rambler. Comprising 10 paper panels, the work forms a vibrant cartography of desert wildflowers and native plants, rendered in intricate dotting, layered linework and radiant colours. Rambler reflects: “We all drew our own flowers and leaves, placing them together…while the artists worked, they had big talks about community matters, old time stories and bush tucker stories, how the black berries would be out soon and how delicious they are. There were laughs and big stories about old family stories, ceremony, business, and dancing.”

Other highlights include Warlukurlangu Artists of Yuendumu, celebrating their 40th anniversary, and Mimili Maku’s Wati men’s group with bold experiments in troopy tyre printing. A painted work on salvaged kerosene tin by the oldest member of the artist cohort, Topsy Kemarre Steppa-Beasley, graces the cover of the catalogue. “Desert Mob is among the most eagerly anticipated and well attended events by artists of all ages from all over Central Australia,” notes Perkins.

Desert Mob is a critical platform for the cultural and creative authority of desert artists, with artists driving new ways of making, collaborating and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.

— SHONA E HOBSON

Alice Springs/ Mparntwe

Megan Cope, Kinyingarra Poles, 2024, timber, kinyingarra (oyster) shells, stainless steel wire, steel base. Installation view: Sharjah Biennial 16, Buhais Geological Park, Sharjah, United Arab Emirates.

Im age courtesy the a rtist a nd Mila ni Ga llery, Mea njin/Br isba ne. Photogr a ph: A li A lfa dly.

Brisbane/Meanjin to come together as water

University of Queensland Art Museum Until 6 December

to come together as water is the most recent iteration of Blue Assembly—the University of Queensland Art Museum’s multi-year project exploring our relationship to the ocean. Curated by Freja Carmichael, it calls for First Nations sovereignty over waterways.

The exhibition offers expansive and personal experiences of ecological change and its impact. A video work from Jilamara Arts sees 30 artists perform their totems. Carmichael explains, “Through these totemic systems, different parts work together to support ecological balance.” Brian Robertson’s linocut illustrates connections between Country, culture and people. Megan Cope’s oyster-poles draw attention to the cultural and ecological significance of oyster reefs. Lucy Simpson’s installation highlights the vital role of freshwater mussels in culture and water protection. In response to mismanagement of water in

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l e f t Edie Kemarre Holmes, b. 1950, Lulu Pitjara Teece, b. 1953, Colleen Ngwarraye Morton, b. 1957, Rosie Kemarre Morton, b. 1960, Elizabeth Ngwarraye Bonney, b. 1966, Denise Ngwarraye Bonney, b. 1968, Alana Ngwarraye Holmes, b. 1970, Kathleen Nanima Rambler, b. 1972, Yvonne Ngwarraye Bonney, b. 1974, Joyrene Ngwarraye Holmes, b. 1977, Kindy Kemarre Ross, b. 1983, Jacinta Pula Morrison, b. 1984, Sevania Kemarre Bonney, b. 1986, all artists Alyawarr people, Kwaty penh (After the rain), 2025, synthetic polymer paint on paper, 10 panels, 77 x 570 cm overall.

a b o v e Topsy Kemarre Steppa-Beasley, b. 1932, Alyawarr, Seed Story, 2025, synthetic polymer paint on metal bucket, 47.5 x 40 x 7 cm.

Photogr a ph: Fiona Mor r ison. courtesy of Desa rt.

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the Murray River and its tributaries, Nici Cumpston brings attention to the history of conversations between this water site and her people. Respectively referencing marine plastics and ghost nets, Solomon Booth and artists from Numbulwar Numburindi Arts talk to the increasing pollution in our oceans.

Carmichael presents diverse works encoded with cultural memory that play “powerful roles in how we care for water sites across the continent.”

The artworks act as allegories for the kinship systems they come from, echoing the fluidity and expansiveness of water. Carmichael explains, “Kinship systems relate to ways of being in the world, guiding responsibilities for each other, the environment and Country.” The artworks, artists and communities involved reflect wider ideas of reciprocity. The notion of reciprocity can be used to describe water from a First Nations perspective: that which provides, encompasses, holds, carries, and connects.

As a Ngugi woman belonging to the Quandamooka people of the saltwater and freshwater Country around Moreton Bay, Carmichael deeply understands the impacts of water protection. Realised through deep care, to come together as water is a testimony to the power of exhibitions in raising awareness and connecting communities. — J O S E P H I N E M E A D

Perth/Boorloo Second Generation Collective: Vádye Eshgh (Valley of Love)

Perth Institute of Contemporary Art 17 October—21 December

Formed in 2020 by Iranian-Australian Bahá’í video artist Elham Eshraghian-Haakansson and performer, theatre-maker and musician Asha Kiani, Second Generation Collective aims “to illuminate and celebrate the profound beauty, complexity, and diversity of Iranian culture—its art, people, and spiritual depth—far beyond the narrow frames [through which] it can be viewed or depicted. Iran is not a monolith but a rich tapestry of communities, languages, and evolving traditions,” explains Eshraghian-Haakansson.

The result of a creative development with Western Australian artist Abdul-Rahman Abdullah, the exhibition Vádye Eshgh (The Valley of Love) will feature work by an expanded Collective in an immersive weaving of poetry, moving text, dance, music, moving image, and theatre to reveal journeys of fleeing homelands, rebuilding identity, and learning to belong in new spaces together.

“The rich narrative and sensory engagement,” Second Generation Collective, Vádye Eshgh (Valley of Love), 2025. photogr a ph: K a r mel Fa ithi.

Eshraghian-Haakansson says, “transforms passive watching into deep, empathic remembrance. This is how we not only document history but reimagine and internalise it—ensuring these cultural memories live vibrantly in us all.”

The title is a reference to the Seven Valleys, written in exile by Bahá’u’lláh, the founder of the Bahá’í Faith. With its members belonging to a diaspora, Second Generation Collective similarly creates identity in a type of exile, responding to the moments before and after the 1979 Iranian Revolution. Love is a call to a connection beyond borders. Kiani speaks of the future, inspiring storytelling across geographies and cultural groups, and encouraging “artists to rise up and use their work as an act of service to humanity”. — G O K- L I M F I N C H

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Newcastle/Awabakal Country New commissions

Newcastle Art Gallery From 26 September

Maggie Hensel-Brown has a hard rule, working with needle lace: “I don’t make anything practical,” she says.

Video still from artist interview with Maggie “Nothing you can wear. Nothing you can use.”

Hensel-Brown, 2025, Newcastle Art Gallery But when Newcastle Art Gallery approached her with Australia. V ideogr a pher: Er ling Gr ønh aug. a commission for a new, large-scale work to celebrate its reopening following an extensive capital works expansion, there were some inevitable practicalities. “I don’t usually do commissions but because it’s my hometown gallery, it felt special to take this one.”

Hensel-Brown’s large-scale work for the windows on Newcastle’s busy Darby Street is one of several major new commissions by the Gallery, alongside works by Fayen d’Evie and fellow Novocastrian and Awabakal descendent Shellie Smith. Major acquisitions include Megan Cope’s acclaimed Kinyingarra Guwinyanba (Off Country) (2022), which will suspend 44 sculptural oyster poles from the Gallery’s new central atrium. The works will be unveiled during the launch of the New Annual festival (26 September—5 October). The Gallery’s first major exhibition will open in early 2026.

Having taken nearly four years to complete, the significance of the Gallery’s expansion and downtown location is not lost on Hensel-Brown. “[Newcastle] isn’t a huge city but it’s an amazing place to be creative so having an arts institution in the middle of it, [the expansion] feels really special as someone who grew up here.”

Hensel-Brown’s meticulous punto in aria-style needle lace work (also showcased in a solo exhibition at Sydney’s King Street Gallery on William, from 23 September—18 October) is highly acclaimed for its witty, anachronistic renderings of modern life—computers, phone chargers and messy floors— and the imagery for the Newcastle commission draws on its function as an obscuring ‘decal’ over a window looking into a workspace. “I wanted the messaging of the work to reflect that, but it plays with the idea of having a lace curtain as well.”

To create the work, Hensel-Brown sourced threads from local op shops and second-hand craft suppliers. “A lot of them are probably cast off from other people’s projects, so there’s now this lovely woven thread of Newcastle DNA in the work, which also feels fitting.” — J O H I G G I N S

Cairns/Gimuy

Mirdidingkingathi Juwarnda Sally Gabori: Mundamurra Ngijinda Dulk—My Island Home Cairns Art Gallery 13 September—30 November

Mirdidingkingathi Juwarnda Sally Gabori (c. 1924–2015), Dibirdibi Country, 2009, synthetic polymer paint on linen, 198 x 101 cm.

Cairns Art Gallery Collection. © The Estate of the Sally Gabori and Alcaston Gallery, Melbourne 2024.

Mundamurra Ngijinda Dulk—My Island Home is a landmark exhibition dedicated to the late Mirdidingkingathi Juwarnda Sally Gabori, one of the most singular voices in Australian contemporary painting. The exhibition marks Cairns Art Gallery’s 30th anniversary and represents the first major presentation of Gabori’s work in a Far North Queensland art museum.

At its core is Dibirdibi Country (2009), a rare and significant painting recently acquired for the Gallery’s collection.

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The work pays tribute to the ancestral Country of Gabori’s late husband, Kabarrarjingathi Bulthuku Pat Gabori, and references Dibirdibi, the Rock Cod Ancestor. Employing a vibrant palette, the painting evokes the fish traps and sea Country of Bentinck Island. Its gestural brushwork and dynamic colour relationships speak to Gabori’s instinctive visual language—one that emerged in her 80s.

Born around 1924 on Bentinck Island in the Gulf of Carpentaria, Gabori lived a traditional Kaiadilt life until the 1940s, when following a series of environmental disasters her community was forcibly relocated to Mornington Island. It was there, at the age of 81, that she began to paint. In a span of just a decade, she developed a visual language that was both deeply personal and radically original—abstract yet grounded in place, history and memory.

The exhibition brings together major paintings from leading collections, including a monumental and rare Kaiadilt collaborative painting from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), a large painting from Home of the Arts (HOTA) and key loans from private lenders.

Mundamurra Ngijinda Dulk not only showcases Gabori’s artistic legacy but also underscores the importance of preserving and celebrating the practices of leading painters from Far North Queensland. Her work, held in major institutions worldwide, continues to resonate, offering audiences an intimate glimpse into the spirit of Bentinck Island and the enduring strength of the Kaiadilt people.

— SHONA E HOBSON

Perth/Boorloo Place Makers

Lawrence Wilson Art Gallery 27 September—6 December

Curator Lee Kinsella is deeply familiar with the Cruthers Collection of Women’s Art at the University of Western Australia (UWA). As the holder of this collection, most of the exhibitions at UWA’s Lawrence Wilson Gallery have found their anchor points in this eclectic assemblage of works. Place Makers also draws from it, but for Kinsella, Margaret Morgan, Crafty business, 1979, colour the opportunity to situate these works—by Gladys Milroy, screenprint, ed. 11/16, 54 x 74 cm. Cruthers CollecMargaret Morgan, Fiona Foley and the late Edith tion of Women’s A rt, The Uni v ersit y of W ester n Trethowan—in conversation with each other, and with Austr a li a, Gif t of Jeffr ey Stewa rt, 2022. their more contemporary works, invited an important reframing of them as remarkable creatives who just happen to be female.

Trethowan’s 1920s revivalist woodblock prints capture both a burgeoning Perth and Fremantle, as well as the minutiae of domestic life. Nonagenarian Milroy’s drawings are evocative and reverential narrative illustrations of Country, informed by her experiences as a member of the Stolen Generation.

Works by Foley include her HHH (Hedonistic Honky Haters) series (2004) as well as new works made while in residence at the UWA School of Design, informed by the research of Dr Liz Conor detailing the derogatory language used to describe Aboriginal women.

Morgan’s works, including prints and etchings, speak to a different kind of generational trauma, growing up with a single mother on social security, and also her experiences squatting and being among the queer community of Sydney in the 1980s.

For Kinsella, Place Makers clarifies how distinctive each artist’s voice is, as well as how particular their communication is to their own communities. “I’m struck by the power of each of these artists to be so concise and so sophisticated.”

“These are really pushy objects. They’re distinctive and they demand space; they demand engagement. There’s an ongoing dialogue between these objects, as between people… These works have an ongoing legacy.” — J O H I G G I N S

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Margaret Morgan, Two-Eleven: Life Work, 2012-2020, An Excerpt of 67 Resequenced, 2025, for Place Makers, (detail), No 2, Lawrence Wilson Art Gallery, UWA Comprising 67 out of 211 inkjet prints, edition 3/3 + 2 AP, each sheet: 55.88 x 43.18 cm. courtesy a nd copy r ight of the a rtist.

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Poetry in Motion In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry.

Six years ago, acclaimed Gomeroi poet Alison Whittaker wrote in The Guardian that “we’re in the midst of a renaissance in First Nations literature…

So why do I feel this restlessness?” The restlessness she describes lingers, underscored by a literary industry that thirsts for Aboriginal writers but doesn’t always know how to hold these words with care.

Award-winning Wiradjuri poet and academic Jeanine Leane encapsulated the quandary in 2023, describing in The Sydney Review of Books how, “In the main settlers are coming to our works with a toolkit, or a suitcase of cultural values, practices, and words packed for a different cultural sphere that needs to be unpacked.”

Leane’s incisive views left me curious about how we unpack Western values and whether approaching Aboriginal poetics is something that could be done beyond the book and in entirely different mediums.

One of the most arresting poetic experiences I’d recently felt was through the work of Badimia Yamatji and Yued Noongar artist Amanda Bell. Her installation Ngobooloonginy (Bleeding) (2025), featured at Fremantle Art Centre’s Exhibition It’s Always Been Always, speaks back to coloniality through text in a gallery hallway. Handwritten in red paint across the white wall, she states: “I’ve eaten your violence, cooked with it”—a phrase that hits you with the type of power that risks feeling pacified on the printed page.

This approach—or toolkit—fervently unfolds in the paintings of poet and artist Lionel Fogarty, where dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry.

While Lionel, a Yugambeh man born on Wakka

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W R ITER

Timmah Ball

Wakka land in South East Queensland, is an awardwinning poet, having received the Judith Wright Calanthe Award at the 2023 Queensland Literary Awards for Harvest Lingo, there’s a potency to his paintings that elevate his poetry in ways the page doesn’t always hold. A solo exhibition at Darren Knight Gallery harnesses this power with a series of recent paintings that explode the poetic form. The aesthetic value is striking: large canvases showcasing vibrant text sit alongside drawings utilising bold colours, pulling the viewer in. But taking time to read the text leaves me wondering why poetry isn’t expressed and shared in paintings and other visual forms more regularly.

Each painting carries the urgency of Lionel’s activism in ways that feel more equipped than printed poetry. Works like 339 Next Year All This Death (2023) could easily slip into rhetoric if viewed on the printed page but instead feel like a call to act. And while gallery spaces are highly regulated, tainted by the same colonial toolkits that Leane is wary of within literature, it is still often easier to access art in institutions than poetry in books (limited by the cost of purchase or even the educational prejudices that dictate what is and isn’t literary). Speaking to Lionel, activism has always been a critical driving force shaping his life and creative practice. And while he was illiterate growing up in the Cherbourg Aboriginal Reserve mission, Lionel understood the power of words. He moved to Brisbane in his early teens and became involved with organisations such as the Aboriginal Legal Service, the Black Resource Centre, the Black Community School and Murrie Coo-ee.

Lionel Fogarty 339 Next Year All This Death, 2023 acrylic on unstretched tarpaulin, 185 x 244 cm.

Courtesy the a rtist a nd Da r r en K night Ga llery.

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“When you get a book out it’s just black and white words on paper, but it was different in the gallery—even really young children were staring, looking and really enjoying it.” — L ION EL F O G A R T Y

Lionel Fogarty A first note about the regions, 2024 acrylic, marker on stretched canvas, 75 x 60 cm.

Courtesy the a rtist a nd Da r r en K night Ga llery.

Lionel Fogarty Happy Tears Dams the Sad, 2023–2024 acrylic on stretched linen, 76 x 61 cm.

Courtesy the a rtist a nd Da r r en K night Ga llery.

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Lionel Fogarty All countrys space a same, 2024 acrylic and fabric and glitter collage on unstretched tarpaulin, 121 x 207 cm.

Courtesy the a rtist a nd Da r r en K night Ga llery.

At 15, Lionel was arrested and charged with conspiracy against the state because of his political organising, public speaking and advocacy work.

This experience fuelled his lifelong dedication to exposing deaths in custody, addressing land rights and recognition—urgent issues underpinned by racism. Lionel’s activism coincided with a desire to write and encourage others in his community to share their stories, which led to the Black Liberation paper. This resource ensured that his and other Aboriginal people’s stories were recorded and collected for those who couldn’t write themselves.

But he quickly learnt to write, and by 22 had published his first poetry collection titled Kargun, establishing a practice that would result in 12 more books. And while his affinity with words has been prolific, Lionel describes an inclination to paint from the beginning: “I also knew that there was painting inside of me even though I wasn’t doing it, but I would think about painting after writing,” he explains. Realising that he was technically adept at painting he also knew he wanted to develop his own style, but it wasn’t until iconic artists Richard Bell and Gordon Hookey urged him to start exhibiting his work that Lionel understood the force and influence of painting poetry.

He experienced its effect on audiences in his 2024 exhibition Moiyum wungumbil mugerra bullonga at The Condensery, Queensland, describing how “when you get a book out it’s just black and white words on paper, but it was different in the gallery— even really young children were staring, looking and really enjoying it.” For Lionel, painting is a vehicle to engage with young people, forging intergenerational legacies that are crucial. He explains: “I want to do something that will be in the future and attract young people, I don’t want to be a book on a shelf that doesn’t move.” Reading his poetry as paintings demands attention, conveying stories in motion.

As he continues in this trajectory having just finished 11 new paintings, many utilising poems from Harvest Lingo, he will attract next generations and is unlikely to stagnate like words in a book.

Lionel Fogarty: Burraloupoo

Darren Knight Gallery (Sydney/Gadigal Country NSW) 27 September—18 October

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A Glass Act Telstra National Aboriginal and Torres Strait Islander Art Awards 2025 finalist Jennifer Kemarre Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form.

When Jennifer Kemarre Martiniello gathers molten glass from the furnace, she is thinking about Country.

Specifically, the exquisite desert plains surrounding Hookeys Waterhole near Oodnadatta in South Australia, where her father was born. “That Country is Stone Country,” she says. “Red and purple and brown pebbles crunch underfoot, the soil is fine and dusty, and the horizons go on forever.”

Martiniello has spent decades crafting an art practice that weaves together memory, heritage and form. Her multidisciplinary career—spanning sculpture, drawing, writing, teaching and cultural advocacy—is rooted in deep cultural knowledge and lived experience. Now based in Kamberri/Canberra, she is widely recognised for her blown glass works that reimagine traditional woven forms like fish traps and dilly bags. These pieces are physically and conceptually layered, drawing from her Arrernte, Chinese, and Anglo-Celtic heritage, and from the stories and places that have shaped her.

As a child, Martiniello visited museums with her dad. These early encounters with the “hideous” museum panoramas that misrepresented Aboriginal cultures as relics of the past left a lasting impact.

“My aunties were weavers. It was a living practice,” she recalls. “I knew that. And I wanted to show it.” This sparked a decades-long dialogue between fibre and glass, fragility and strength, past and future. It also instilled a reverence for the economy of design. “Woven objects are such a testament to

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W R ITER

Camilla Wagstaff

how sustainably you can live with your environment,” she says. “You make what you need from what the land gives you, and when its life is over, it returns to the land.” Her fascination with glass began through collecting vintage objects and enamelling her own designs, eventually leading her to hands-on training at the Canberra Glassworks. “Glasswork is rigorous and exacting,” she says. “But it’s also addictive.

Glass reflects light just as crystal refracts it. It’s a fascinating and extraordinary medium.”

This year, Martiniello has been named a finalist in the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAAs), Australia’s most prestigious and longest-running First Nations art prize. Now in its 42nd year, the NATSIAAs celebrate cultural continuity and an unbroken connection to Country. For Martiniello, who won the prize in 2013, the recognition remains meaningful. “It’s amazing to be honoured by these awards again,” she says.

“They’ve changed the careers of so many artists.

I want to acknowledge the awards, Telstra and the Museum and Art Gallery of the Northern Territory for providing this platform.”

Her finalist work, Painted Desert Continuous Creation Story (2024), marks a departure from her better-known woven forms. The series of six luminous glass ovoids—what she terms “Rainbow Serpent Eggs”—draws inspiration from the Painted Desert, an ancient inland seabed whose songlines pass through her grandmother’s Lower Southern Arrernte Country.

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“I want people to understand that this work can’t exist without the tens of thousands of years of living practice behind it.”

— J EN N I F ER K EM A R R E M A R T I N I E L L O

Jennifer Kemarre Martiniello, Bi-colour Sedge Reeds Eel Trap, 2022, hot blown glass with canework, 104 x 30 x 30 cm.

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Jennifer Kemarre Martiniello, Painted Desert Continuous Creation Story, 2024.

“That landscape is fragile, always changing,” she says. “The colours—white, yellow, orange, red, purple, brown, black—shift constantly. The transitions of colour, the forms, and what I call the paleo scars (or the thaw marks) from the last ice age—they’re all part of the story.”

Through repeated sequences of melting, layering, marvering and heating, Martiniello replicates the land’s markings and colours in thick, translucent glass. Each egg is roughly hand-sized—ranging from 16 to 22 centimetres—but carries a remarkable visual (and physical) weight. “They’re very heavy, because glass is heavy,” she says with a laugh. “But they’re also full of promise. The Rainbow Serpent moved through the land, shaping it, creating sacred places, and left its eggs as a promise of continuing creation.”

Alongside her artmaking, Martiniello is a teacher, writer and community leader who has long championed urban First Nations artists. She has helped establish residencies, mentorships and collaborations that connect independent First Nations artists with mainstream institutions.

“A lot of urban-based First Nations artists are out there doing things in isolation,” she says. “They don’t have the networks and support that Art Centres in remote communities offer. So, we’ve worked to create that— starting with a seed, nurturing it, and letting it grow.”

Martiniello sees her art practice as operating on two levels. “I want people to understand that this work can’t exist without the tens of thousands of years of living practice behind it,” she says. “I hope it fosters a deeper understanding of First Nations people, our cultural knowledge and our ways of living sustainably with the environment.” At the same time, she wants viewers to appreciate her pieces as rigorous, materially complex objects of contemporary art. “There are two aesthetics going on,” she says. “There’s First Nations culture, and there’s the language of studio glass. Hopefully, they’re working together.”

Across many years of making, Martiniello has used the delicate strength of glass to hold stories of Country, culture and connection.

In glass, as in Country, creation is always ongoing—layer upon layer, catching the light.

2025 Telstra National Aboriginal and Torres Strait Islander Art Awards

Museum and Art Gallery of the Northern Territory (Darwin/Larrakia Country NT) Until 26 January 2026

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Unseen Connections An exhibition of newly commissioned works at the National Art School Gallery in Sydney brings to light the historic and ongoing ties between Indigenous and Asian-Australian communities.

Bar the historic trade between Makassar fishermen and Yolŋu people, the relationship between Indigenous Australia and Asia is rarely mentioned.

The Neighbour at the Gate, an exhibition at the National Art School (NAS) Gallery in Sydney, shifts our gaze to the ongoing and potential connections between First Nations and Asian-Australian communities, bringing together newly commissioned works from around the country.

Curated by Clothilde Bullen OAM (Wardandi Noongar and Badimaya Yamatji), with Zali Morgan (Whadjuk, Ballardong and Wilman Noongar) and Micheal Do, the exhibition draws on intertwining narratives of ritual, culture, migration and nostalgia.

While the legacies of colonialism linger, The Neighbour at the Gate centres the beauty of cross-cultural exchange, unearthing common ground and parallels between two cultures. In Pardu (2025), James Tylor (Kaurna, Maori) pairs daguerreotypes of native birds with audio of birdsong layered over Kaurna instruments. In the Kaurna language, birds are named after their distinctive calls, a practice common in Asia too.

Jenna Mayilema Lee’s Portal to the Bangarr (billabong) (2025), is an immersive video and installation work representing her family story. Lee is proudly Gulumerridjin (Larrakia), Wardaman and Karrajarri, Japanese, Chinese and Filipino. Her Aboriginal-Asian family doesn’t fit neatly into the typical migrant narrative, but Lee sees the duality of her heritage encapsulated by the lotus—a plant native to both Asia and northern Australia.

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W R ITER

Emma Do

In Lee’s billabong are paper lotus flowers, crafted from copies of her Asian relatives’ archival immigration documents. Onscreen, the artist slices and boils lotus root as her father Chris ‘Bandirra’ Lee whispers “gwoyarr-ma”, the Larrakia word for lotus. “My dad always described billabongs as our grocery store,” she tells me. “It provided sustenance. In them are lotuses, fresh water, wetland birds—staple food sources.”

In presenting lotuses as food, Lee creates a shared point of reference. She wants to help Asian diaspora recognise their connection to First Nations people through her own family story. “So far, everyone Asian who has walked in has understood and shared with me what the lotus means to them. It’s a connector,” Lee says.

Why is it that ties between Indigenous and AsianAustralians have largely remained unseen? Lee raises the struggles of her dad’s generation. “They had to fight so hard to assert their Aboriginal presence that their other identities needed to take a back seat,” she says. “But now we have this moment where we can explore what being Aboriginal and is, in a way that doesn’t negate our Aboriginality.”

Bullen, who led the curatorium, theorises that these stories go unheard because Aboriginal and migrant communities historically married in the top end of Australia, or in urban areas without “access to dominant culture.” It was Bullen’s experience growing up Perth’s ‘KGB’ (the suburbs of Koondoola, Girrawheen and Balga) that gave her the idea for the exhibition. “For us, Asian-Australian mob are not only neighbours, but often kin,” she explains. “I’ve always had the idea of talking about this whole ecosystem

Jenna Mayilema Lee, Portal to the Bangarr (billabong), 2025, installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, family immigration documents from National Archive Australia printed on 250gsm recycled paper, red seal-chop ink immigration stamps on 250gsm recycled paper, bamboo, florist wire, rice starch glue, vinyl, video projection. commissioned by the Nationa l A rt School w ith support of the NSW Gov er nment through the Block busters Funding initi ati v e. im age courtesy the a rtist a nd the Nationa l A rt School. © the a rtist. photogr a ph: Peter Morga n.

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Dennis Golding, Bingo, 2025, installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, etching on paper, cardboard, copper, wood. commissioned by the Nationa l A rt School w ith support of the NSW Gov er nment through the Block busters Funding initi ati v e, im age courtesy the a rtist a nd the Nationa l A rt School © the a rtist, photogr a ph: Peter Morga n.

“Now we have this moment where we can explore what being Aboriginal and is, in a way that doesn’t negate our Aboriginality.”

— J E N N A M AY I L E M A L EE

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James Tylor, Pardu, (detail), 2025, installation view, The Neighbour at the Gate, National Art School Gallery, Sydney, 2025, becquerel daguerreotype, sound work using Kaurna instruments and bird calls. commissioned by the Nationa l A rt School w ith support of the NSW Gov er nment through the Block busters Funding initi ati v e, im age courtesy the a rtist a nd the Nationa l A rt School © the a rtist, photogr a ph: Peter Morga n.

that white Australia has no idea of.” In a time when Australia views its Asia-Pacific neighbours through a military lens, Bullen wants to unite, not divide. “How do we bring back a sense of community?”

The strength and resilience of community spaces is celebrated in Dennis Golding’s Bingo (2025).

The Kamilaroi artist created over 100 etchings on paper, each decorated with memories of the bingo nights his nan and aunty hosted throughout the 1990s and early 2000s. Held in an abandoned terrace house in Redfern’s block, the events were invisible to the outside world, but a sanctuary to the Aboriginal community gathered within. “We needed a sense of peace away from the noise, the police surveillance,” Golding says. “My aunties cleaned up the house, got the curries and cupcakes going. You’d feel the warmth of everyone around. It was filled with love and joy.”

While The Neighbour at the Gate is a coming together, it does not easily ignore the pain of displacement. Iranian-Australian artist Elham Eshraghian-Haakansson’s God of War (2025) deals with the rage and inherited trauma of the refugee experience. James Nguyen’s Homeopathies_where new trees grow (2025) is a textile work dyed using

weeds and mud from the Parramatta and Duck River contaminated by Australian-made Agent Orange— the same war chemical sprayed on Nguyen’s family farm in Vietnam. Titled Imaginary Homelands (2025), Broome-based Malaysian-Chinese artist Jacky Cheng’s wax paper paifang gate is a portal to her ancestor’s country. It is also a transitional space, welcoming, or excluding, those who stand before it.

In early discussions between the artists and curatorial team, the group considered the knowledge purposely kept from immigrants. “The idea of information quarantined at the gate,” Bullen says.

“The government not teaching Aboriginal culture, pretending we don’t exist.” In this way, The Neighbour at the Gate is an invitation, or “call in” as Bullen puts it.

“We need to have this gathering space to reflect on where we come from, who we are and what we share between different cultures,” Golding reflects. “This is a beautiful way to have these conversations.”

The Neighbour at the Gate

NAS Gallery (Sydney/Gadigal Country NSW) Until 18 October

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Studio

Savanhdary Vongpoothorn

From her first studio in the bushland artist community of Wedderburn, NSW, to a recent residency at the Pha Tad Ke Botanical Garden in Luang Prabang, Laos, Savanhdary Vongpoothorn has always practiced in proximity to nature.

At Pha Tad Ke, Vongpoothorn researched the ethnobotany of the garden’s trees, seeking to understand the relationship between the Lao people and the medicinal, spiritual and cultural uses for plants. This investigation stemmed from an interest in anthropocosmism—the interconnectedness of humans and the cosmos.

Drawing on the influences of Theravāda Buddhism, Hinduism, textiles, language and Western modernism, Vongpoothorn’s multidisciplinary works are transcendent, incorporating elements of painting, drawing, sculpture and embroidery.

Ahead of her solo exhibition at Niagara Galleries, Vongpoothorn contemplates the ideas sprouted during her residency, and how they transformed once she returned to her Canberra studio.

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AS TOLD TO

Sophia Halloway

PHOTOGR A PH Y BY

Ishita Moghe

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“The world is my studio. Every time I travel, I’m always looking for primal interests.

I guess that’s part of being an artist; you always seek experiences that are poetic.”

— S AVA N H DA R Y VONGP O O T HOR N

P L AC E

S AVA N H DA R Y VO N G P O O T H O R N : When I took up a

studio residency at Pha Tad Ke, the only botanical garden in Laos, I wanted to explore the ethnobotany of the banyan tree. The tree features in the 14th century Lao retelling of the Ramayana, Phra Lak Phra Lam / Rama Jataka. A magical banyan tree turns Rama and his wife into monkeys after they eat its fruit.

I’ve been inspired by the Rama Jataka since 2013, so the magical banyan tree already held space in my mind and my dreams before taking up this residency.

When I arrived in the garden, the first thing I did was seek out the banyan tree at dusk. It was spooky. I had come to take some ink rubbings of this tree—I have done similar rubbings for past projects— but as soon as I laid eyes on the banyan tree, I had immediate shivers of fear.

It wasn’t a personal fear, it was a cosmic fear, a kind of primal reaction to this tree. It was heightened by my knowledge of the history of the garden and where it is headed, now that it is on the market to be sold to developers. I knew then and there that the tree could not be tampered with.

I spent three weeks of bliss in this garden.

I didn’t have to cook and had total freedom. All I had to do was stay in the studio and work. The last thing I saw when I went to bed at night and the first thing I saw when I woke up early in the morning was my work.

I was working around the clock. The garden became a poetic space for me to be creative.

The world is my studio. Every time I travel, I’m always looking for primal interests. I guess that’s part of being an artist; you always seek experiences that are poetic. The studio is a transformational space, and my ideas transform wherever I am.

PROCE SS

S AVA N H DA R Y VO N G P O O T H O R N : After this experi-

ence with the banyan tree, I came across the kapok tree, nicknamed the devil tree because it is covered in large, pointed thorns. I wondered what the ethnobotanic significance of this tree was. A local told me to go to the temple to learn more about the story of the tree, filling me with excitement about the mythology behind it.

The murals of the kapok tree in the temple tell the story of the monk Phra Malai, who obtains supernatural powers and is subsequently able to visit heaven and hell. He grants mercy to the damned who implore him to warn their relatives of the horrors of hell, and how to escape it by obtaining merit through following the Buddhist precepts.

The story is represented in temple murals throughout Luang Prabang as a warning to people.

But for me, the kapok tree isn’t just the devil tree. It’s a tree that offered me this beautiful and spiritually fulfilling artistic process.

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I used local handmade Saa mulberry paper and drew on it with pastels. After fixing the drawing, I wet the paper and pressed it onto the tree, so that the thorns embossed and perforated the paper.

The paper is left to dry before peeling it off the thorny trunk. The paper is thin but strong and wetting it before embossing gives a beautiful colour saturation which I love.

The imagery I used in the Tree series was inspired by the ikat textiles of the Lao Mien ethnic group. It’s a symbol of a bridge between ancestral and human worlds, which is where the exhibition title, A Bridge Between Worlds, comes from.

PROJ EC TS

S AVA N H DA R Y VO N G P O O T H O R N : I started using

beeswax because I wanted to learn a Hmong textile technique. There is a special tool, unique to the Hmong, that is used to draw geometric designs in wax onto hemp fabric before it is dyed. In Laos, we use beeswax for religious ceremonies to connect with the spiritual realm. Beeswax is a symbol of light, purity and personal transformation.

The Palm Leaves series was inspired by the palm tree section of the garden. I was thinking about the

photosynthesis of plants and the porous boundaries between self and nature. Applying beeswax using the Hmong tool on top of my pastel drawings of palm leaves has created beautiful transparencies that give the illusion of wetness.

Another thing I’m working on is part of a much bigger project—using the same embossed paper sewn together into a large-scale work containing text written in wax. On this larger scale these works remind me of tapa, a barkcloth made in the islands of the Pacific Ocean. I’m always fascinated by language, particularly religious script, the way languages migrate from place to place, form and re-form, merge and integrate. I think it has a lot to do with my feelings about Lao, my original language.

I want to discover more about the ethnobotany of Australian trees in botanic gardens. I am also planning more visits to the Pha Tad Ke garden, before it’s gone forever.

Savanhdary Vongpoothorn: A Bridge Between Worlds

Niagara Galleries (Melbourne/Wurundjeri Woi Wurrung Country VIC) 1—25 October

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LI FE CYCLE S

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The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country.

More than maps, they speak to ancestral songlines, place and ceremony.

W R ITER

Emma O’Neill

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maḻatja-maḻatja (those who come after), a new exhibition by Betty Kuntiwa Pumani is so alive and intricate, it draws a sharp inhale on first encounter. Across the survey at Bundanon Art Museum, swirling networks of circles, sweeping arcs, and fine, thread-like lines spread across each canvas. The paintings hold together with a strong, steady rhythm.

Many are packed with concentric circles, some bold and solid, others soft, wobbly, or loosely scattered. Colours shimmer: deep purples, fiery reds and burnt orange for hot, sandy earth; cobalt blue for rock holes and creeks, lifted by dapples of white and pale yellow. The creamy yellows signify the clay cleaned from the waterholes by women and smeared on their bodies for ceremony. The crisp white alludes to the maku (witchetty grub) and mingkulpa (tobacco flower) that bloom in abundance after rains.

The exhibition labels resonate with a common refrain: nearly all of the works are titled Anta ṟa, the name of the Country of the artist and her mother in the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands.

Located in the north-west of South Australia and approximately 645 kilometres south of Alice Springs, Antaṟa holds the Tjukurpa songlines of the Pitjantjatjara people.

Antaṟa stretches from the base of the Everard Ranges, across a vast semi-arid expanse of 846,000 hectares. The broader landscape is marked by rounded granite hills, sparse scrub, and red, open plains. With a lineage that predates any attempt to map or measure it, Pumani notes that Antaṟa has no fixed borders.

The artist’s knowledge of this place is so precise, it is easy to compare her paintings to a map. Indeed, the late Aṉangu artist Kunmanara (Mumu Mike) Williams famously wrote ‘mapa wiya’ across a map of Australia. Translated as ‘no map’, the phrase is shorthand for an understanding of Country that transcends Western cartography. Pumani’s paintings reveal more than terrain. For Aṉangu, boundaries are shaped by story, not survey.

The works within ma ḻatja-ma ḻatja reflect the Tjukurpa songlines that cross this Country, specifically those connected to a significant rock hole where women perform inmaku pakani, a dance ceremony associated with the maku or witchetty grub. “The story I have painted is the very important law of Antaṟa,” the artist says in the accompanying monograph, “My mother would always tell me, ‘You can paint this story. This story is vital and true.’”

“There is no word for ‘artist’ in Pitjantjatjara,” wrote senior elder Yatjitja David Miller in 2010. “Painting has only happened recently, so we say ‘Painta milipai’ (using the English word)—‘He’s painting.’” For Pumani, painting is an extension of her role in the community as a ngangkari or healer, and cultural authority. The precedence of these cultural responsibilities was underscored by the artist’s unexpected absence from the opening of her first major museum survey exhibition to attend to ceremony at home.

With a title that means ‘those who come after’, the exhibition embodies Pumani’s responsibility to both honour and repatriate her intimate knowledge of Country. Pumani tells her story in the exhibition’s accompanying text: “I am very proud of the Maku story and of keeping our grandmothers and grandfathers strong by sharing it. I am glad to be able to pass it down to the younger generation now, teaching them and showing them everything that needs to be known.”

The paintings on display at Bundanon, made between 2012 and now, form a small part of a much bigger living archive on Antaṟa.

The archive is embedded in the land and embodied by those who enact its stories. Country “is not just ‘land,’” Kullilli and Wakka Wakka scholar Max Brierty wrote in 2024, “but a relational matrix, comprised of Law, places, spirits, people, animals, plants, fungi, matter and energies.”

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“I am very proud of the Maku story and of keeping our grandmothers and grandfathers strong by sharing it.

I am glad to be able to pass it down to the younger generation now, teaching them and showing them everything that needs to be known.”

BE T T Y K U NTI WA PU M A N I

As Gumbaynggirr and Wiradjuri curator Margo Neale put it in 2017, landforms are “terminals to which only a few archivists have the password.” Pumani is among the Antaṟa archivists, creating paintings embedded with songlines, ceremony and place.

The inclusion of works by Pumani’s daughter, late mother, and sister in malatja-malatja highlights the collaborative nature of her practice. Four of these works are drawn from the Mimili Maku Arts Cultural Collection, a recent initiative aimed at keeping cultural material in the community.

Two equally scaled canvases hang side by side, perfectly aligned to depict the same site. One, by her daughter Marina Pumani Brown, is underpainted in black and stippled with sunset oranges and burnished reds. The other, by Betty, features her signature cobalt blue underpainting. Together, the connecting lines of the Maku songline reflect the enduring interconnectedness of the matrilineal line. While each family member brings a distinct visual language, the Tjukurpa of Antaṟa reverberates.

The exhibition’s centrepiece is a monumental diptych: it is the only work that Pumani created in isolation. Commissioned for The National 2021: Australian Art Now and produced during the COVID-19 lockdowns, the work spans 10 metres across two canvases, both stretched onsite at the museum. It bears the imprint of the artist’s body, seated on the canvas in a daily vigil of painting sustained over many months. Every mark is stippled using a small wooden stick, “like I was taught”, says Pumani.

More recent works by Pumani reflect a shift in the artist’s palette, with increased use of flecked whites. Among these is a triptych, commissioned by Bundanon, and displayed in the far corner of the exhibition. Not only titled Anta ṟa, it is also imbued with its namesake. An adjacent video tracks the work’s journey, with the artist, from Mimili Maku Arts Centre where Betty works, to the very site it depicts.

Displayed far from its source, Bundanon hosts a resounding story of matrilineal lineage. Though generously shared, these stories are not specifically meant for gallery visitors. They are created in homage to ancestral knowledge and to safeguard against its loss. Offering a statement for her exhibited work, Betty’s late sister Kunmanara (Ngupulya) Pumani explained what they say to their children: “This is a Dreaming, later on into the future you will look after it and keep on looking after it.

This place has a really big Dreaming, your Dreaming, and for generation after generation, after generation, after generation, after generation it will be yours—it will keep on going—it will go out and onwards.”

Betty Kuntiwa Pumani: maḻatja-maḻatja (those who come after)

Bundanon Art Museum (Illaroo/Wodi Wodi and Yuin Country NSW) Until 5 October

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Figuring it Out

c l o ckw i s e Tschabalala Self Snake, 2025 Humility, 2025 Blue Woman, 2025 Courtesy of the a rtist a nd Pila r Cor r i as Ga llery, London.

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W R ITER Oliver Giles

A search for beauty is behind Skin tight, the first solo exhibition in Australia for the American artist Tschabalala Self, whose works seek to alter the power dynamic between viewer and subject.

While making new works for Skin tight, her exhibition at the Australian Centre for Contemporary Art (ACCA), American artist Tschabalala Self found herself pondering an unfashionable question: is it worth striving for beauty in art?

“When you’re in art school, there is a culture of undermining the intelligence of beauty—you think things that are beautiful are decorative or trite. And it’s not just in art school,” says Self. “Overall, our culture has become more cynical.”

Since the horrors of the 20th century, and in today’s world of continuous crisis, many artists have used their work to investigate humanity’s darkest sides. In a time of war and climate catastrophe, it can be hard to argue for the importance of making beautiful art, or even for the idea that people deserve it. But throughout much of Western history, creating beauty was seen not as a shallow undertaking for an artist, but a valuable one: from ancient Greece through to the Romantic era, beauty was used in art to communicate ideas of harmony, of humans’ capacity for self-improvement and of hopes for a brighter future.

A search for beauty drove the production of Skin tight, which is Self’s first solo exhibition in Australia and the latest in a long list of major shows she has had around the world. Over the past decade, Self’s exuberant depictions of Black people have been exhibited to critical acclaim at institutions such as the Hammer Museum in Los Angeles, Boston’s Institute of Contemporary Art and the Yuz Museum in Shanghai. She works in multiple media, including sculpture, video, drawing and printmaking, and has received especially high praise for her collages on canvas that are loosely described as paintings.

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“When I see similarities between how audiences from all over the world engage with my work, it is very moving for me. It shows the commonality between human experience.

Ultimately, it is the foundational mission of my work to investigate and explore that.”

— T S CH A B A L A L A SE L F

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Tschabalala Self, Bodega Run, Installation view, Swiss Institute, New York, 2024. Courtesy of the a rtist, Pila r Cor r i as Ga llery a nd Ga ler ie Eva Pr esenhuber. Photogr a ph: Shoot A rt Chr istopher Bur k e Studios.

These feature fabrics of all kinds, some of them painted or dyed by Self, sewn together to make empowered Black characters.

Self’s use of materials is key to understanding her works. Her characters are usually composites of people she remembers from her childhood in Harlem or elsewhere, rather than specific individuals, so collaging them—making them physically multifaceted—underscores the idea that everyone is multidimensional and therefore impossible to reduce to stereotypes.

Working with fabrics, including discarded clothes, also roots Self’s art in everyday life, rather than in the rarefied white cubes in which it is often viewed. Self is so concerned with the context her work is seen in that she often alters the galleries in which it is exhibited.

Most famously, when her Bodega Run series was touring, she turned each gallery into a bodega, a family-run corner store, by making wallpaper that mimicked supermarket shelves and sculptures out of stacked plastic crates.

“It’s an attempt to have the viewer become part of the universe of the figures, as opposed to having the viewer take the position of an observer of the figures,” says Self. That changes the power dynamic between the viewer and the subject, challenging the ways in which Black people, specifically Black women, have been objectified in art throughout history.

At ACCA, Self has built a new kind of environment for her art. The exhibition features new and recent large-scale paintings, works on wood panels and a video installation. These are installed across a gallery transformed into a domestic setting; a room framed as the Garden of Eden, which features a new painting of Adam and Eve; and characters placed in what Self describes as “liminal spaces” made up of grids like those in her collages. “Those figures are meant to be understood as existing in a certain state of mind, an emotional space,” she says.

That reveals her ambitions for the show. “It is not as pointed a project as something like Bodega Run,” says Self. “This show is more symbolic and poetic.

The title, Skin tight, references it: it’s a means to talk about the limitations of the corporal experience, feeling like your body is something that can be tight around your true self, your inner self.”

Several factors inspired this new direction, including ACCA’s sprawling galleries. “The space itself is so expansive that it inspired me to be expansive in terms of my thinking,” she says.

Self’s approach was also shaped by how people from different cultures have engaged with her work over the past few years. Her exhibitions have sparked conversations about race, gender and identity, as well as some universal questions. “What does it mean to be embodied? Every single human being has that experience,” says Self. “When I see similarities between how audiences from all over the world engage with my work, it is very moving for me.

It shows the commonality between human experience. Ultimately, it is the foundational mission of my work to investigate and explore that.”

Finally, Self was influenced by her immediate surroundings. After growing up in Manhattan and studying at Yale in Connecticut, she now lives and works in the Hudson Valley outside New York City.

Being immersed in nature has made Self reflect on humanity’s place in the broader universe, which she says is easy to lose sight of in the concrete canyons of cities, where you can’t even see the stars at night.

It is also what led her to thinking about beauty.

“The beauty of a landscape, the beauty of nature, is so sublime,” she says. “I’ve come to reappreciate the supreme intelligence that exists within beautiful things—and it has become a newfound aspiration for me in my own artistic practice.”

Tschabalala Self: Skin tight

Australian Centre for Contemporary Art (Melbourne/Naarm VIC) 12 September—23 November 65

Seeing Double A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful at the 2025 Ballarat International Foto Biennale finds resonance in opposites while turning binary thinking on its head.

Fran Lebowitz has always been rather vocal about the fact that she found Robert Mapplethorpe annoying. She famously recalled, for example, how Mapplethorpe would regularly gift her photographs only for her to then throw them away. “In those days the trashcans in New York were made of metal, and they were out in the street. This was in 1979; you had to bring your trash down to the street, and put it in these metal cans. There were so many of these Mapplethorpe photographs that I couldn’t get them into the can,” Lebowitz told art dealer Gracie Mansion in 2018. Of course, Lebowitz laments this frivolous action now.

Whether Mapplethorpe was indeed as annoying as Lebowitz claims (see Patti Smith’s Just Kids for the reverse perspective), what cannot be disputed is that Mapplethorpe produced some of the most important and groundbreaking portraiture of the post-war 20th century. In fact, Lebowitz must have seen some form of talent in the photographer. She herself posed for him in 1980. In the photograph, Lebowitz looks over her shoulder towards the camera, a lit cigarette in hand. Clothed in black, her body torso sinks into the background, while her face and hand stand out against the dark. The photograph might be a masterclass in contrast and character portrayal—the sitter’s disdain is even evident in her face.

Gallery goers have the chance to see the Lebowitz portrait along with other Mapplethorpe photographs in Enninful x Mapplethorpe as part of the 2025 Ballarat International Foto Biennale.

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W R ITER

Amelia Winata

While Mapplethorpe is likely a household name for art lovers, Edward Enninful, who has curated this selection of photographs, might not be. Enninful’s background is in fashion. As the Global Creative and Cultural Advisor of Vogue, he has long traded in photography but of the editorial variety. But Enninful is adamant that there is a strong crossover between his work and Mapplethorpe’s. “I am used to images fighting or working together, tension and opposites, or harmony. Things that people don’t expect to go together, finding a sense of serenity within the chaotic,” he stated in the catalogue of a 2024 iteration of the exhibition at Thaddaeus Ropac, Paris. It is this model of matching images that Enninful has adopted for the presentation at the Foto Biennale. Pairing photographs with different sitters or subject matters, Enninful has sought to create conversations between formal elements of Mapplethorpe’s works.

Take, for example, the pairing of two photographs from 1985—Lydia Cheng and Lucinda’s Hands.

These two photographs are testament to the way Mapplethorpe expanded upon portraiture— identifying his sitters not by their faces but by their anatomy. The former depicts a woman’s torso, side on.

She stretches her arms up into the air and out of frame, making the skin tighten across her ribs. Subtle shadows form at her ribs, darkening towards the arch of her back. Meanwhile, Lucinda’s Hands shows two palms butterflied towards the lens. Contrasted against a black background, the sitter’s fingers appear to mimic the form of Lydia’s Cheng’s ribs.

Robert Mapplethorpe, Embrace, 1982 © Robert M a pplethor pe Foundation. Used by Per mission.

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“This more masculine representation is paired with a portrait of Lyon stood in a wedding gown and clutching a bunch of irises—society’s idea of the height of femininity. Having paired these images together, Enninful emphasises that, in Mapplethorpe’s world, there was no such thing as either, or.” — A M E L I A W I N ATA

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Robert Mapplethorpe a b o v e Patti Smith, 1975 l e f t Grace Jones, 1984 r i g h t Ken Moody and Robert Sherman, 1984 © Robert M a pplethor pe Foundation. Used by Per mission.

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Robert Mapplethorpe b e l o w Lisa Lyon, 1982 r i g h t Self Portrait, 1980 © Robert M a pplethor pe Foundation. Used by Per mission.

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However, the pairing already reveals an inverse— Lydia Cheng shows a darker figure against a light backdrop, while Lucinda’s Hands offers lightness against the dark. It is this simultaneous eking out of similarities and polar opposites that becomes a common thread in Enninful’s curation.

Arguably, it was Mapplethorpe’s representation of androgyny and erotica that were his greatest contributions to the portrait genre. We do see nods to these themes throughout Enninful x Mapplethorpe.

Such as Charles Bowman (1980), a homoerotic portrait of a torso that cuts off just above the model’s genitalia. This is paired with Embrace (1982), which shows two topless men entangled in one another.

But Enninful has also chosen to focus on representations that sit outside the classic categories of sexy or beautiful. A 1976 portrait of David Hockney, lying on his side, propped up on his elbow and mid-yawn, shows the artist as a sassy and carefree larrikin type.

The picture is said to have been taken on Fire Island, at a gay resort named the Pines that Hockney is known to have visited.

Meanwhile, a 1982 portrait of one of Mapplethorpe’s favourite models, Lisa Lyon, shows Lyon with a sheath of white fabric covering her face and standing in a body builder’s pose to emphasise her muscly physique. This more masculine representation is paired with a portrait of Lyon standing in a wedding gown and clutching a bunch of irises—society’s idea of the height of femininity. Having paired these images together, Enninful emphasises that, in Mapplethorpe’s world, there was no such thing as either, or.

Ballarat International Foto Biennale: Enninful x Mapplethorpe

Post Office Gallery (Ballarat/Waddawurrung Country VIC) Until 19 October

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Life Sized Embodied, the first iteration of Arts Project Australia’s new exhibition series, Limitless, sees artists Bronwyn Hack and Mark Smith create their most ambitious works yet, with the body at the centre of it all.

The body is a site of exploration, curiosity and ability; of challenge, frustration and possibility. Each body is individual, yet there is something that links us all: the sameness and variety that makes human existence profoundly, endlessly fascinating.

Embodied, the first iteration of Arts Project Australia’s new exhibition series, Limitless, sees artists Bronwyn Hack and Mark Smith create their most ambitious works yet, with the body at the centre of it all. “The curatorial premise is around the body not just as a subject, but as a way of working: imperfect, sensory, vulnerable, honest,” says curator Jo Salt.

Both artists have long-term relationships with Arts Project Australia—Smith has worked from the Melbourne-based studio since 2003, and Hack since 2011. Salt sensed that both artists were ready to “go bigger in their practice and take it to the next level, and explore what they’re capable of”—so they were named the inaugural recipients of the commission, which gives artists the opportunity to immerse themselves in long-form, large-scale projects with the support of mentors.

“There are moments in artists’ careers that feel a little bit pivotal,” Salt says, mentioning that Smith was included in the 2023 iteration of major exhibition Melbourne Now and had work acquired by the National Gallery of Victoria, and Hack recently had a solo show at commercial gallery Daine Singer.

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W R ITER

Giselle Au-Nhien Nguyen

“They’re working really ambitiously, and they work so beautifully together – their practices align in a lot of ways.”

That collaborative aspect is key to Arts Project Australia’s ethos. “Because we are both working on this project together and are in the studio on similar days, a close comradery has naturally formed,” Smith says. “Bronwyn has used some of my offcuts in her creations, adding to the great collaboration of us two extremely imaginative artists.”

These site-specific works show different ways of looking at and experiencing the body. Smith’s Body Cognition (2025) is an extension of his decades-long practice. It marks a new challenge for the multidisciplinary artist, who has worked in painting, ceramics, mixed media, video and soft sculpture—“a good chance to show my love of wordsmithing and visual art,” he says.

The five-metre-long quilted textile work includes contrasting materials, such as faux fur and pleather.

In the centre is an outline of the artist’s own body, surrounded by hundreds of words related to human life experience. “The life-size me in the middle shows the potential of a human being,” Smith says. “As I started listening [to my intuition] more and more, as I thought of more [words], [it was] exponential… It was hard to just try and stop things or cut back.”

Mark Smith, Tell Me You Care, 2025, mixed media, 100 x 130 x 4 cm.

Courtesy of the a rtist a nd A rts Project Austr a li a.

Bronwyn Hack, Dingle Dangle (Heart), 2025, mixed media, 80 x 24 x 16 cm.

Courtesy of the a rtist a nd A rts Project Austr a li a.

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Bronwyn Hack, Appendix, 2025, mixed media, 42 x 22 x 19 cm.

Courtesy of the a rtist a nd A rts Project Austr a li a.

Bronwyn Hack, Kidney, 2025, mixed media, 75 x 48 x 15 cm.

Courtesy of the a rtist a nd A rts Project Austr a li a.

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“I see the entire display as more than a visual piece of artwork, reaching beyond the usual two-dimensional discipline—the creation of narratives feels automatic and limitless.”

— M A R K SM I T H

The artist ended up stitching over 300 words around his body, each of which will elicit different responses depending on the viewer’s own context, life experiences and interpretation. “Since the word groupings are not strictly connected or associated to any other group or classification, your linking can be as free and abstract as you choose—the viewer can apply their own personal connections and narratives with the fundamental words I’ve provided,” Smith says.

“I see the entire display as more than a visual piece of artwork, reaching beyond the usual two-dimensional discipline—the creation of narratives feels automatic and limitless.”

Smith also contributes a second, smaller quilted work, Tell Me You Care (2025), which is deliberately asymmetrical in form. Salt says of Smith’s commissioned pieces for Embodied, “The work’s openness is its power—it embraces what it means to be profoundly human in all its messy complexities.”

Hack’s installation comprises sculptural forms referencing the body—as Salt describes it, a “beautiful melting of object and organ”. The heart, kidney, bladder, appendix and brain are all represented as soft, large textile forms hanging in a circular formation, with a mirror reflecting them back at themselves.

The circular form reflects the circle of life, and the recurring patterns in the human body.

“There’s circles on the body, orifices, your mouth, your eyes,” Salt says. “She very much wanted that to be the main component of the installation.”

On the gallery floor, three large, fluffy, breast-shaped forms add a splash of cheekiness.

“Her works propose a radical reimagining of the body, not as a clinical subject or site of shame, but as complex, messy, beautiful and deserving of reverence,” Salt says. “She renders the corporeal as emotive, sensuous and deeply human.”

Through Embodied, and the ongoing Limitless commission series, Salt hopes to open the door further for neurodivergent artists and artists with intellectual disability. “If you have these opportunities, it really accelerates your practice and you’re really excited you can work towards something big,” she says. “The hope is to provide that opportunity where… boundaries [exist] in the art sector for neurodivergent artists, both in terms of the shows and the work that’s produced… I hope it gets to a point where the work from these series starts to be looked at as potential institutional acquisitions.”

Embodied: Limitless 2025 Commission Series Arts Project Australia (Melbourne/Naarm VIC) Until 4 October

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20 QU E STIONS W ITH

Natasha Walsh

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AS TOLD TO

Anna Carlsson

Natasha Walsh is an alchemist and artist, capturing the evolving nature of the human condition. In her 2024 show, Hysteria, Walsh challenged the historical and political structures underpinned by the exploitation of women, consciously collaborating with her subjects to defy power imbalances found within the traditional artist-muse relationship.

Ahead of her solo exhibition, The Window at N.Smith Gallery, we asked Walsh 20 questions about her daily rituals, how she finds her state of flow and expressing emotions beyond the human form.

Describe your practice in one sentence?

Curiosity-driven experimentation, anchored in the search for connection.

Your first art love?

I was about six years old when I found a book on Leonardo da Vinci. The images captivated me.

I had drawn a swan the year before and impressed my classmates, and that feeling of value was a balm to my neurodivergent differences. I taught myself to draw by copying from this book. His visual language guided me in an accessible way.

Natasha Walsh, The Yellow Odalisque of Brunswick, 2024, oil on copper, 53 x 50 cm / 72 x 68 x 3.5 cm (framed).

Sit ter: Atong Atem. R efer ence: Henr i M atisse, Y ellow Oda lisque, 1937.

When is the best time of day for creating?

For painting, either from 7pm or from 3am.

There is something about these times being quiet and liminal that allows pressures, expectations and external thoughts to dissolve.

For conceiving a new idea or solving a visual problem in an existing work, it is less a time of day and more about giving myself time that is untethered to deadlines or schedules.

What would a typical working day look like for you?

It’s a 50-minute commute to my Redfern studio. I like to do this without urgency and use it as thinking time, so I arrive ready to begin. When I arrive, I spend time looking at my current work in a relaxed manner, taking note of what I can see more clearly or ideas on how to resolve anything.

Then I may quickly write them down or start working immediately. If not, I will write two to three tasks I would like to focus on that day. Then I pick the one that I feel the most spark of interest for. My schedule follows the flow of the studio, so what is typical is a hard question.

2023 Brett Whiteley Studio. photogr a ph: Dea n Qiulin Li.

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

Coffee with my partner. Then making a non-caffeinated tea in the studio and finding listening material for the day: a playlist, podcast or audio book.

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You’ve been called an alchemist, for the way you mix and let the pigment transform on a copper surface. What draws you to this process?

I’m drawn to systems that embrace collaboration, taking the work beyond my control into a place of discovery. When I had my eureka moment 10 years ago while experimenting in the studio, which led me to the development of my copper alchemical process, I found that collaboration in the medium itself.

How does your synaesthesia impact your colour palette?

It was one of the reasons I became drawn to the copper process... at that time I was unaware of my experience being different. I just knew I found colour difficult because it was overwhelming and noisy. My work before was very monochromatic as a result. Finding that colour was affected by the alchemical process in copper liberated me to use it without owning the discordant outcomes. I have continued to introduce more colour as I become more comfortable with the unintentional auditory effects.

Hysteria explored recentering women in historical art. How has this series impacted your practice?

Hysteria is an ongoing project. I’m still too close to part one to see the answer to this question clearly.

I’m curious to discover the answer in part two through the work itself, as it evolves when I return to it, with the fresh eyes distance and time will provide.

Hysteria also asked, “What would paintings look like if women were safe and empowered?” How do you approach this question in your studio?

Through making sure the process of each painting was a product of collaboration and discussion with my sitter as a co-creator of the work. The answer is the resulting paintings.

How do you select the historical references for your works?

For Hysteria each reference was decided in close consultation with each sitter. Other references are driven by intuitive curiosity and interest. But when I reference something, I want you to know it.

You’ve been a finalist in the Archibald Prize eight times. How do you choose your subjects?

I don’t make art for the Archibald, and I never have.

I just focus on building my practice in a way that interests me. When the deadline approaches, I look at what I have already begun or completed that best suits the submission. This way, if it’s not selected it is disappointing, but it doesn’t affect my sense of focus or worth.

If you could have any person sit for a painting, who would it be?

I’m not going to answer, as I believe speaking about things too early sometimes reduces the power you have to make them happen.

Artists who have influenced your work?

Ha, so many. The obvious ones now are Brett Whiteley, Matisse and some others that would be too ‘spoiler-y’ for my current body of work.

Your chrysanthemum tea by the window is a finalist in the 2025 Wynne Prize at the Art Gallery of New South Wales. Do you approach still life differently to portraiture?

The process is more one sided. However, the making is the same. Everything is just colour, light and form. We are more attuned to a human face so it’s easier to get wrong. But that means you can be more expressive with the non-human.

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

I’ve been doing it! Maybe Shirin Neshat. It’s hard for me to know without meeting them. Many artists from the past seem volatile, egotistical, or lone wolves, so I’m not sure they would be up for collaboration. Also, being a woman means most of the men would not have taken me seriously or been interested in collaboration.

What is the most interesting thing someone has said about your work?

I’ll let you know when it happens. So far it hasn’t gone beyond flattery, love or hate, into surprising insight.

Best advice you’ve been given about making art?

Sol LeWitt’s letter to Eva Hesse. Read it please if you haven’t. Benedict Cumberbatch does a brilliant reading, available on YouTube. The line that sticks with me: “Just DO.” Quick advice to young artists?

Please don’t overthink or over-justify it, and don’t lose your voice which is found in your curiosity. If you aren’t doing something that excites and scares you in equal measure what’s the point? Other jobs pay better.

What can we expect to see in your solo show The Window at N.Smith Gallery?

The Window is a new beginning into an equally ambitious body of work as Hysteria. The direction that this work will take, however, is closer to my heart. It creates a place that evokes desire to escape, to daydream, to expand and wander.

What would you like to do next?

That would be telling.

78

r ight Natasha Walsh, The Gaze (self-portrait after Klimt), 2021, oil on copper, 35 x 35 cm / 79 x 79 cm. Sit ter: Natash a Wa lsh.

R efer ence: Gustav e K limt, Da na ë, 1907–1908. 2021 Mor a n Pr ize Semi-Fina list. Included in The Nationa l 4: Austr a li a n A rt Now. below Natasha Walsh, chrysanthemum tea by the window, 2025, oil on copper, 40 x 32 cm / 56 x 48 cm (framed).

The Window

Natasha Walsh N.Smith Gallery (Sydney/Gadigal Country NSW) Until 20 September 79

A B O U T FAC E

The winning painting of this year’s Archibald Packing Room Prize reflected a changing of the guard in the packing room, as well as an evolution of the broader prize, with artists increasingly choosing to paint their fellow artists.

WRITER

Chloé Wolifson

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I L LU S T R AT O R

Oslo Davis

81

Earlier this year, I was standing in the press pack at the Art Gallery of New South Wales (AGNSW), waiting for the announcement of the winner of this year’s Archibald Packing Room Prize. The stage was set, with broadcast media cameras lined up, ready to capture the action.

Once Abdul Abdullah was announced as the winning artist for his portrait of fellow artist and friend Jason Phu, and the formalities were over, a fellow art writer turned to me and quipped, “Well, that rules Abdul out of the running.” It’s true that no artist awarded the Packing Room Prize has gone on to win the main event, leading to the former becoming playfully known as the ‘kiss of death’. This disparity has reflected the differing preferences of the AGNSW trustees, who choose the winner of the Archibald Prize, and those in the packing room—but this year’s choice suggested these preferences might be evolving.

The Archibald Prize has been awarded since 1921 following founder of The Bulletin JF Archibald’s bequest to “the best portrait preferentially of some man or woman distinguished in arts, letters, science or politics, painted by any artist resident in Australasia.” The prize occupies a unique cultural intersection, and its relatively democratic nature gives it a recognisably Australian flavour. As with the Wynne Prize for landscape or figurative sculpture and the Sulman Prize for genre, subject or mural painting which run alongside, anyone with the resources to can enter.

With the main prize, the Packing Room Prize, and People’s Choice on offer (and with those missing out on a place on the wall in the running to be selected for the Salon de Refusés at S.H. Ervin Gallery), there is an array of opportunities for entrants which reflects this cultural intersection—the viewing public, those working behind the scenes and the institution itself.

The origin story of the Archibald Packing Room Prize has been told many times: In 1991, head packer Steve Peters became aware that those choosing works for the newly established Salon de Refusés had rejected a portrait of politician Gareth Evans by Greg Bridges. Peters admonished the panel for passing over the packers’ favourite, saying that the work had won the Packing Room Prize—a passing comment which gave birth to a tradition. The prize was formally established that year to be chosen by the staff who receive, unpack and hang the entries, with Peters holding 51 per cent of the vote. The selection criteria was that the work had to resemble its subject, and that subject had to be recognisable by “the average person on the street”—as Peters told Jo Litson on the eve of his retirement in the 2017 edition of Let’s Face It: A History of the Archibald Prize, “It has to be somebody you know. There are a lot of good paintings that come in but you have no idea who the hell these people are.” When Peters retired in 2017 after 34 years at the Gallery, his successor Brett Cuthbertson continued the ritual (now with a 52% vote). Cuthbertson told the Sydney Morning Herald in 2018 that “Steve and me have pretty

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Archibald Prize 2025 Touring Exhibition Geelong Gallery (Geelong/Djilang VIC) Until 9 November Gosford Regional Gallery (Gosford/Darkinjung Country NSW) 22 November—11 January 2026 Muswellbrook Regional Arts Centre (Muswellbrook/Wonnarua and Gamilaroi Country NSW) 23 January—7 March 2026 Mudgee Arts Precinct (Mudgee/Mowgee Country NSW) 20 March—3 May 2026 Shoalhaven Regional Gallery (Shoalhaven/Jerrinja and Wandi Wandian Country NSW) 16 May—19 July 2026 Yarrila Arts and Museum (Coffs Harbour/ Gumbaynggirr Country NSW) 1 August—13 September 2026

much the same taste,” however while “Steve liked very much to go for sportspeople… I lean a bit more heavily towards celebrities.”

Following Cuthbertson’s retirement in 2022 after 41 years in the packing room, the newly anointed ‘Packing Room pickers’ Timothy Dale, Monica Rudhar and Alexis Wildman continued in this vein in 2023 and 2024, selecting Andrea Huelin’s colourful portrait of well-loved comedian the late Cal Wilson, followed by street artist Matt Adnate’s portrait of renowned singer-songwriter and rapper Baker Boy. At this year’s announcement, the AGNSW noted that the 2025 Packing Room Prize was a group decision, “awarded by the staff who receive, unpack and hang the entries.” Following the announcement, the mutual respect between packing room team, winning artist and subject was clear, with Wildman, senior installation officer, speaking on behalf of the Packing Room team, saying: “We were instantly drawn to Abdul Abdullah’s portrait of Jason Phu. Both are accomplished artists whose works have a distinct style and engage with complex social and cultural themes... The team holds great respect for the way both Abdul and Jason have progressed in their careers.” This acknowledgement of the art practices and careers of Abdullah and Phu points to a generational change in the packing room, with installers who are also artists having their say: a changing of the guard.

Abdullah’s statement on winning articulated this shift: “It is always an honour to be selected as a finalist for the Archibald Prize, and I am especially honoured to be picked for the Packing Room Prize,” he stated at the time. “I see it as a sort of community prize, where the Packing Room team, which is made up of professional art handlers—many of whom are artists themselves—get to pick a painting they like. I am so glad they picked this one. It’s kind of like an artists’ pick, and I’m extra happy for that.”

Jason Phu, the subject of Abdullah’s painting, is a well-established and highly regarded artist, however the choice is a departure from the winners of the Peters/Cuthbertson era, which featured household names including Taika Waititi, Kate Ceberano, David Wenham, Jimmy Barnes, Tara Moss, Scott Cam, Roy and HG, John Laws and Sir Les Patterson. In fact, the only previous artist-subject in 34 years of Packing Room Prizes was Kerrie Lester’s Self-portrait as a bridesmaid in 1998 (the title of which was Lester’s nod to many years of being a finalist, but not winning the Archibald).

Abdullah’s portrait of Phu reflects an evolution in the broader Prize, where audiences are increasingly seeing artists choosing to paint their fellow artists (and themselves). This year, of the 57 finalists, 22 were portraits of other artists, 12 were self-portraits, a couple of curators were depicted, with only a dozen subjects drawn from the categories of stage and screen, media and journalism, and music.

While self-portraits and portraits of fellow artists have always been included, they are becoming increasingly common among the finalists.

Meanwhile, the faces of other high-profile, distinguished or celebrity sitters (categories historically difficult for Australian visual artists to crack) are becoming fewer and farther between. Perhaps this is a reflection of the changing nature of both celebrity and of portraiture in a digital world. The painted portrait has historically embodied status, fame and privilege. This shift suggests a reverence for, or a desire for intimate understanding of one’s fellow artists, is entering the limelight.

In the 104-year history of the main Archibald Prize, 13 self-portraits have won—but this is becoming increasingly common, with more than half of these being chosen over the past three decades. 12 of the last 30 Archibald Prize winners have depicted artists as subjects—including this year’s winner, a portrait of Justene Williams by Julie Fragar.

While the ‘kiss of death’ remains for another year, perhaps the vision of the packers is not as far from that of the trustees as it once was.

83

Object Lessons For contemporary jeweller Kyoko Hashimoto, an exhibition at the Art Gallery of South Australia marks a shift in her approach to materials and method, with a renewed focus on sustainability.

In Shinto belief, there are countless deities or gods threaded through existence in nature and man-made objects. Such were the early lessons for Kyoko Hashimoto, born in a small seaside town in Shizuoka prefecture near Mount Fuji in central Japan.

Her maternal grandmother would prepare and serve traditional osechi-ryōri dishes each new year, each ingredient imbued with spiritual meaning and renewed wishes for health and abundance.

When she was 11, Hashimoto’s parents, both ceramicists, decided to leave Japan for Australia, her father’s interest in Western cultures piqued first in childhood when attending kindergarten at Tokyo’s American School then as an adult when his best friend wed an Australian.

84

W R ITER

Steve Dow

Yet Shinto philosophy, “stayed with me, that introduction to the world”, says their sculptor, jeweller and painter daughter, now 45, looking back on her foundations from her studio in the Adelaide Hills.

Today, bushland surrounding the studio has proven rich in natural resources for Hashimoto’s latest exhibition, Eight Million Deities. While specificity of place has long marked her works here, collaborating with artist and life partner Guy Keulemans for the past decade, never has the source been so close to home.

Building her reputation as a contemporary jeweller for more than two decades, first earning a Master of Fine Arts at the University of New South Wales, Hashimoto has previously used heavy sculptural materials bespeaking environmental pressures: a necklace made from coal; large prayer beads made of concrete; mirrors wedged in bauxite normally destined for the smelter.

But 2022 brought a turning point: Hashimoto was diagnosed with breast cancer. Emerging from treatment the following year and awarded a Guildhouse Fellowship in partnership with the Art Gallery of South Australia, she decided on a new direction, “to focus on developing a sustainable practice both on the physical body as well as on the environment.”

Kyoko Hashimoto, Fluid Mountain no.1, 2025, Mount Osmond, Adelaide, mineral pigment on paper, timber bracket, 86 x 65 x 2 cm.

Collection of the a rtist. © K yoko H ashimoto.

left Kyoko Hashimoto, Paper collage necklace no.1, 2025, Mount Osmond, Adelaide, paperpulp made from ivy, eucalyptus, koala poo, acacia, mineral pigment, 10 x 7 x 0.6 cm.

Collection of the a rtist. © K yoko H ashimoto.

85

“I’ve been a contemporary jeweller for more than 20 years, and I needed an expansion or a shift in my practice; my work was already becoming quite sculptural as opposed to wearable.”

— K YOKO H A SH I MO T O

Kyoko Hashimoto, Mineral painting no.1, 2025, Mount Osmond, Adelaide, mineral pigment on wood, 30 x 30 x 1.8 cm.

Collection of the a rtist. © K yoko H ashimoto.

86

Kyoko Hashimoto, Paper collage no.1, 2025, Mount Osmond, Adelaide, paperpulp made from ivy, eucalyptus, koala poo, acacia, mineral pigment, 23 x 22 x 1 cm.

Collection of the a rtist. © K yoko H ashimoto.

Her trial and error in foraging began with six months of experimentation in non-toxic materials. First, she gathered eucalyptus as well as acacias, and attempted to make paper. But she found the native flora too dense for her purpose.

“I even made paper from koala skat,” she says.

“I thought, ‘Koalas consume just eucalyptus, so they’re doing some of the work for me’, by digesting plant materials. It’s gross, but I wanted to push this experiment.” She used hide (animal) glue as a binder, rather than petrochemicals.

Then her eye turned to the weedy ivy growing across her yard. “That seemed to make sense, perhaps more sustainable using invasive species as opposed to natives,” she says. Hashimoto holds up a sheet of her paper made from ivy, which she arrived at by stripping the thin layer of bark with a small kitchen knife, then steeping the plant in an alkaline solution, followed by pounding it until it became a fibrous pulp.

The paper was then used to make papier-mâché objects: Hashimoto produces a box from which she pulls out one of the larger works for the exhibition made from ivy, a six-metre-long chain. The artist is working with a videographer on a companion film showing the chain draped around a large tree in her yard, a riff on the hemp or rice straw ropes found around trees within Shinto shrines across Japan: a practice that symbolises kami, the presence of spirits or deities.

Making pigment became another part of Hashimoto’s evolving practice. She collected various red, yellow and green rocks from her garden and pounded these in a manner not unlike the Indigenous

Australian tradition of grinding ochre, rich in iron oxides, for paint. White paint was made from oyster shells bought at a fish market.

Hashimoto then painted a series of abstract works for her exhibition, inspired by the petrographic structure of the rocks, their appearance captured by microscopy after being pressed onto glass at a specialist laboratory in Adelaide. Hashimoto holds up some glass slides of transparent wafer-thin rock slices (0.03 millimetres): “You can see some amazing colours and patterns.”

This move to non-toxic materials is “probably permanent”, she says. “I’ve been a contemporary jeweller for more than 20 years, and I needed an expansion or a shift in my practice; my work was already becoming quite sculptural as opposed to wearable.”

“When I got sick, my previous way was not sustainable, not just in the material sense but for my physical body.

“Any art practice has an element of being exposed to toxins, which you can mitigate, but even if you protect your body from toxic fumes, those go into the air, and you’re flushing materials which end up in the ocean.

“In the very long run, it does come back into your body. It’s all connected.”

Kyoko Hashimoto: Eight Million Deities (Yaoyorozu no Kami) Art Gallery of South Australia (Adelaide / Kaurna Country SA) Until 2 November

87

ARCHIBALD PRIZE 2025 30 August — 9 November

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To Keep Going Breathing Helps (circle work) 2016-2017, Installation view MCA, Sydney Courtesy of the artist and Anna Schwartz Gallery, Melbourne

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Two-part exhibition of all new Tasmanian work from across the island Closing 18 September Tasmania Makes is an annual platform in its second year, designed to celebrate and invigorate Tasmania’s rich culture of innovation and craftsmanship across all design disciplines. Known for our thoughtful, resourceful and naturally sustainable way of working, Tasmania boasts an ever-expanding reputation for its reliably good and distinct vernacular design.

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WOLLONGONG ART PRIZE CALL FOR ENTRIES

First lighting up the local art scene in 1956, the Wollongong Art Prize returns with a renewed and contemporary vision. Now reimagined for a new generation, the competition invites submissions from artists working across all mediums. With a strong emphasis on accessibility, inclusivity, and community engagement, the prize seeks to showcase the breadth and vitality of contemporary art practice.

The Top Gong for the Gong $25,000 acquisitive prize Local Artist Award $5,000, supported by Friends of Wollongong Art Gallery People’s Choice Award $2,000

Entries close 14 September 2025 wollongongartgallery.au/artprize

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Bush Lines 13 September – 30 November 2025 Tamworth Regional Gallery

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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

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

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

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Ella Whateley The ways we pray Exhibition Opens: Tuesday 28 October, 5pm - 7pm Exhibition Runs: 28 October – 8 November 2025

Gallery hours: Tuesday - Friday 12pm - 7pm, Saturday 12pm - 4pm

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

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

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Boots of Holocaust survivor Gerda Bauer, to which she attributes her survival during a ‘death march’.

2026 Wyndham Art Prize

First Prize: $15,000 Second Prize: $10,000 Third Prize: $8,000 Local Emerging Artist Prize: $5,000 People’s Choice Award: $2,500 Judges: Artist and past Wyndham Art Prize winner Camille Hannah, Head Curator at Heide Museum of Modern Art, Kendrah Morgan, and Curator and Writer Maya Hodge (Lardil and Yangkaal).

Entries open 1 August – 3 October 2025 Wyndham Art Gallery 177 Watton Street, Werribee

Beyond the Ballerina

When movement becomes visual art 10 Oct – 21 Dec 2025 Joel Bray / Zoe Croggon / Anne Ferran / Roselle Hayley / John McCormick & Adam Nas / Sally Smar / Leyla Stevens / Anne Scott Wilson Wyndham Art Gallery 177 Watton Street, Werribee

Sally Smart, The Artists Ballet Puppet (2021 – 22) Photo credit A. Murphy

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Ivan Durrant: Cellophane Silks

Ivan Durrant 3 Jockeys 1975 Synthetic polymer paint on composition board 83.7 x 106.6 cm Courtesy of Ivan Durrant © Ivan Durrant Glen Eira City Council Art Collection

3 October–9 November 2025 Explore the dynamic selection of Caulfield Racecourse, horse racing, jockey and punters paintings from the mid-1970s by renowned Australian artist Ivan Durrant.

This fascinating exhibition also features Durrant’s later series of colourful, and light filled paintings from 2012 to 2016 which evoke the energy, spectacle and power of horse racing.

Glen Eira City Council Gallery Corner Glen Eira and Hawthorn Roads, Caulfield Monday–Friday, 10am–5pm.

Saturday and Sunday, 1pm–5pm.

Closed public holidays. Free admission. www.gleneira.vic.gov.au/gallery

@gleneiraarts

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K y li e I n g li s make its wild places bloom

1 October - 26 October MONTSALVAT Long Gallery 7 Hillcrest Ave, Eltham www.montsalvat.com.au OPENING: Friday 3 October

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

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BAINZ JEWLZ

RMIT Gallery 19 September – 22 November 2025 A retrospective of the career of eminent Australian artist-goldsmith Robert Baines.

rmit.edu.au/rmit-gallery

C H AR L E S 267

CHURCH

STREET

N O D R UM

RICHMOND

www.charlesnodrumgallery.com.au

TEL +61 3 9427 0140

MELBOURNE

G A L L E R Y

VICTORIA

3121

AUSTRALIA

gallery@charlesnodrumgallery.com.au

HOURS: Tues - Sat 11-5

GODFREY MILLER Final Paintings from the Estate 20 September - 11 October

ANN THOMSON The Last 25 Years 20 September - 11 October

Above • Godfrey Miller (1893 - 1964) (Trees), c. 1950s • oil and pencil on canvas, 36 x 39cm Below • Ann Thomson (b. 1933) Jetty 2024 • acrylic on linen, 107 x 71 cm

BOS-AG25-1

Explore Banyule’s vibrant arts community

October 11–12, 2025 | 10am–5pm

Step inside the creative spaces of over 40 local artists across Banyule.

Discover painting, ceramics, sculpture, textiles, printmaking and more plus live demos, workshops, and the chance to buy direct from the artist.

Opening Night Celebration October 10, 7pm | Heidelberg Uniting Church

Featuring local acts + the Queen of Hearts Mariachi Band. All welcome!

Explore the full program at:

www.banyuleopenstudios.com.au

Proudly supported by Explore BOS

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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

artguide.com.au

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

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

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

Art Gallery of Ballarat → Leicolhn McKellar, Shades of Aboriginality, 2008.

Image courtesy the artist.

23 August—19 October Guma Leicolhn McKellar Art Screen, Alfred Deakin Place, Ballarat.

Guma means blood in the Budjiti language, as well as being the title of Budjiti photographer Leicolhn McKellar’s visual exploration of contemporary panAboriginal identity. Her photo series and video challenge reductive visual tropes.

Set in urban Darwin, Larrakia Country, Guma captures the everyday lives of First Nations families, celebrating their strength, connection, and presence in spaces often excluded from mainstream representations. Through collaborative portraiture and urban landscape elements, the work highlights the deep ties between place and identity, confronting colonial constructs that question the authenticity of urban Aboriginality. Guma reclaims the visual narrative, presenting First Nations peoples as they are: multifaceted, contemporary, and unbound by stereotype. Part of the Ballarat International Foto Biennale 23 August—19 October.

in matching backdrops, often still wet from their swims. The accompanying texts and titles also uniformly focus on their common ground; disregarding conventional identifiers of age, class, gender, ethnicity or mobility. For the artist, the pool is not only a site for exercise; it has also facilitated friendships between participants and himself. The pool has become a vital part of the attendees’ routines, contributing to their mental health and overall wellbeing.

Part of the Ballarat International Foto Biennale 23 August—19 October.

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.

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.

Rose Nolan, Big Words – OVER THINKING, 2025, synthetic polymer paint, scene board, found packaging, poster tube, 74 x 56 x 31 cm.

29 August—11 October WORD WORK Rose Nolan

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 interior upgrades. Off-site programming continues at Backspace Gallery and on the Art Screen in Alfred Deakin Place.

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

23 August—19 October Multipurpose Brian O’Dwyer Backspace Gallery, 43 Mair Street, Ballarat Local artist Brian O’Dwyer presents his photographic series Multipurpose. Taken in a swimming pool change room, the images are portraits of O’Dwyer’s early morning swimming companions.

The ‘multipurpose’ pool is designed for aiding people’s rehabilitation from injury.

O’Dwyer presents each of his 40 subjects

7 August—10 October On Display: The Story of Artbank Artbank celebrates our 45th anniversary in August. To mark the occasion, we have compiled a beautiful book filled with images and client hangs, archival material and essays to tell the story of Artbank from 1980 through to today. To launch the book Artbank Melbourne is hosting an exhibition that brings the pages of the book to life filling the walls with ‘in real life’ masterpieces mentioned in the book. Drawing from the identity and design of the publication, in conjunction with Artbank’s familiar visible storage model, the exhibition will present an iconoclastic snapshot of the program’s history. It tells a proud story of caring

VICTORIA ArtSpace at Realm: Until 21 September Future Foundations: Poster as Protest Alison Alder, Artworkers Union, Angela Gee, Anthony Rogmagnano, Backyard Projects, Bob Clutterbuck, Carl Stefan, Carol Porter, Carole Wilson, Chris Doyle, David McDiarmid, Eve Glenn, Jasmin Seale, La’la Zarei, Marie McMahon, Oriette Wood, Richard Harding, Sam Wallman, Thea Anamara Perkins and Marlene Rubuntja, University of Melbourne Students’ Union Queer Dept, Wendy Black, Wendy Murray, XR-Northside

Mirdidingkingathi Juwarnda Sally Gabori, Thundi, 2010, synthetic polymer on canvas, 201 x 154 cm. for Australia’s hardest working national collection and providing 45 years of much needed artist support through timely acquisitions.

Presented by Troppo Print Studio, Future Foundations celebrates the past, present and future of political posters and print making. Allied with the rise of social awareness of issues such as women’s rights, First Nations land rights, LGBTQIA+ rights and environmentalism since the 1960s, artists and printmakers connected with these movements have capitalised on the potential for posters to reach large and diverse audiences.

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.

Lars Stenberg, Summer Creek 9, 2025, oil on canvas, 30 x 30 cm.

4 September—21 September Landmarks III Graeme Galloway and Lars Stenberg

ArtSpace at Realm and Maroondah Federation Estate Gallery

Opening celebration Friday 5 September, 5pm–7pm.

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

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

Nick Roux, Peak Plastique, still from video installation, 2025.

ArtSpace at Realm: 29 September—16 November Peak Plastique Erik Griswold, Anna McMichael, Vanessa Tomlinson and Nick Roux with Blue Realm

by Carolyn Cardinet Peak Plastique explores our complex relationship with plastics and the friction between hopes for sustainability and the tough realities of our plastic-filled world. Drawing on decades of sonic curiosity, pianist Erik Griswold, violinist Anna McMichael, percussionist Vanessa Tomlinson and video artist Nick Roux join forces for the first time to create this mesmerising new work with a sound world of intricate rhythmic patterns that mirror the structures of plastic molecules and an immersive video installation of breathing plastic bags, falling plastic bottles, swaying straws and gladwrapped rocks.

Maroondah Federation Estate Gallery:

Marie McMahon, You are on Aboriginal land, 1984, screenprint. Designed by Marie McMahon and produced in support of Mimi Aboriginal Arts and Crafts, Katherine, in the Northern Territory.

Courtesy of Eve Glenn Collection.

22 September—8 November 30th Annual Mayoral Art Exhibition The 30th Annual Mayoral Art Exhibition raises funds in support of the Bone Marrow Donor Institute and is supported

by Maroondah City Council and Community Bank Ringwood East and Croydon.

Liu Zhuoquan, Chinese Landscape, mineral pigments, glass bottle, wax.

25 September—12 October Drawing Dust Julian Cornish, Vicki Grace, Alison Kelly, Tony Scott, Tony Smibert, Catherine Woo, Zhou Yinong & Liu Zhuoquan (curated by Tony Scott) Celebration with the artists Saturday 4 October, 2.30pm–5pm.

16 October—2 November Julie Goodwin Opening celebration Friday 17 October, 5pm–7pm.

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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.

See our website for latest information.

invites artists to consider the body as both a literal and metaphorical framework — be it a vessel of experience, a site of conflict, a space for self-reflection and actualisation, or a form of expression that transcends the material.

Australian Centre for Contemporary Art (ACCA)

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

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

See our website for latest information.

Roger Kemp, Untitled (RK Z011), 1961, enamel on composite board, 101 x 82 cm.

26 August—13 September Following Sea Sue Anderson Roger Kemp Screenprints 1968 – 1975 Jan Senbergs Tschabalala Self, Blue Woman, 2025.

Courtesy of the artist and Pilar Corrias Gallery, London.

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

Bronwyn Hack, Dingle Dangle (Heart), 2025, mixed media.

23 August—4 October Embodied: Limitless 2025 Commission Series Bronwyn Hack and Mark Smith Limitless is a new major exhibition series designed to enable commissions of significant scale by APA artists. For many of the artists involved, the commissions present an opportunity to develop their largest and most ambitious works to date, creating pathways to further opportunities. This strongly aligns with APA’s mission to see neurodivergent and intellectually disabled artists at the centre of the national and international arts sector, recognised and thriving in their practice. The initiative seeks to establish a new paradigm for artistic practice at APA, one that prioritises risk-taking, collaboration, and innovation.

By fostering an environment where artists are mentored and supported, the exhibition becomes a catalyst for both personal and collective growth, challenging APA artists to reimagine the boundaries of their practice. Embodied, the inaugural exhibition in APA’s 2025 creative program, 15 8

The first Australian solo exhibition of celebrated U.S artist Tschabalala Self, one of the most-in-demand figurative painters working today. Self’s distinctive style combines fabric, collage and painting with innovative printing techniques and a steadfast focus on beauty as a form of artistic resistance. With new and recent large-scale paintings, works on paper and an immersive 3-channel video installation, Skin tight introduces Australian audiences to a practice celebrated for its beauty and sophistication. Born in 1990 in Harlem, New York, Tschabalala Self works out of her studio in the picturesque Hudson Valley. Her work is inspired by her ancestral and familial ties to New Orleans and is infused with a vibrancy drawn from the Harlem Renaissance, as well as jazz, dance, and performance. Self channels these energies into profound reflections on Black embodiment and experience.

For her exhibition at ACCA, Self has designed a series of contemplative, psychologically charged immersive spaces, filled with striking 2D and 3D works. The exuberant characters that populate Skin Tight push audiences to consider how we construct our identities – and how we both perceive and are perceived by the world around us.

Linocuts Kit Hiller 23 September—11 October Graeme Drendel Australian Gothic Martin King Paper Trail Marina Strocchi On Silver Plains Melissa Smith 21 October—8 November Need a minute to make up my mind Rona Green A Thousand Mornings Sophie Perez Paper window, printed cups Fleur Rendell Jamie Boyd Nick Dridan

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.

17 July—20 September Sophie Honess Based on Gomeroi Country, emerging textile artist Sophie Honess (Gamilaroi Yinarr)

VICTORIA

Kayla Powers, Trellis, 2023. Image courtesy of the artist. creates work rooted in a deep response to her surroundings, uncovering hidden beauty through colour and texture. As a member of Yinarr Maramali, a Gomeroi women’s cultural weaving collective, her practice is grounded in narrative, cultural knowledge, and community.

4 September—29 November 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.

Bayside Gallery → Hiromi Tango, Hiromi Hotel INHABITANT, 2022-25, mixed media.

Courtesy of the artist and Sullivan and Strumpf.

Mon to Fri 9am–4pm, or by appointment.

Closed public holidays.

watercolour, acrylics and oils. This is the ninth exhibition by this collective of Melbourne artists.

3 October—16 October My perspective: Paul Anderson Streetscape paintings in acrylic and oils.

Bayside Beauty: Cliffs, beaches and portraits A collection of pastels, watercolour and acrylics by Elly Abrat-Udvary.

24 October—7 November Bayley Arts Annual Gala Show A playful display of sculptures and installations celebrating the artists diverse skills and unique imaginations.

Bayside Gallery www.bayside.vic.gov.au/gallery

Yaelle Schwarcz, Ancestor, 2024, mixed media on board. Courtesy of the artist.

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

2 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.

Bayley Arts www.bayleyarts.com.au Bunurong Country, 1 Avoca Street, Highett, VIC 3190 [Map 4] 03 9113 0610

4 September—16 September Chasing the Light: A conversation with truth Yaelle Schwarcz incorporates mixed media, installation and story to see beyond the limiting stories we tell ourselves.

Penny Cowie, Morning, Beaumaris Bay, 2025, watercolour on paper. Courtesy of the artist.

Boonwurrung Country, Brighton Town Hall, corner Carpenter and Wilson Streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm.

6 September—19 October The children’s sensorium: art, play and mindfulness The children’s sensorium is an interactive exhibition designed for children that includes sense-based installations that create an environment that is fun, engaging and activates children’s curiosity while connecting them to strategies and techniques that support resilience and wellbeing. The exhibition features light, colour, touch, sound and smell to activate children’s curiosity and is a space in which they can spend time to explore their senses and feelings and connect them to local Country. Developed and toured by RMIT Culture.

20 September—1 October Granary Lane Artists: Intimate Expressions

6 September—19 October Future past: recent additions to the Bayside City Council Art and Heritage Collection

Featuring figurative, impressionist, and abstract paintings ranging across

This exhibition presents a selection of artworks that have been recently acquired 159

artguide.com.au Bayside Gallery continued...

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.

Kent Morris, Cultural Reflections – Billilla Mansion, Rainbow Lorikeet #2, 2023, inkjet print. Bayside City Council Art and Heritage Collection. Purchased 2024.

by Bayside City Council. Artists include Asher Bilu, Lynne Boyd, Dean Bowen, Mark Forbes, Ellen José, Kent Morris, David Ralph, Tai Snaith, Louise Tate, Jonathan Walker and Michelle Zuccolo.

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

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.

21 August—7 September Intertidal Anna Spencer Echidna Barney Rathnayaka Wide Open Wonder Michelle Harvey Echo in a Maze Ellana Bobenko Fungarium Tracie MacVean Painting facade Philip James Mylecharane 11 September–28 September Opening Friday 12 September, 6pm–8pm.

A Way Through Katie Daniels IF Grace Kelly

Mickey Mason, Cowboy in blue shirt and smoking cigarette, 2025, acrylic, sand and pigment on linen panel, 25 x 30 cm.

2 October–19 October Gothic Cowboy Mickey Mason A New Traditional Tom Simmo Banks on Boyd Lisa Banks Oxide Cecilia Jacobs

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

See our website for latest information.

Amala Groom, Does she know the Revolution is coming?, 2017 (production still) courtesy of the artist.

Inga Hanover, Comfort, (detail), digital jacquard weaving, 200 x 145 cm.

Inga Hanover’s work is deeply rooted in her childhood memories of sitting beside her grandmother and mother at the age of six, deconstructing worn clothes, cutting off buttons from used shirts and experimenting with techniques of cross-stitch and knitting; sen mēs tev jau gaidījam investigates the cultural artefacts of the Dainas through complex and layered visual taxonomies that reflect the artists’ own relationship to heritage, history and memory. Borrowing from Latvian symbolic lexicon, the artist animates the spiritual world of the Latvian with autonomy and personality.

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James Riches, Cobalt Sky, 2025, oil on board, 21 x 16 cm.

11 September–28 September Between Light and Shadow: New Paintings James Riches Mythical Flowers Irina Nazarova

31 May—4 October Does she know the Revolution is coming?

Amala Groom Taking Back Language Uncle Brian McKinnon, Fiona Foley, Jazz Money, Jenna Lee, Kait James, Karla Dickens, Mia Boe and Peter WaplesCrowe.Curated by Sarah Werkmeister and Katie Ryan.

2 October–19 October Opening Friday 3 October, 6pm–8pm.

31 May—4 October Remembering to Forget Hootan Heydari

Finding The Familiar Amy Wright

You, Me and Everything Around Us Sammaneh Pourshafighi

VICTORIA

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.

Bundoora Homestead → Hootan Heydari, Remembering to Forget, (install view), 2025.

Photograph: James Henry.

Bunjil Place Gallery

28 August—14 September Debut Debra Ferry 18 September—5 October FIRE Nicole Gammie

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.

Stephen Glover, Soft Geometry #1, chalk pastel on paper. Image courtesy of the artist.

Jennifer Mills, In the echo chamber (Falling), 2014. Courtesy of the artist and Darren Knight Gallery, Sydney.

9 August—16 November In the echo chamber Jennifer Mills

Soft Geometry challenges the traditionally rigid symbolism of geometric form, long associated with masculine ideals of strength, stability, and rationality. In this new series of prints and assemblages, geometry is softened, blurred, and reimagined, reflecting a symbolic shift from ego towards a more compassionate awareness beyond the self.

A major survey exhibition celebrating the career of award-winning Australian artist Jennifer Mills.

Fionna Madigan, Acacia, 2025, oil painting on primed archival aluminum.

9 October—26 October Floral Fever Solo show by Fionna Madigan.

Opening celebration Thursday 9 October, 6pm–8pm.

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

Burrinja is a cultural hub for the Dandenong Ranges. Working to provide outcomes that contribute to the cultural vibrancy of the region, Burrinja enables the development of new, experiential and distinctive arts practice, whilst providing continued support for existing art forms in the Hills.

6 September—19 October Soft Geometry Stephen Glover

Stewart MacInnes, Reclining Woman.

Image by Helen MacInnes.

6 September—19 October This Private World of Mind Stewart MacInnes This retrospective honours the creative oeuvre of Stewart MacInnes (1937–2021).

Exploring the human form with rawness and sensitivity through painting, drawing, sculpture, and poetry, Stewart created for expression, not recognition. A longtime Dandenong Ranges resident, his art served as a meditative lifeline, shaped by decades of passion and unwavering dedication.

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

30 October—16 November The Interruption Solo show by Victoria Floratos, curated by Nina and Pequito.

Opening celebration Thursday 30 October, 6pm–8pm.

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Cascade Art Gallery

The act of making is at the heart of conceptual exploration in contemporary craft practice. “Process” can be understood as more than a means to create form but also a space where thought is reconciled, and where creative encounters and new discoveries are found. In The Making presents the work of four makers traversing this space and demonstrating how process and artistic intention are interdependent.

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.

Frank Hodgkinson, Banksia Trumpet, 1982, bronze, 11 x 16 x 21 cm.

23 August—13 September The Banksia Works Frank Hodgkinson

Christine Collins, The Remains of Lady Louise, Classic Neckpiece, (detail), 2024.

Image courtesy the artist.

Judy Holding, Bush Birds, 2025, watercolour on arches.

Clive Murray White, Assisted Suiseki No. 14, 2023, Buchan marble, bronze and Travertine marble, 27 x 20 x 20 cm.

23 August—13 September Assisted Suiseki 14-20 Clive Murray-White

27 September—8 November Trove: Contemporary Jewellery Roseanne Bartley, Liv Boyle, Lorraine Brigdale, Christine Collins, Laila Marie Costa, Laura Deakin, Samantha Dennis, Carly Tarkari Dodd, Anna Davern, Polly Dymond, Kirsten Haydon, Inari Kiuru, Anke Kindle, Sarah Lockey, Sim Luttin, Leslie Matthews, Belinda Newick, Emily O’Brien, Gabbee Stolp, Blanche Tilden, Zoe Veness, Melinda Young

20 September—11 October Final Paintings from the Estate Godfrey Miller

Jewellery has always played a significant role conveying messages about the relationships between people and the things they value. Trove will feature a curated collection of works created by some of Australia’s most forward-thinking and renowned artisans working in the field of jewellery.

18 October—8 November Sculpture · Painting Louise Forthun

correspondences

20 September—11 October The Last 25 Years Ann Thomson

www.correspondences.work

Craft Victoria www.craft.org.au

Judy Holding, Night Landscape, 2025, watercolour on arches.

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

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

Closed public holidays.

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

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

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Michaela Pegum, Fallinglight II, (detail), 2023. Photograph: Claire Armstrong.

9 August—20 September In the Making Emma Davies, Noriko Nakamura, Michaela Pegum, Makiko Ryujin

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

Photograph: Steph Duncan.

VICTORIA

Deakin University Art Gallery → Installation image of the 2024 Deakin University Contemporary Small Sculpture Award, 2024.

Photograph by Fiona Hamilton. Image © copyright and courtesy of the artists.

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

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 27 August—10 October Deakin University Contemporary Small Sculpture Award In its sixteenth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. The award celebrates contemporary sculpture with an exhibition of finalists’ work at the Deakin University Art Gallery. A fascinating snapshot of contemporary Australian sculpture.

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.

28 August—3 October Women of the Western Desert: Walungurru and Kiwirrkurra In the 1990s, the women of the Western Desert made their mark in Australian art history. After paving the way for women artists, Emily Kam Kngwarray passed away in 1996, the same year women from Walungurru and Kiwirrkurra began painting in a new wave that surpassed the successes of the men who had been painting for twenty

Walangkura Napanangka, c.1938–2010, Untitled – Tjukurla, 2006, synthetic polymer paint on linen, 152 x 183 cm. © Walangkura Napanangka/Copyright Agency 2025. years prior. Women of the Western Desert: Walungurru and Kiwirrkurra highlights works from the leading painters and draws from the wider history of the region to understand the context surrounding what is recognised as a ‘women’s art movement’ in the Western Desert.

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

4 April—30 September Dhelk Djakitj Dhelk Djakitj means nourishing food and the stunning exhibition artworks are inspired by bush tucker – the food, the people, Country, and stories that bring them together. This exhibition showcases First Nations bush tucker and the UNESCO City & Region of Gastronomy.

8 October—January 2026 Past, Present and Future For more information please visit our website at 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.

See our website for latest information.

8 August—13 September Convergence Paul Gennings A sculptural exploration of harmony and contrast, where ceramics and steel meld through fire and form.

Recent Work Julie Trezise A series of small intimate Drawings Iris Bain 16 3

artguide.com.au East Gippsland Art Gallery continued...

Trav Hendrick.

8 August—13 September In the Vault Trav Hendrick Inspired by Walt Disney and Matt Groening, Trav has developed over one hundred colorful characters.

Until 13 September Everywhen Elsewhere: Xavier College – Synergy 2025 A fundraising exhibition of paintings and 3D works by established and rising star First Nations artists from around Australia held in partnership with the Xavier College Student Committee for Indigenous Affairs.

20 % of sales to Djirra - Aboriginal Women’s Service - preventing and addressing family violence in a cultural safe and supportive space. Eldon Hogan Performing Art Centre, Xavier College, 135 Barkers Road, Kew and online at everywhenart.com.au.

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.

Lexie Fordham, Flight at Sunrise, acrylic on canvas.

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. She often focuses on personal symbolism, self-portraiture, and feelings of home and coming of age. Her artistic approach emphasizes sensitivity to the placement of objects and imagery, which invites viewers to reflect on the fragility and malleability of memory.

Federation University Post Office Gallery

19 September—25 October Next Generation: Artwork from East Gippsland Schools Special opening event 5.30pm Friday 19 September.

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

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.

Camille Thomas, Translation of ‘Portrait of an Infanta. Catherine of Aragon’ (ca.

1496), Juan de Flandes, 2024, graphite on paper. Courtesy of the artist.

Courtesy of Janina Green.

5 September—27 September Making is Matching Janina Green & Darcey Bella Arnold Janina Green has established an extensive photographic practice over 30 years, making observations about domesticity, motherhood, reading, teaching, sexual politics, theory and psychology. Darcey Bella Arnold works between painting, sculpture and drawing in a research-based practice that anatomises language to annotate its necessity and fallibility. Arnold deploys strategies of metaphor, recollection, double entendre, repetition and humour to examine familiar histories, obfuscate conventional symbolism and re-examine cultural touchstones.

Anita Pumani, Antara- Maku Dreaming, 152 x 122 cm. Courtesy the artist and Mimili Maku Arts.

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10 October—1 November Emergent Fields Caspar Connolly, Jieun Ha, Camille Thomas Emergent Fields presents the work of three Melbourne based emerging artists.

Robert Mapplethorpe, Embrace, 1982.

Copyright © Robert Mapplethorpe Foundation. Used by permission.

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

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

Flinders Lane Gallery

14 October—1 November Rustling Canopy Leah Thiessen

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

www.flg.com.au Peter Brook, Untitled #10, 2025, acrylic on linen, 56 x 51 cm.

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.

positions they occupy relative to each other. Simultaneous chromatic harmony and dissonance, visual depth and flatness, and compositional balance and movement are explored.

19 September—11 October Susan Andrews

26 August—20 September A Knot in the Thread Sid Pattni

Take the Stairs to the Inside Out Tracey Lamb

Frankston Arts Centre www.thefac.com.au

Sean Hogan, Up above, 2025, synthetic polymer aerosol on acrylic sheet, aluminium frame, 86 x 61 cm.

Christopher Kerley, Watcher, 2025, oil on linen, 60 x 80 cm.

26 August—20 September Recent Paintings Christopher Kerley 11 September—14 September Sydney Contemporary Showcasing the work of Bronwyn Hill and Stuart McLachlan.

23 September—18 October Of Ash and Ochre Samantha Dennison 23 September—18 October Split Point William Breen

19 September—11 October Disconnect Sean Hogan Writing in 2021, Dr Kent Wilson, then Senior Curator at La Trobe Art Institute writes ‘Hogan’s work is a cavalcade of container and compartment. Packages of data delivered in choice of colour, density of colour, relations of colour, order of colour.

Packaged volumes of space in forms and in frames. Everything reads. Everything messages.’ Often starting with a single word as a concept, ideas are processed, refined and extropolated through the lens of system thinking that forms the basis for Hogan’ reductive visual language. Overlaying this system thinking Hogan weaves references taken from history, music, literature, politics, screen culture and the modern landscape to create works layered with a multitude of meaning. In these new works, Hogan considers the fractured nature of the contemporary world from an objective and subjective viewpoint.

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

7 August—11 October Common Ground Emma Morgan Local painter, farmer–florist, and forager Emma Morgan captures the essence of the Mornington Peninsula through detailed paintings and drawings of native wildlife, proteas, and Australian florals in familiar, richly observed landscapes.

7 August—18 October Ethereal Earth Nathan Penhall This photographic exhibition explores the intersection of land and human

19 September—11 October The Space Between Peter Brook

Leah Thiessen, Dappled Light, 2025, oil on poly cotton, 133 x 133 cm.

The Space Between continues Brook’s investigation of colour and its ability to form the space it inhabits. Brook draws on shapes seen and imagined in urban architectural spaces, both interior and exterior.

These provide a framework to explore how respective appearances of colour are influenced and altered by neighbouring hues in turn affecting our perception of spatial

Rehgan De Mather, Abyss, acrylic, spray paint, oil stick, charcoal, collage and paint lid on canvas.

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artguide.com.au Frankston Arts Centre continued... perception, inviting viewers to see beyond the surface—discovering unexpected beauty and the quiet power of nature’s abstract masterpieces.

21 August—8 November Let’s Dance Rehgan de Mather An exhibition featuring the intergenerational nature of First Nations art from Central Australia, the Kimberley, Queensland and Arnhem Land. The exhibition is presented in homage to the 50th anniversary of NAIDOC week and its 2025 theme - The Next Generation: Strength, Vision & Legacy.

Amanda Western, Bridge at Ellerslie, linocut, 140 x 103 cm.

16 September—27 September Ways Through Amanda Western 30 September—11 October The Garden of Life Janice Gobey

Jennifer Goodman, Purl, 2024, jigsaw woodblock print on Somerset soft white 300gsm paper, 60 x 40 cm.

Mind Head, Archival artwork.

4 September—27 September 30 Years of Blank Collective Blank Celebrating 30 years of Blank, a true Frankston original founded in 1995 by Raph Rashid and Danny Young. This retrospective shares the brand’s legacy in graffiti, skate, and music culture across generations. Opening event, Friday 12 September, 6pm–8pm.

Online registration essential.

2 October—29 November Wind Photon Orbital Cameron Robbins Cameron Robbins’ installations harness wind, tides, and light to create visual art.

Wind Photon Orbital features solar drawings and rotating prisms on a wind-powered sculpture, evoking an artistic lighthouse.

fortyfive

downstairs www.fortyfivedownstairs.com

Tamara Russell, Generations Linked, 2024.

30 September—25 October Naarm Textile Biennale – Social Fabric Naarm Textile Collective 14 October—25 October The Community Art Card Project Robert Lee Davis 28 October—8 November Time Between Dena Ashbolt 28 October—8 November The ways we pray Ella Whateley

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

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

14 August—6 September Pulp Addiction Jon Campbell, Brett Colquhoun, Ian Friend, Jennifer Goodman, Amanda Johnson, Susanne Kerr, Sue Lovegrove, Clinton Naina, Lisa Sewards, Ema Shin, Wilma Tabacco, Gosia Wlodarczak.

2 September—13 September Stronger Together St Albans Secondary College

11 September—4 October I AM – BLAK QUEEN Clinton Naina

2 September—27 September Muktoraah Braden Howard

9 October—1 November I AM – BLAK QUEEN Clinton Naina

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Lisa Sewards, Coral Scent I, 2025, unique state two-layer etching, BFK Rives 300gsm and Mizutamashi 16gsm, 58 x 58 cm.

9 October—1 November Shifting Currents Lisa Sewards

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

23 August—2 November After Image This selection of prints from the Colin Holden collection and the Gallery’s extensive holdings represents the diverse ways that artists have drawn on art historical precedents. Across genres and eras, each of these prints refers to the work of earlier sculptors, painters and printmakers, appropriated variously in homage or contemporary critique.

Includes works by Rew Hanks, Chris Orr, and Sue Pickford, among others.

A Geelong Gallery exhibition.

30 August—9 November Archibald Prize 2025 The annual Archibald Prize is eagerly anticipated by artists and audiences alike.

VICTORIA Moorina Bonini, Sarah Brasier, Daisy Collier, John Elcatsha, Jemi Gale, Thea Jones, Thea Jones and Bonnie Cummings, Michael Kennedy, Katie Paine, Sophie Penkethman-Young, Steven Rhall, Lucreccia Quintanilla, and a collaborative work by Beth Sometimes, Charlie Freedman, Leonie Brialey, Dan Murphy, Sia Cox, Gabriel Curtin, Ruby Princess, Betty Sweetlove, Tam Hanson, Russell Goldflam, Seraphina Newberry, Jorgen Doyle, Vito Lucarelli, Meret MacDonald, Jen Atherton and Jonothan Daw

Julie Fragar, Flagship Mother Multiverse (Justene), oil on canvas. Archibald Prize 2025 winner. © Courtesy of the artist.

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, 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.

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

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

Tara Denny, skyline_ stays, 2025, aluminium, casted at Malwood foundry.

Courtesy and © the artist. Photograph: Guy Grabowsky.

Gertrude Glasshouse: 29 August—27 September Permanent Marker Tara Denny 3 October—8 November Jenna Lee

Glen Eira City Council Gallery

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

Leila Jeffreys (born Papua New Guinea 1972; lives and works in Australia), Nature is Not a Place to Visit. It is Home, (detail), 2019, multi-channel 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 13 September—17 May 2026 The Art of Annemieke Mein

Hellenic Museum

www.gleneira.vic.gov.au/gallery

www.hellenic.org.au

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.

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.

Until 28 September Time and Space – 2025 Youth Art Exhibition Until 28 September Beyond the Canvas Alyssa Mercuri

Daisy Collier, Bleeding Heart, 2024, installation view, Bus Projects, Naarm Melbourne, 2024, red brick, black tradex paint, pain. Image courtesy and © the artist. Photograph: Daisy Collier.

Gertrude Contemporary: 23 August—12 October Bureaucracy of Feelings

Ivan Durrant, A day at the Caulfield Races, 1976, synthetic polymer paint on composition board, 83.7 x 122.0 cm.

Collection of the artist. © Ivan Durrant.

3 October—9 November Cellophane Silks Ivan Durrant 3 October—9 November The Recycling Rascals Pamela Irving

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

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Heide Museum of Modern Art

3 October—26 October Curves and Lines Lucy McEachern, George Lianos, Larissa Gray and Bruce Webb

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.

Heide is a public art museum and sculpture park located on a stretch of the Birrarung/Yarra River that has long served as a meeting point and as a creative hub.

29 March—5 October Izabela Pluta: Lumina

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

See our website for latest information.

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

Dennis Golding, The Future is Here, 2021, installation at Carriageworks. Image courtesy and © the artist.

Photograph: Zan Wimberley.

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

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

See our website for latest information.

The gallery encourages social interaction, discovery, knowledge sharing, learning, and development. It welcomes communities, art professionals, students, and individuals of all ages who have an interest in art and design.

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

6 August—9 November Man Ray and Max Dupain

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

See our website for latest information.

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

Courtesy of the artist.

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 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 Veronica O’Leary, Fruit, Flowers and Gosia’s Mug, oil on board, 2025, 40.5 x 51 cm.

5 September—28 September Gather Veronica O’Leary, Kylie Sirett and Helen Heywood 16 8

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

The Playground Project Melbourne, Incinerator Gallery, 2025. Photo by Timothy Burgess.

28 June—12 October The Playground Project Melbourne Curator: Gabriela Burkhalter This hit international exhibition showcases a unique chapter in art, design, urbanism, and activism from the late 19th to the early 21st centuries. Presented at Incinerator Gallery, new site-specific playable installations by Simon Terrill and Assemble (UK), Mary Featherston AM and Emily Floyd, and Yvan Pestalozzi evoke childhood memories an encourage kinetic engagement and shared experiences among visitors.

Presented with Agency Projects, Edwina Green’s First Nations Playable Public Art Sculpture Commission is also presented onsite from September as the fifth playable component. Accompanied by educational and public programs. Commissioned

by Moonee valley City Council. Produced

by Incinerator Gallery. Exhibition design by BoardGrove Architects. Project Partner: Kunsthalle Zürich. Major Partner: Jellis Craig | Jellis Craig Foundation. Education.

Partner: Monash University | MADA. Kids 12 and under go free! Terms and conditions apply. For tickets and more info: playgroundproject.com.au.

VICTORIA

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

Loft 275: Until 7 September 2025 The Magic of Art – 60 Years in the Making Heidelberg Artists Society The Heidelberg Artists Society invites you to step into The Magic of Art, a vibrant group exhibition.

Loft 275: 11 September—12 October At the heart of it…

Janice Keen Janice Keen’s practice began with an attraction to the potters’ wheel. Her work communicates the innate beauty of the everyday object that finds its way into people’s homes.

Muslim-Australian artists. Featuring diverse approaches to both visual and Islamic art forms, the exhibition celebrates the rich cultural heritage, creative innovation, and multifaceted identities of Muslim artists today.

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

See our website for latest information.

Jarrod Penton, River in the Countryside.

Loft 275:

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

Art Gallery 275: 26 August—18 January 2026 Early Impressions – Painters of the Heidelberg School from the National Collection Banyule Council is proud to present an exhibition of paintings by the Heidelberg School of artists. These works of art are on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection. #artacrossaustralia.

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

16 October—9 November Illuminate The Bridge Inc Disability Day Services, Macleod We are proud to present Illuminate, an exhibition that shines a light on the wide range of art and craft created by participants at The Bridge Inc. Disability Day Services, Macleod. This is a celebration of creative expression - art is for everyone!

Opening event Saturday 18 October, 2pm–4pm.

Mungga Artist Studios: 2 September—21 September Janice Keen – Ceramic artist Artist-in-residence.

Islamic Museum of Australia www.education.islamicmuseum.org.au

Alex Hamilton, Tougher than a red colour, the town sank back into its own image, chance became destiny, 2025, acrylic paint, ink, repurposed acrylic sheets. paper, 157.6 x 97.5 cm.

14 August—20 September Crumples are half box half door Alex Hamilton

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

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. Please check the website for opening hours and updates prior to visiting: banyule.vic.gov.au/HeidelbergSchool.

David Palliser, Setting Sets, 2023, oil on canvas, 97 x 122 cm.

Australian Muslim Artists 2025.

15 August—8 November Australian Muslim Artists 2025 This exhibition is an annual shortlisted showcase of contemporary works by

14 August—20 September Optional Symmetry David Palliser 25 September—1 November Avant Garde Andrew Sibley 169

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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.

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.

Kingston Arts Centre: 31 July—13 September Recycled Rhythms: Persian Patterns Reborn Maryam Ebtekar

10 October—22 November In tension Barbara Wheeler

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

31 July—13 September Mother’s Hands Eleesa Howard 18 September—1 November Far From Home Thitibodee Rungteerawattananon Tammy Kanat, Lilith, 2025, (detail).

Photograph: Mark Lobo.

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

18 September—1 November The Water Carriers: Transformation Claire Bridge

A series of powerful new works by fibre artist Tammy Kanat, Circle of Her explores female archetypes through large-scale woven installations. Immersive, sculptural and deeply personal, it’s a meditation on material storytelling, intuition and renewal – and the latest Eva and Marc Besen Contemporary Artist Commission to be presented at the Jewish Museum of Australia.

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.

Connie Hart (Gunditjmara), Eel Trap, c.1988, natural fibre. Collection of Koorie Heritage Trust. Photo by Christian Capurro, 2025.

23 August—23 November Connie Hart: One Stitch at a Time Aunty Connie Har

Maree Clarke, The Long Journey Home 8, 2024, digital print on photographic paper.

Courtesy the artist and Vivian Anderson Gallery, Melbourne.

Outdoor Gallery: 12 June—15 October The Long Journey Home Maree Clarke The Bridge: 31 July—13 September Movement Study Kristone Capistrano 18 September—1 November Wetlands Emma Pattenden G3 Artspace: 27 August—4 October pink puffs upon billowed checks and spotted mossy smudges Fiona Cabassi

Liam Waldie, Time to Ourselves, 2023, oil on canvas, 90 x 120 cm.

24 September—2 November A Way of Seeing 2: Mornington Peninsula Baden Croft + Liam Waldie + Cam Myers

www.latrobe.edu.au/art-institute

Kingston Arts www.kingstonarts.com.au

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23 August—23 November Gilgar Gunditj Eel Basket Sandra Aitken

La Trobe Art Institute

Exhibition and Film Launch.

Opening: Thursday 25 September.

G1 & G2 Gallery, The Bridge (Visible 5pm to 5am) Outdoor Gallery (Open 24/7)

Sandra Aitken making Gilgar Gunditj Eel Basket on Gunditjmara Country, 2025.

Still image courtesy of Gatherer Media, 2025.

Barbara Wheeler, Code Red, 2022, wool embroidery on canvas photograph.

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.

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–6pm.

Other times by appointment.

La Trobe Art Institute → 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

oceans and waterways to allegorical explorations of identity.

Fayen d’Evie, Carol Dobson, Jenny Hickinbotham, Helen Johnson, Alecia Neo, Sue Roberton, Finnegan Shannon and Lukaza Branfman-Verissimo, and Grace Wood.

Antique and Retro Warehouse with artwork by Guanting Li. October Lauraine Diggins Fine Art with Antique and Retro Warehouse A curated selection of fine art, furniture and decorative arts, including paintings from Guanting Li and Fu Hong.

Curated by Amelia Wallin and Jacina Leong.

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.

Elyas Alavi and Fazil Mousavi, ‫سفر نصیب‬/ Safar Naseeb, Fated to journey, 2025. La Trobe Art Institute biannual facade commission. Courtesy of the artists.

24 July—25 January 2026 ‫سفر نصیب‬/ Safar Naseeb / Fated to journey Elyas Alavi & Fazil Mousavi Curated by Jacqui Shelton.

Latrobe Regional Gallery

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

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

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

See our website for latest information.

5 July—19 October Equilibrium: Works from the LRG Collection

Iryna McMillan, Aurora with Venus and STEVE during Moonrise, Sale, digital photograph. Sale Camera Club.

Equilibrium showcases aquatically themed works from the LRG Collection, ranging from traditional depictions of

21 June—21 September Gippsland Interclub Photography Exhibition

Jasmine Crisp, She had power when the lights went out (self portrait at home in blackout and lockdown), 2022, oil on panel with custom aluminium frame, 78 x 144 cm.

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3 September—27 September Languor: The Nude A survey Exhbition of different approaches to captuing the Nude subject(s) in Art.

Donovan Christie, (Don't) Go Overboard on Lollies!, 2024, oil on linen, 150 x 150 cm.

1 October—1 November Everydays a Birthday Donovan Christie

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.

6 September—2 November Linden Postcard Show 2025 Now in its 35th year, the Linden Postcard Show is a much-loved fixture of our annual program. It celebrates the breadth and diversity of artistic practice across Australia, welcoming hundreds of creatives to exhibit side by side.

The Postcard Show is open to everyone.

No matter what you make or who you are, this is for you. There is no selection process. If you enter, you’re in.

Linden New Art → Linden Postcard Show, 2024, installation view. Photograph: Simon Strong.

Liminal Gallery + Lab www.liminalgalleryandlab.com Djilang, 64-66 Ryrie Street, Geelong VIC 3220 [Map 1] Wed to Fri 10am–3pm, Sat 11am–2pm.

30 August—27 September Liminal Art Prize

of Trustees. At McClelland we showcase the value of Australian culture through a focus on sculpture and its connection to the environment. We are the only gallery dedicated to sculpture and spatial practice in Australia. Focused on the expanded field of arts with nature, McClelland champions a consolidated, multidisciplinary approach to the development, presentation and embedding of unique experiences drawn from across Australia’s artistic community.

The Liminal Art Prize celebrates creativity, innovation, and bold artistic voices across Australia. Open to both emerging and professional artists nationwide, the prize offers a platform for new perspectives to be seen, heard, and recognised.

Formerly known as the Hue and Cry Art Prize, the Liminal Art Prize continues a strong legacy of supporting artists while expanding our reach beyond the Geelong region. All eligible artworks will be exhibited at Liminal Gallery. The prize supports artists with exhibition opportunities, professional exposure, and over $9,000 in prizes.

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.

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

Melanie Cobham, Trails (Scribbly Gum Moths), Patinated Bronze sculpture, 2024. Courtesy of the artist.

25 September—26 October Lab...Uh...Rinths...

Sandra Bridie, Melanie Cobham, Christina Darras, Spencer Harrison, Aaron Perkins, Daniel John Pilkington 172

McClelland is a truly unique art gallery and sculpture park set amongst 16 hectares of natural bushland. As a not-for-profit organisation, McClelland relies largely on the support of visitors to help conserve and build the collection, curate inspiring exhibitions and public programs, and care for the beautiful sculpture park and bushland setting for all to enjoy.

Since opening in 1971, it has operated as a private art institution governed by a board

Benjamin Armstrong, Leichhardt’s Arrival, 2018, linocut, dye, ink, coloured pigment, iridescent pigment, 76.5 x 57 cm.

McClelland Collection.

23 August—9 November Eternal Oblivion death and the afterlife

VICTORIA 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.

Manningham Art Gallery www.manningham.vic.gov.au/gallery Wurundjeri Country, Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm.

4 October—2 November Bodywork Ruth O’Leary 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.

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

6th Mildura Sculpture Exhibition anniversary. Mildura Arts Centre Collection. Celebrating the 6th Mildura Sculpture Exhibition, Landmark revisits a defining moment in Australian art history.

Featuring works by artists such as Inge King, Ken Unsworth, and Terry Smith, the exhibition explores themes of landscape, radicalism, and regional identity. Fifty years on, these sculptures continue to challenge, provoke, and reflect the spirit of a bold artistic movement rooted in place and politics.

Jodie Dudley, Leah Harris, Little Boxes, 2025, acrylic on canvas.

1 August—21 September Beautiful Minds: Diversity in Colour ArtRageUs Studio, Christie Centre Inc ArtRageUs presents, Beautiful Minds: Diversity in Colour, a collaboration featuring a diverse group of talented artists, each sharing their perspective on The World and Their World.

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.

Katrin Koenning, seaside jiggle, 2022, archival pigment print, 40 x 30 cm.

Image courtesy of the artist.

13 August—18 October Mirrors Katrin Koenning A new solo exhibition by visual artist Katrin Koenning intimately explores connection and belonging through a deeply personal and immersive constellation of images drawn from the artist’s archive across time and space.

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

Visit our socials for latest information.

26 July—20 September Nusra Latif Qureshi: The House of Irredeemable Objects Inge King, Black Sun, 1975. Photograph: Sutcliffe Illustrative Photographers, Carlton.

6 September—12 October Landmark: 50 Years Since Mildura ‘75

Through Qureshi’s use of layered references, vivid colour and recurring poetic motifs, this significant new exhibition traces threads of history, migration and the politics of representation, reflecting on power, memory and desire.

Mary Cherry Gallery www.marycherry.com.au 126 Rupert Steet, Collingwood, VIC 3066 [Map 3] Thur to Sat 12noon– 5pm, or by appointment.

Monash University Museum of Art → Nusra Latif Qureshi, DID YOU COME HERE TO FIND HISTORY?, 2009, (detail). Courtesy of the artist and Sutton Gallery.

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artguide.com.au

Museum of Australian Photography (MAPh) www.maph.org.au Wurundjeri Woi Wurrung and Bunurong Country, 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Free entry.

Mornington Peninsula Regional Gallery → Joshua Searle, Lost in Colour, exhibition view, &Gallery, Australia.

Monash University Museum of Art continued...

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

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.

Guan Wei, Australian Sea Cucumber Plate, 2025. Courtesy of the artist and ARC ONE Gallery. Photo: Christian Capurro.

4 October—6 December Awakening Histories Abdul-Rahman Abdullah, Zaenal Beta, John Bulunbulun (Ganalbingu), Cian Dayrit, Dogmilk Films, Aziziah Diah Aprilya, Gunybi Ganambarr (Naymil), 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), MAREGE Institute, The Mulka Project, Dhambit Munuŋgurr (Djapu, Wanawuy, Dhuwa), Trevor Nakanapa Maminyamanja (Anindilyaugwa), Ipeh Nur, Margaret Rarru Garrawurra (Liyagawumirr, Garrawurra), Darrell Sibosado (Bard), Ms M.Wirrpanda (Dhuni-Djapu), Bulthirrirri Wunuŋmurra (Dhanwaŋu), Mr N. Wunuŋmurra (Dhanwaŋu) and Ms D. Yinupiŋu (Gumatj, Rrakpala).

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Ali Tayahori, Sisterhood (Broken), 2025, from the series Archive of longing, UV print on glass, hand-cut glass, silicone on aluminium. Courtesy of the artist and THIS IS NO FANTASY. 13 September—9 November Bowness Photography Prize 2025 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 Naomi Hobson, Hoda Afshar, Stephen Dupont, Zoё Croggon, Shea Kirk and many others.

National Gallery of Victoria— NGV International www.ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm.

See our website for latest information.

John Baird, Dancing Floral (Klimt Vase), 2024, synthetic polymer paint, Blackwood veneer, wallpaper, private collection.

6 September—16 November The Authentic Consequence: Forty years of John Baird 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.

Visitors in Kimono on display at NGV International, Melbourne. Photograph: Mitch Fong.

VICTORIA 4 June—5 October Kimono

Installation view of French Impressionism from the Museum of Fine Arts, Boston on display from 6 June to 5 October, at NGV International, Melbourne. Photograph: Sean Fennessy.

National Gallery of Victoria → Installation view of Martin Grant on display at The Ian Potter Centre: NGV Australia, Melbourne. Photo: Sean Fennessy.

6 June—5 October French Impressionism from the Museum of Fine Arts, Boston

OTOMYS

6 June—5 October Plans for the Planet: Olaf Breuning for Kids 25 September—1 April 2026 MECCA X NGV Women in Design Commission 2025: Nipa Doshi

www.otomys.com 424 Malvern Road, Prahran, VIC 3181 [Map 6] Tue to Fri 10am–5pm. info@otomys.com Colin Pennock, 2025. exhibition at Noosa Regional Gallery and has been recognised with the Alan Gamble Award, Mosman Art Prize and as a finalist in several national prizes.

National Gallery of Victoria—The Ian Potter Centre: NGV Australia

One Star Gallery www.instagram.com/onestarlounge

www.ngv.vic.gov.au

301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm.

Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm.

See our website for latest information.

1 September—20 September

28 March—26 January 2026 Martin Grant 29 August—1 February 2026 Making Good: Redesigning the Everyday

Inga Dalrymple, Procession, oil on canvas on board, 37 x 28 cm.

19 September—1 February 2026 Rigg Design Prize 2025, Next in Design: 35 Under 35

4 September—19 September Zarah Cassim, Greg Penn and Inga Dalrymple

Now open Wurrdha Marra

This exhibition unites three artists whose work spans sculpture and painting. Greg Penn (Australia) explores consciousness through organic materials in his sculptures, while Inga Dalrymple (Australia) captures fleeting impressions of place and experience in her paintings. Zarah Cassim (South Africa) examines the fluid boundaries between reality and illusion in her work.

Their distinct yet interconnected practices share a vibrant playfulness, inviting a layered dialogue across mediums.

16 October—31 October Colin Pennock

Installation view of Bark Salon on display in Wurrdha Marra at The Ian Potter Centre: NGV Australia, Melbourne.

Photograph: Sean Fennessy.

Now open Bark Salon

Following his July 2025 residency in Provence, France, Colin Pennock’s solo exhibition at Otomys unveils a new body of work inspired by the region’s light and landscape, further developing his distinctive abstract language. Earlier this year, he opened his first major regional

Regular business on spring break.

Artist in residence Adele Danielle.

Semi-public studio residence in the gallery space.

25 September—5 October QUIRK Annabel Nowlan, Jane O’Neill, John Doggett Williams, Lorraine Austin, Vin Ryan 9 October—19 October Violettomania Kristian Shaw 23 October—2 November And the Moon be still as Bright – A Weather Report Rhonda Baum

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.

23 August—24 September Figments Lana Daubermann 175

artguide.com.au Parallel Projects continued...

PG Gallery www.pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm.

21 October—1 November Present Perfect Elizabeth Hickey This exhibition responds to global overwhelm with a celebration of life’s simple pleasures. Through sensory-rich prints, Hickey highlights nature’s healing power and the joy of being present— offering a gentle antidote to chaos and negativity. Opening reception 23 October, 5.30pm–7.30pm.

Platform Arts www.platformarts.org.au Wadawurrung Country, 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9.30am–4.30pm.

See our website for current weekend hours and for latest information.

Lana Daubermann, Little Imagined Landscapes, painting on tile.

A series of paintings that explore intuition, limitation, and imagination. Each piece evolves organically - shapes building on shapes, drawn from memory or simple landscape sketches. Unpredictable surfaces and select materials encourage spontaneous Figments.

Chris Lawry, The Minotaurs Approach.

Monoprint, 25 x 37.5 cm.

2 September—13 September The Unusual Art of Monoprinting A vibrant group exhibition celebrating the expressive, experimental, and one-ofa-kind nature of monoprints. Featuring original works by contemporary artists Chris Lawry, Lana De Jager, Joy Serwylo, Paul Compton, Jacqui Christians, Marketa Kemp, Rain White, Kylie Watson, Stephen Glover, and Robert Logie. Opening reception 4 September, 5.30pm–7.30pm.

Photography by Guilia McGauran. Editing

by Guilia McGauran & Georgia Banks 2 August—26 September Villain Edit Georgia Banks

Maria Petrova, Stranger than Fiction, 2024.

23 August—24 September Stranger than Fiction Maria Petrova Maria Petrova is fascinated by faces each one a story waiting to be uncovered.

In her recent drawing based works, she distorts and reassembles facial features, combining angles and expressions to construct imagined portraits that suggest layered, inner narratives.

4 October—7 November En Masse Rachel Theodorakis Opening 11 October, 1pm.

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Samer Hatam, Mythclash, Intaglio print, edition of 10, 45 x 45 cm.

7 October—18 October Relics Samer Hatam Relics explores the blurred line between truth and narrative in history. Through limited-edition etchings, Hatam questions the reliability of relics and the stories we inherit, reflecting on how fiction and fact often intertwine. A personal and philosophical journey into the uncertainty of interpreting the past. Opening reception 9 Oct, 5.30pm–7.30pm.

Over five years, Georgia Banks has rigorously delved into the world of Reality TV and AI, exploring ideas of death, fame and legacy, fearlessly provoking viewers to critically engage with the ineffable ways these mediums shape and influence identities, relationships, and the zeitgeist of our nation. Villain Edit brings together key works by Banks into a first-time survey exhibition with a major new performance commission and premiere of Death Warmed Up on Friday 19th and Saturday 20th of September. The video work A Four Letter Word (2020) portrays a dramatic reenactment of Bank’s interview with executive producers of a popular reality TV dating show. Remains to be Seen (2021– ) explores death and legacy in the age of public personas through a competition in which the artist’s corpse is the prize.

DataBaes (2022–23), commissioned

by NGV for Melbourne Now, sees Banks developing an AI chatbot called Gee,

VICTORIA using data from auditioning for reality TV shows. The free opening event runs from 4.30pm–6.30pm on Saturday 2 August, with an artist talk prior at 3.30pm.

Walter Hopps installing Kurt Schwitters’ exhibition, Pasadena Art Museum, 1962.

Courtesy of The Norton Simon Museum Archives.

11 October—12 December After Walter Hopps Community Art Show In their final thematic for 2025, Platform Arts will hand over their gallery in an opencall 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.

Potter Museum of Art → Installation view of 65,000 Years: A Short History of Australian Art, Potter Museum of Art, the University ofMelbourne, 2025. Including items from the Donald Thomson Collection. Gift of Mrs Dorita Thomson, 1973. At rear items from the collection of Museums Victoria. Photography by Christian Capurro.

Mao Chenyu, Noriko Nakamura, Eva Richardson, Janice Stanley, Shen Lieyi, and Karina Utomo.

Ritual Eternal brings together artists whose practices engage with ways of knowing, perceiving and experiencing the world that sit outside prevalent cultural language systems and epistemologies.

Drawing from diverse traditions—sacred, secular, ancestral and subcultural—the works in this exhibition seek to expand conceptions of ritual, transcendence, and the limits of familiar forms of transmission.

Potter Museum of Art www.potter-museum.unimelb.edu.au Cnr Swanston Street and Masson Road, Parkville, VIC 3052 [Map 5] Tues to Sat, 11am–5pm.

30 May—22 November 65,000 Years: A Short History of Australian Art

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.

23 August—16 November Nii Journal Campbell Addy and Ibby Njoya At the intersection of art, fashion, photography, and politics, Nii Journal is a publishing platform that reclaims space for underrepresented voices and reshapes the visual language of identity. Founded

by British-Ghanaian photographer & Ballarat Foto festival headliner Campbell Addy and creative director Ibby Njoya, Nii Journal challenges dominant narratives by centring perspectives from the African diaspora and beyond.

Curated by Associate Provost and Distinguished Professor Marcia Langton AO, Senior Curator Judith Ryan AM, and Associate Curator Shanysa McConville.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989

Karina Utomo and Cūrā8, Swara Sewu, (production image), 2025.

2 August—13 September Ritual Eternal Curated by Cūrā8 (Kim Donaldson and Sean Lowry), featuring Fu Xiaodong, Treahna Hamm, Veronika Hauer & Katie Lee, Huang Qiuyuan, Alicia King, Tristan Liao, Lai Yin, Sorcha MacKenzie,

Tonya Blizzard, Love Letter 1, 2025, acrylic and charcoal on canvas, 92 x 183 cm.

Hiromi Tango, Hinotori火の鳥(Fire Bird), 2023, pigment print on cotton rag art paper.

12 October—31 October Love Letters Tonya Blizzard

23 August—16 November Hagoromo (Full Flower Moon) Hiromi Tango 177

artguide.com.au RACV Goldfields Resort continued...

Inspired by classical Japanese theatre, Noh, as well as Hanakatoba 花言葉, (the Japanese language of flowers), the Full Flower Moon series explore the artist’s Japanese-Australian cultural identity, delving into uncomfortable spaces of grief, separation, longing, and loss.

RMIT Design Hub Gallery

RMIT First Site Gallery

www.rmit.edu.au/design-hub-gallery

www.rmit.edu.au/first-site-gallery

Wurundjeri Country, Level 2, Building 100, RMIT University, Corner Victoria and Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt.

Gallery located below street level.

Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

See our website for latest information.

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.

Xinshuo Zhou, Unnatured, 2024.

Image courtesy of the artist 26 August—19 September Sensory Clay Felix Christie, Kat Craine, Ella Flinn, Larissa Linnell, Aisha Ljubovic, Amy Pontifex, Lily Shepherd, Pauline Alonzo Torrejon

Leila Jeffreys, Superb Fruit Dove, 2017, from the series Ornithurae.

23 August—30 November Nature~ista Leila Jeffreys and Maria Fernanda Cardoso Nature~ista invites us into a world where nature’s creatures are not just subjects of biology, but icons of style, grace, and individuality. Through the lens of photographers Leila Jeffreys and Maria Fernanda Cardoso, this exhibition transforms the outdoor gallery into a vibrant runway of the animal kingdom’s most flamboyant inhabitants.

23 August—19 October A Dahliance Kathy Muhlhan Ballarat based photographer Kathy Muhlhan fuses iconic Lake Wendouree and its Botanical Gardens with Dahilas, summers showstopping bloom.

Lauren Berkowitz, Plastic Topographies, 2022, in The Mourning After, RMIT Design Hub Gallery, Melbourne, 2025.

Photograph: Christian Capurro.

Vở ô ly Phương Nguyên Lê

24 July—20 September The Mourning After Curator: Larissa Hjorth

Alina, Olena, Lana and Jana Tanya Cubric

Unnatured Xinshuo Zhou

The Mourning After invites people to explore grief in all its multiple forms - as something felt, shared and expressed through different rituals and creative practices. The exhibition offers space for reflection, connection and conversation with a program of workshops that explore how creative methods can help us understand grief better.

Molly Morris-McGinty, nightlight, (detail), 2024. Image courtesy of the artist.

7 October—31 October Odes to Ephemera Vittoria Cugno, Emma Lynes, Molly Morris-McGinty Soft Echoes Washing Over Holly Goodridge, Catey Felton Crisis/Decadence Rebecca Porter

RMIT Gallery www.rmit.edu.au/rmit-gallery

RMIT Design Hub → Maree Clarke, Me in Mourning, 2019, in The Mourning After, RMIT Design Hub Gallery, Melbourne, 2025. Photograph: Christian Capurro.

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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.

VICTORIA

Robert Baines, Frisches Fleisch, One Giraffe, brooch, 2011. Image courtesy of the artist.

Shepparton Art Museum → Brett Whiteley, Self portrait in the studio, 1976, Art Gallery of New South Wales, purchased 1977 © Wendy Whiteley.

Robert Baines, Etruscan Disc, circa 5th century BC, 2008. Image courtesy of the artist.

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 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.

Roberson Art Gallery

1 September—31 December Art in Motion. Colours in Harmony.

Exhibition features over 50 framed acrylic on canvas abstract artworks. Curated by David Disher.

Shepparton Art Museum

3 May—5 October Flower Bears Vipoo Srivilasa 28 June—8 October Brett Whiteley: Inside the Studio Ongoing Stories from the SAM Collection

Shivers Gallery

www.sheppartonartmuseum.com.au

www.864shivers.com

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.

Wurundjeri Woi-wurrung Country, 864 Sydney Road, Brunswick VIC 3056 [Map 3] 0474 010 207 Weds to Mon, 11am–6pm.

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.

Latifa Elmrini, The one with the little blue flowers, 2021. Image print on fabric, 210 x 150 cm.

Emmet O’Dwyer, Shoji lake, dusk, 2024.

Image courtesy of the artist.

Robyn Roberson, Deeply Serene, 2024, acrylic on canvas, 80 x 80 cm.

19 March—9 June 2026 Magic Mountains Emmet O’Dwyer

4 September—3 October Contemporary Orientals Latifa Elmrini Contemporary Orientals is a new body of work that explores a vision of the world viewed through a tunnel. The vignettes that result are a mashup of bizarre and 179

artguide.com.au 2 October—25 October Yvette Coppersmith

Shivers Gallery continued... disjointed visions that fuse the female body with a powerful yet subtle presence of rage. Opening 4 September, 6pm–9pm.

Honor Freeman, the me the not me, 2024, porcelain, gold lustre, 9 x 21 x 22 cm.

Photograph: Craig Arnold.

James Paul, ORDER, (still), 2025. multi-channel video installation, duration variable.

17 October—14 November ORDER(chaos) James Paul ORDER is a collection of animated visual musics about staring at the sun and into the sky. The works generate order, chaos, and colour in the pursuit of exploring the structure of perceiving.

In this collection there is brightness, intensity, flickering, and the sense of being overwhelmed. These works were created under the influence of Josef Albers, Jordan Belson, James and Eleanor Gibson, and Jorge Luis Borges.

Opening 17 October, 6pm–9pm.

Stockroom Kyneton

Familiar & Strange Honor Freeman Quiet Exchanges Jade Power 27 September—2 November Brodie Ellis Lara Chamas Emma Jimson

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.

www.stockroom.space

Michael Lindeman, Regression Painting (Bright Sparkle & Ironic Shadow Routine), 2025, finger painted acrylic on mirror, 51.5 x 48.5 cm (framed). Photograph: Mark Pokorny.

30 October—22 November Artist Anonymous Michael Lindemann

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

See our website for latest information.

9 August—9 November Rose Nolan: Breathing Helps Curated by Dr Victoria Lynn. A bold solo exhibition by Rose Nolan featuring large-scale installations and new commissions responding to TarraWarra’s architecture. With a striking red-andwhite palette, the show includes performances by Shelley Lasica and highlights Nolan’s spatial, sculptural, and performative practice.

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.

Ongoing Collection: The Eva & Marc Besen Centre Yvette Coppersmith, Aiaia arched branch, 2024-2025, oil on linen, 41 x 30.5 cm.

Visible Art Storage at TarraWarra Museum of Art. Step into our new Centre, featuring 300+ collection works in

Paul White, Love Bug (Flower Power), 2025, pencil on paper with acrylic aerosol, 150 x 108 cm.

16 August—21 September Shades and fades Paul White 18 0

TarraWarra Museum of Art → Rose Nolan, Big Words (Not Mine) Transcend the poverty of partial vision (floor version), 2021. Installation view Anna Schwartz Gallery. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. Image Christian Capurro.

VICTORIA

open-view storage, a flexible space for learning and performance, and panoramic Yarra Valley views. Host talks, workshops and events, or book an exclusive art tour.

The Torch www.thetorch.org.au 146 Elgin Street, Carlton VIC 3053 Mon to Fri, 1pm–5pm, Sat 11am–3pm.

Free admission

The Torch → Future Dreaming 2024 installation view, The Torch Gallery, Carlton.

Photograph: James Henry.

24 October—22 November Future Dreaming Featuring 250 paintings by First Nations Artists incarcerated in Victorian prisons in 2025. Each artwork is 30 x 30 cm and affordably priced with 100% of the artwork sales going directly to the artists.

Tolarno Galleries www.tolarnogalleries.com

Coby Donnellan, The Desert, 2024, mixed media (acrylic, oil, glue), 122 x 180 cm, image courtesy of the artist.

Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

fashion. Ellen McKenna transforms second-hand items from Boroondara’s op shops—denim jackets, leather belts, bags, shirts, and shoes—into vibrant works of art.

6 September—4 October Nicholas Folland

David Rosetzky, Stay in Love, 2024, archival pigment print, 62.5 x 42.5 cm. Image courtesy of the artist and Sutton Gallery.

13 August—1 November Plural Selves David Rosetzky

Wanapati Yunupiŋu, Gurtha, 2023, found and etched aluminium, 75 x 75 cm.

11 October—8 November Wanapati Yunupiŋu

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 9am–5pm, Sat 12pm–4pm, Closed Sun and public holidays.

Experience the work of Melbourne-based contemporary artist David Rosetzky in this major survey exhibition. Known for his exploration of the plural self and the diversity of human identity, Rosetzky’s works investigate how individuals see themselves in relation to others, often through intimate, collaborative portraits of LGBTQIA+ and marginal identities.

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.

See our website for latest information.

13 August—27 September NAIDOC 2025 Moondani Toombadool Centre NAIDOC 2025 is a community exhibition at Hawthorn Arts Centre by Swinburne University of Technology Aboriginal and Torres Strait Islander artists.

24 September—8 November Opportunity Ellen McKenna In every stitch and scuff lies an opportunity to reimagine and celebrate preloved

Mary Hyde, Further Along the Road.

4 September–21 September The VAS Spring Select Exhibition The VAS Spring Select Exhibition marks 181

artguide.com.au VAS Gallery continued... the third and final qualifying round for artists competing for the prestigious Hylton Mackley Artist of the Year Award.

region of Victoria. Working primarily with pen, ink, wash and mixed media she is drawn to the immediacy and seductive quality of line and mark making to capture the essence of the landscape.

3 September–28 September Au Natural Creagh Manning

26 July—14 September Us Gillian Bencke

Each piece is a personal interpretation of the human form, shaped by moments of instinctive mark-making or slower, more reflective observation.

Newcastle based artist Gillian Bencke’s work re-imagines commonly collected items - ephemera, keepsakes, heirlooms from personal and institutional collections through a textile-based practice.

17 September–21 September Speculative Futures Polish Art Foundation This annual exhibition features the work of Polish artists in Melbourne.

24 September–5 October MSWPS: Changing Perspectives 2025 The 116th Annual Exhibition features new works by members of the Melbourne Society of Women Painters and Sculptors.

1 October–19 October Robyn Pridham A solo exhibition by Melbourne artist Robyn Pridham, whose work explores the tensions between abstraction and figuration.

8 October–19 October VAS Maritime Exhibition

savour local flavours. HOME 25: Invisible

Atong Atem, Bigoa with Fan, 2020, Installation view, Lightbox, 120 x 80 cm.

Courtesy of the artist, and MARS Gallery, Narrm/Melbourne. Photo: Nicholas Addison.

Cities takes place across the streets and sites of Dandenong, showcasing works of 16 refugee, asylum seeker, First Nations and migrant artists.Located in the most multicultural city in Australia, the roving exhibition will be uniquely presented across multiple venues spanning several blocks throughout central Dandenong, such as the cultural precinct (Walker Street Gallery and Arts Centre, the Drum Theatre, Heritage Hill Museum and Historic Gardens), public spaces and the Dandenong Market. Please join us for the public forum Art, Memory and Desire.

Opening Saturday 20 September, 2pm.

Each year, VAS artists interpret the maritime theme broadly, creating pieces that capture both the romance of ocean voyages and everyday life by the water.

Mat Vaughan, There there, 2025, oil on canvas, 2 parts, 73 x 60 cm each.

20 September—9 November There there Mat Vaughan There there brings together a new series of large-scale paintings by North-East Victorian artist Mat Vaughan. Based in the alpine village of Wandiligong, painting for Vaughan inhabits the space between.

8 October–12 October A Retrospective Donald Cameron Donald Cameron 1927-2018 studied at the National Gallery School under Sir William Dargie and at the London Slade School. His wife Audrey is celebrating her 100th birthday and has requested one remaining wish: to fulfil Donald’s dream to hold a retrospective exhibition showcasing his life and work.

Ibrahim Ahmed, Quickly but carefully cross to the other side, #22, 2022, "Unique photocollage, 66.5 x 56 cm.

22 October–2 November 107th Annual Exhibition Twenty Melbourne Painters Society

25 October—16 January 2026 Amidst the Absence, a Present is Felt Ibrahim Ahmed

An unmissable exhibition from distinguished artists working in the traditions of realist, tonal, and impressionist painting.

What’s missing tells the strongest story.

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.

Until 27 September HOME 25: Invisible Cities Vernon Ah Kee, Alee Afzali, Barat Ali Batoor, Rushdi Anwar, Atong Atem, Belinda Farinaccia, Carla Gottgens, Emily Jacir, Soyoun Kim, Karo Moret Miranda, Kent Morris, Adrian Olguin, Maroulla Radisavic, Hayden Ryan, Joseph (Yugi) Williams (Tennant Creek Brio) and Ka Yan So. Explore the sites, sounds and stories of Invisible Cities, rediscover Dandenong and 182

Walker Street Gallery and Arts Centre presents the Australian premiere of celebrated Cairo-based artist Ibrahim Ahmed. Expansive in scale and ambition, this dual-level exhibition gathers powerful sculptural and photographic works created between 2020 and 2025 — including a bold new commission. Please join us for the opening on Saturday 25 October, 6pm.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

13 June—10 September Untamed Barbara Pritchard Barbara Pritchard works from her studio set amongst bushland on Dhuduroa, Jiatmatang country, in the Snowy Mountain

Matthew Harris, With a Warm Embrace, 2023, recycled industrial felt, Wangaratta Woolen Mills acrylic yarn, gesso, acrylic paint, river stones, polyester filling, 2 objects, 95 x 80 x 75 cm each. Wangaratta Art Gallery Collection. Donated through the Australian Government’s Cultural Gifts Program by the artist.

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.

23 August—19 October Primavera: Young Australian Artists Primavera: Young Australian Artists, the MCA Australia’s annual exhibition for artists aged 35 years and under, presents work by six early-career artists who challenge society’s prescribed structures to deliver compelling alternatives to the status quo. Each artist, drawing on their lived experiences, reckons with the perils of history, education, culture and language to question authoritative structures and systems. Guest curated by Sydney based artist and curator Talia Smith, Primavera features artists Tiyan Baker (NSW), Christopher Bassi (QLD), Moorina Bonini

VICTORIA (VIC), Nikki Lam (VIC), Sarah Poulgrain (QLD), and Truc Truong (SA), who investigate themes of protest, reimagining, and perseverance. A Museum of Contemporary Art Australia and Museums & Galleries of NSW touring exhibition curated by Talia Smith. This project has been assisted by the Australian Government’s Visions of Australia program.

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.

Warrnambool Art Gallery www.thewag.com.au Gunditjmara, Eastern Maar, Maar Nation, 26 Liebig Street, Warrnambool, VIC 3280 [Map 1] 03 5559 4949 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm.

5 October 2024—19 October Strong Spirit Merindah-Gunya

artist Andrea Illés. Andrea Illés is a performance artist whose auto portraits explore the relational chasm between self and other. Merging dance, text, sound, and video, her enquiry emerges from the agony and bliss she feels being perceived and, often working with states of overwhelm, Andrea is interested in the possibilities found when bodies fail. no rock no flower explores the hyper-vigilant relationship that trans women have to the images they make with their bodies. Adapted from research into cultural mythology and the tension between its transcription and transmutability, the work will entwine translations of ancient events with the artist’s experiences of love, desire, identification, and her relationship with her own image.

Whitehorse Artspace www.creativewhitehorse.vic.gov.au/ venues/artspace Wurundjeri Woi-wurrung Country, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

See our website for latest information.

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji), Heart of a Champ, 2014, digital print on canvas, Federation University Art Collection. Photograph: Christian Capurro.

28 July—28 September JSXH MVIR Forever I Live Josh Muir JXSH MVIR: Forever I Live is a Koorie Heritage Trust (KHT) touring exhibition.

29 March—2 November Considering the Collection Warrnambool Art Gallery Permanent Collection.

23 May—26 October Spider with the Glass Legs Tamara Henderson Curated by Micky Schubert.

2 August—19 October Alexandra Peters Curated by Micky Schubert

West Space www.westspace.org.au Wurundjeri Country, Level 1 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

Wedding of Norman Stanley Garden and Ida Victoria Goods, Box Hill, 1942. Image courtesy Whitehorse Historical Society.

13 September—25 October Finding the One: Wedding dresses from Whitehorse Set against a backdrop of local landscapes from Whitehorse Art Collection, the wedding dresses are anchored to a time and place. The exhibition includes the 1910 wedding dress of Mary Schwerkolt, a woman who lived through two World Wars and experienced the confiscation by the government of her family home in Mitcham. Despite the trials and hardships on our life journeys, these dresses and their settings hold the power to evoke universal happy moments.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts Andrea Illés, 2025.

6 September—25 October no rock no flower Andrea Illés West Space presents the first major solo exhibition by Naarm/Melbourne based

177 Watton Street, Werribee, VIC 3030 [Map 1] wyndhamartgallery @wyndham.vic.gov.au Mon to Fri 10am–4pm, Sat and Sun 10am–3pm.

See our website for latest information.

Sally Smart, The Artists Ballet Puppet, 2021–22. Photograph: A. Murphy.

10 October—21 December Beyond the Ballerina Joel Bray, Zoe Croggon, Anne Ferran, John McCormick, Sally Smart, Leyla Stevens, Anne Scott Wilson When movement becomes visual art.

The practice of Dance is multi-dimensional. It crosses many mediums, cultural contexts, locations and forms. Beyond the Ballerina looks at dance through the visual arts, taking the artform out of the theatre and off the stage, placing it in the gallery, seen through the eyes of visual artists.

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New South Wales

Exhibitions

SEP TEMBER/OCTOBER 2025

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail, Tuesday, 2025, oil and acrylic on linen, 80 x 100cm

September - October

SIGUR

SERIES

JULIE HARRIS

ANNANDALE GALLERIES

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GRAPHICS

GEO

ANNANDALE GALLERIES

a n n a n d a l e g a l l e r i e s .co m . a u 1 1 0 Tra fa l g a r S t re e t A n n a n d a l e N SW A u st ra l i a + 61 2 9 5 52 1 69 9 We d - S a t 1 1 a m - 4 p m C h a r l e s C o o p e r, Ti c k To c k I V , 2 0 24 , o i l o n c a nva s , 1 2 2 x 9 2 c m (d e t a i l )

September - October

CHARLES COOPER

Hank Spirek, Eve, mixed medium on paper, 56 cm x 76 cm.

Featuring recent work by Hank Spirek 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

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Exhibition of 2025 Finalists Presenting the best of contemporary Australian painting 31 August to 5 October 2025

Amanda Penrose Hart, Shepherd’s Lookout, 2023, oil on canvas.

Winner of Calleen Art Award 2024. Image courtesy of the Artist.

77 Darling Street, Cowra NSW 2794 Open Tuesday to Saturday 10am-4pm, Sunday 10am-2pm, Mondays closed.

Wheelchair access. Admission is free. www.cowraartgallery.com.au

WYNNE PRIZE 2025 Orange Regional Gallery 6 September - 16 November 2025

Image: Wynne Prize 2025 finalist, Vipoo Srivilasa Silent allies © the artist

2 August – 26 October 2025

Shireen Taweel, instrument three, 2024, hand engraved and pierced copper.

Image taken by Document Photography, courtesy of the artist and STATION gallery

Shireen Taweel Edge of the C penrithregionalgallery.com.au

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.

Victor Rubin (1950-), Wattle and Flannel Flowers acrylic on paper, 75x55cm.

2 Moncur Street, Woollahra NSW, 2025.

Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only.

(02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

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Justin Miller Art – Experts in the acquisition and sale of significant Australian and international artworks.

Address: 10A Roylston Street, Paddington NSW 2021 Phone: +61 2 9331 7777 Email: info@justinmiller.art Gallery Opening Hours: Tuesday – Friday: 10am – 5pm Saturday – Sunday: 11am – 5pm

The SteelReid Collection including Peter ADAMS Elizabeth CUMMINGS Lawrence DAWS Warwick FULLER James GLEESON Kudditje KNGWARREYE Norman LINDSAY Stewart MACFARLANE Mervyn MORIARTY

Norman Lindsay

Michael SMITHER John WILSON Reinis ZUSTERS

John Wilson

h dy S Wen

Michael Smither

SteelReid Collection

Wendy SHARPE

Randall Sinnamon

arp e

www.steelreidstudio.com.au

Stewart MacFarlane

ADC On Tour presents the exhibition of finalists Australian Design Centre (NSW) • 10 October to 22 November 2025 JamFactory (SA) • 5 December 2025 to 12 April 2026

makeaward.au

An Australian Design Centre Initiative

Ann Morton and Greg Daly Obsession to Create An exhibition exploring still life, landscape and atmosphere 10 October to 16 November 2025

Greg Daly, Storm at Sunset, 2025, lustre glaze earthenware.

Ann Morton, The Wren, 2004, oil on linen.

77 Darling Street, Cowra NSW 2794 Open Tuesday to Saturday 10am-4pm, Sunday 10am-2pm, Mondays closed.

Wheelchair access. Admission is free. www.cowraartgallery.com.au

Queanbeyan Palerang ARTS TRAIL OCT 2025

SOUTHERN TABLELANDS, NSW

TREASURETRAIL.COM.AU/ARTS

GLASSHOUSE REGIONAL GALLERY

NEW EXUBERANCE CONTEMPORARY AUSTRALIAN TEXTILE DESIGN On view: 30 August to 23 November Image: Nixi Killick, Cryptic Frequency Augmented Reality Activated (insitu), scuba knit

New Exuberance: contemporary Australian textile design is a JamFactory touring exhibition supported by the Visions of Australia touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

GLASSHOUSE REGIONAL GALLERY PRESENTS

TAKE A SEAT

AN EXHIBITION BY ARTISTS BRAD COLLINS AND CHRIS PROCTOR On view: 27 September to 9 November

GLASSHOUSE PORT MACQUARIE Corner Clarence & Hay Streets, Port Macquarie NSW 2444

glasshouse.org.au

Regional Gallery Opening Hours Tue - Fri 10am - 4pm Sat, Sun & Public Hol’s 10am - 2pm Closed Mondays

fe a t h e r e d

Birds in My th and Memory

26 September to 29 November 2025

Barbara Hanrahan Awazu Kiyoshi Clifton Pugh Brett Whiteley Arthur Boyd Jeffrey Smart Fiona Hall Judith Pungarta Inkamala Khadim Ali Iluwanti Ken Louise Robertson Roxanne Petrick Sydney Long Neville Cayley Fiona Lee Jane Du Rand Zoe Tweedale Emily Valentine Amber Carbury Stephen Bowers Del Kathryn Barton Russell Saunders Jeremy Saunders ARTWORK: Del Kathryn Barton The Nightingale and the Rose (still), 2015 Del Kathryn Barton (artist/director), Australia Brendan Fletcher (director), Australia stop motion animation Based on Oscar Wilde's The Nightingale and the Rose 1888

Manning Regional Art Gallery 12 Macquarie Street, Taree 2430 02 7955 7074 art.gallery@midcoast.nsw.gov.au manningregionalartgallery.com.au

Open Tuesday to Saturday 10am – 4pm Closed Sunday, Monday, and public holidays @ManningRegionalArtGallery #manning_regional_art_gallery

Spring 2025 The Leo Kelly Blacktown Arts Centre Tuesday to Saturday, 10 am to 5 pm 78 Flushcombe Rd, Blacktown NSW 2148 (02) 9839 6558

Image: Lakshmi Bee, Armando Crisostomo and Iki Haangana at The Leo Kelly Blacktown Arts Centre, 2025, Photo by Garry Trinh

artguide.com.au

Annandale Galleries Art Gallery of New South Wales www.annandalegalleries.com.au Gadigal Country, 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

Through varying styles and contexts the aim of Annandale Galleries is to show the best of Australian and international contemporary art. Recent exhibitions have included a range of artists recognised and revered the world over.

Art Leven

(formerly Cooee Art)

www.artgallery.nsw.gov.au

www.artleven.com

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.

Gadigal Land, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

See our website for latest information.

Sydney’s must-see museum, where art, architecture and landscape connect.

Art for all.

Artbank Sydney www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Fri 12noon–4pm, or by appointment for all leasing requirements.

See our website for latest information.

Carol Puruntatameri, Yipali and Purrukupali, 2024, ochre on bark, 86 x 54 cm.

Tom Polo, IT’S REALLY GOOD, synthetic polymer on canvas, 2011, purchased 2012, Artbank Collection.

28 August—24 October Artbank Window Gallery: Art Text/ Text Art: 45 years of visual story telling Abdulla, Davida Allen, Darcey Bella Arnold, Mitch Cairns, Scott Duncan, Fiona Hall, Chayni Henry, Nyurpaya Kaika, Heather Koowootha, Michael Lindeman, Alasdair McLuckie, Noel McKenna, Mary Pan, Tom Polo, Jörg Schmeisser, Justin Trendall, John Ullinger, Judy Watson.

Curated by our first curator James Kenney (Artbank curator 1980–1996).

As part of Artbank’s 45th birthday celebrations we invited James Kenney, our first curator (1980–1996) to revisit the collection that he was so foundational in shaping. Kenney chose to focus on the theme of Australian stories and in particular with artists that work in both image and text. Against the tenets of modernism, and through the rise of conceptual art, artists found a renewed interest in the combination of image and text in the 1980s and 1990s. Ranging from political slogans to memoir, from cartoon to data representation, the exhibition is rich with a diversity of approaches. Kenney revisits this moment through both historic pieces and more contemporary examples representing the legacy of these movements. Kenny is interested both in the calligraphic qualities of text as well as the more literary messages.

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N Marawili, Lightning, 2017. Art Gallery of New South Wales. Purchased with funds provided by the Wendy Barron Bequest 2017. © Estate of N Marawili. Image © Art Gallery of New South Wales.

Until 6 October Yolŋu power: the art of Yirrkala Yolŋu power: the art of Yirrkala showcases the extraordinary artists of Yirrkala and the power of their art from the 1940s to the present. The exhibition considers the significant moments in Yirrkala’s history when artists have consciously altered their practice, developed new styles or embraced new mediums.

From 4 October The Key’s Under the Mat Mike Hewson Australia’s most dramatic exhibition space is completely transformed, as artist Mike Hewson brings his unique and boundarytesting brand of social sculpture to the Nelson Packer Tank.

30 August—11 January 2026 Kaldor Public Art Project 38 Thomas Demand: The Object Lesson Key works from the Kaldor Collection feature in an exhibition space created by Thomas Demand.

Until 11 January 2026 High Colour High Colour is an immersive exploration of local and global Indigenous perspectives on colour.

11 September—14 September Art Leven at Sydney Contemporary Art Fair | Booth J09 Ngarukuruwala Kapi Murrakupuni We Sing to the Land. Bark Paintings by Carol and Alison Puruntatameri.

Presented in collaboration with Munupi Arts, Tiwi Islands.

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.

4 September—5 October HOME GROWN; Bound by Place Geoffrey Adams, Sally Alpin, Katrina Beissel, Liam Black & Pamela Leung, Neilton Clarke, Terhi Hakola, Pamela Leung, Anne Levitch, Damien Nicholls, Tracey Stirzaker, Alma & Brett Studholme and Fangmin Wu HOME GROWN; Bound by Place is a contemporary art exhibition exploring how identity is shaped by the places we call home. Displaying personal narratives, community connections and the emotional landscapes of memory and belonging, the featured artists highlight the powerful

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

Katrina Beissel, Home in time for dinner, 2025, water-mixable oils with acrylic underpainting on canvas. influences of hometowns and upbringing in their varied works.

8 October—19 October Ukrainian DNA Maru Jarockyj Ukrainian DNA is an exhibition by Maru Jarockyj that highlights the infusion of her Ukrainian heritage with linear blocks and coloured cubic assemblies, resulting in a body of work defined by symbolic Ukrainian themes. Maru’s fascination with abstraction, geometry and fragmented forms is an enduring constant of her artwork, which spills onto the canvas in a symphony of eclectic lines.

These lines, which resemble strands of strong Ukrainian DNA, represent the unbreakable yet extremely precious bonds that connect a ‘ukie’ person with heritage, family, community and beliefs.

Bankstown Arts Centre → Tia Madden, Some Sort of Notion, 2024. First Draft installation view. Photograph: Jessica Maurer.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm.

Established in 1956, Australian Galleries has continued to represent significant contemporary Australian artists and their work for 60 years with a vibrant monthly exhibition program and extensive stock gallery.

Bankstown Arts Centre www.bankstownartscentre.com.au Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

Courtesy of Dafna Maimon.

26 July—6 September Gut Waters Erin Coates, Kathy High, Eugenia Lim, Dafna Maimon, Helen Pynor, Justine Youssef

Gaia Starace, Casa-House, 2025, mixed media.

22 October—2 November CASA / HOUSE: Interior of Abstract Memories Gaia Starace CASA / HOUSE: is an immersive body of abstract work that invites the viewer into a space of memory, emotion, and interiority. Rooted in the idea of home as both a physical and psychological sanctuary, the exhibition unfolds like a domestic dream — soft, unstable, and deeply personal. Created through an intuitive, process-based approach, each piece reflects not an object or a scene, but a felt experience — a gesture toward a moment, a colour that lingers like a memory. These compositions act like rooms within a house of feeling: layered, quiet, and open to interpretation.

Michelle Hiscock, Darling Point, 2025, ink, watercolour and gouache on paper.

76 x 56 cm.

4 September—27 September Friendship & the creative journey Michelle Hiscock and Jonathan Nix Studia Naturae Susan Hipgrace 7 October—25 October Seven Days of Summer Salvatore Zofrea 11 September—14 September Photo Sydney, Sydney Contemporary, Booth A12 Greg Weight

Gut Waters explores the role of the gut in reimagining our health and place in the world based on the ongoing research of Dr Vanessa Bartlett. Through the interdisciplinary lenses of art, science and health, the exhibition positions the gut as point of connection between the world inside and outside our bodies. It features new commissions, site-specific installations and recent works by four Australian and two international artists. Supported by the NSW Government through Create NSW. Lead Curator: Dr Vanessa Bartlett.

Curatorial Collaborator: Rachael Kiang.

27 September—8 November The Fine Line Tia Madden, Thomas Marcusson, Liam Houlihan, Dean Qiulin Li, Rose Dolenec Hannan, Willow Ferris The Fine Line investigates how obsession manifests across different disciplines, both in its creative and destructive forms.

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artguide.com.au Bankstown Arts Centre continued...

From paper to screen, the “Obsessed Artist Trope” is more than a fictional cliché, it lurks in some lived realities within creative fields today. In the pursuit of perfection, obsessed artists expend excessive effort to the point of being consumed by their work regardless of success. While literature and film cemented the “Obsessed Artist Trope”, the exhibition considers how technology and contemporary conditions have caused it to evolve.

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.

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.

Mara Schwerdtfeger, Lace Pattern 2, midi sound graphic. composer Mara Schwerdtfeger combines graphic music scores with state-of-theart Shima Seiki Knit technology at the UTS Knit Lab. Poetically, when the Shima knits the scores, it “sings” the lace, giving ethereal form to untold lacemakers in history.

25 October—7 November Sally Campbell Textiles: The Grand Finale After 20 years we are saying goodbye. It has been an amazing journey, travelling to remote parts of India, designing handmade textiles with brilliantly talented artisans.

Bathurst Regional Art Gallery www.bathurstart.com.au

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.

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.

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.

Rowan Conroy, epiphyte epiphany, 2025.

30 August—13 September Walking in Deep Time Rowan Conroy presents a series of recent black and white photographs captured in a Gondwana rainforest in Eastern Australia.

Conroy’s work investigates photography as a historical narrative of place, site and time.

Monica Rani Rudhar in studio, 2025.

Photograph: Garry Trinh.

8 July—13 December Makers Space with Monica Rani Rudhar

16 September—5 October Material Intelligence Material Intelligence examines the interplay of form, texture, and process through the diverse material practices of ceramics and textiles. Artists and designers Rina Bernabei, Kelly Brown, and Barbara Rogers engage in a dialogic exploration that interweaves their individual practices, creative processes, cultural heritages, and personal narratives. The exhibition critically reflects on the nature of making and the creative potential inherent in craft traditions.

11 October—19 October Lace as Sound Artist Cecilia Heffer presents an ephemeral textile installation developed out of a Powerhouse Museum Research Fellowship, which explores the structure of lace as sound. A novel collaboration with 20 4

Allison Chhorn, Memory House, 2012–13, 35mm photograph. Courtesy of the artist.

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.

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

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.

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

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.

15 August—2 November Pro Hart Outback Art Prize 2025

Annabel Mason, We all have skeletons, 2024, acrylic and oil stick on board, 32.2 x 40.5 cm. Photograph: silversalt.

An open-themed, national acquisitive award, the Pro Hart Outback Art Prize showcases a bold and diverse array of work that reflects the spirit, complexity and beauty of the Australian outback.

Presented by Broken Hill City Art Gallery with support from the Hart family, the prize honours the creative legacy of Pro Hart and his role in shaping the region’s cultural identity.

16 August—5 October Creative Foundations

Isabella Seraphima Rose, Outback Dreamscapes, 2025.

In this poignant new series, Broken Hill artist Ann Mitchell pays tribute to endangered and extinct species through delicate watercolours.

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.

This exhibition brings together seven artists who are part of a growing creative community at The Foundations Portland – a former cement works in regional NSW, now transformed into a vibrant arts precinct. A Blue Mountains City Art Gallery exhibition.

4 October—16 November Comfort, By Design or Default: Ebony Wightman Repositioning ‘Comfort’ as a collective, cultural responsibility, Ebony Wightman will engage with artists and audiences with disability who have felt isolated, disengaged or excluded from the creative communities that should sustain them.

A Blue Mountains Cultural Centre Altitude exhibition.

11 October—23 November The Scales: what The Scales brings into focus a quarter of a century of contemporary 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 curated by Hayley Zena Poynton.

Bundanon www.bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm.

Aimee Volkofsky, We Were Women Before Our Time, (still), 2025.

15 August—2 November We Were Women Before Our Time Aimee Volkofsky Set on Wilyakali Country, this immersive multimedia installation by Aimee Volkofsky gives voice to generations of women living in and around Broken Hill. Through sound, video, archival material and diary excerpts spanning over a century, the work forms a layered portrait of girlhood, feminism, identity and survival in a remote mining town.

15 August—2 November Outback Dreamscapes Isabella Seraphima Rose Blurring realism with fantasy, Isabella Seraphima Rose reimagines colonial terrace houses set against vast natural landscapes.

15 August—2 November Going, Going, Gone Ann Mitchell

Linda Seiffert & Gregory Crocetti, Entanglements of Earth, (work in progress) 2025, ceramic, dimensions variable.

Courtesy of the artists.

9 August—21 September Entanglements of Earth: Gregory Crocetti and Linda Seiffert Featuring ceramic and glass sculptures made collaboratively between ceramic artist Linda Seiffert and microbial ecologist Dr. Gregory Crocetti. A Blue Mountains Cultural Centre Altitude exhibition.

Betty Kuntiwa Pumani, Antara, 2020 (detail), synthetic polymer paint on linen. Courtesy of the Artist, Mimili Maku Arts and Museum of Contemporary Art Australia. Image, © Betty Kuntiwa Pumani/ Copyright Agency, 2025, photograph: Jessica Maurer.

28 June—5 October Malatja-malatja (those who come after) Betty Kuntiwa Pumani 20 5

artguide.com.au Bundanon continued...

Betty Kuntiwa Pumani’s paintings reveal a shimmering landscape of red earth, bright blue waterholes and stippled white tobacco flowers. They represent Antara, her mother’s Country in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in north-western South Australia, and Tjukurpa storylines centred on maku, the witchetty grub.

Betty Kuntiwa Pumani: malatja-malatja (those who come after) is the artist’s inaugural museum survey, encompassing key loans from public and private collections, including works shown publicly for the first time.

Campbelltown Arts Centre → Jagath Dheerasekara, Gaja: a story of the elephant, (detail), 2025, in every room, installation view, Campbelltown Arts Centre, 2025.

Image credit: Silversalt Photography.

5 July—14 September in every room Lara Chamas, Jagath Dheerasekara, Kuba Dorabialski, Roberta Joy Rich, Sancintya Mohini Simpson and Curtis Taylor

David Sequeira, Form from the Formless (Under Bundanon Stars), 2025, (detail), gouache and pencil on music manuscript.

Courtesy of the artist. Image © David Sequeira, 2025.

28 June—5 October The Shape of Music David Sequeira The Shape of Music brings together four bodies of work by David Sequeira in diverse media, including a major new commission for Bundanon. Sequeira’s creative practice reflects a longstanding interest in colour, geometry, and sound. Ideas of presence, endlessness and contemplation inform his delicate paintings on music manuscript sheets – their overlain geometric forms creating chords of intense colour.

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.

5 July—14 September Poetic Vocabularies Tracy Abdulla, Christine Dean, Robert Fielding, Julie Gough, Chayni Henry, Warwick Keen, Michael Lindeman, Raquel Ormella, and Peter Tyndall

CBD Gallery www.cbdgallery.com.au

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Returning for its second year, CBD Gallery will exhibit at Sydney Contemporary from 11 September—14 September. Dedicated to showcasing contemporary Australian artists since its 2023 launch, the gallery expanded its presence this year with two booths: Main Booth J08 and Paper Booth B04, each presenting a distinct curatorial focus.

72 Erskine Street, Sydney, NSW [Map 8] 0450 130 422 Tue to Sat, 11am–5pm.

28 August—4 October Inner Currents: Abstraction and the Unseen Self Richard Blackwell, Tony Curran, Skye Jamieson, Ben Rak, Dionisia Salas Inner Currents explores how the processes of abstract art serve as a conceptual tool for artists to engage in self-discovery and reflect on lived experiences. Through abstraction, artists transcend literal representation, delving into the emotional and psychological complexities that shape their identity and perception of the world.

Douglas Schofield, Attempts at subtlety and mist, 2025, acrylic and oil on canvas, 132 x 112 cm.

9 October—8 November Landscapes Reimagined Group Show Julie Edgar, Ember Fairbairn, Mohamed Khadra, Jasmine Mowbray, Julie Nicholson, Douglas Schofield.

2024 Fisher’s Ghost Art Award.

Campbelltown Arts Centre. Image credit: Silversalt Photography.

27 September—21 November 2025 Fisher’s Ghost Art Award

11 September—14 September Sydney Contemporary Main Booth J08: Martin Claydon, Tracey Jones, Sophie Lampert, Nicole Zhang. Paper Booth B04: Junko Hagiwara, Libby Moore, Steven Patterson, Douglas Schofield, Boris Toucas.

Tony Curran, Swipe to type, 2025, acrylic on linen, 97.5 x 82 x 4 cm.

Presented by CBD Gallery, Landscape Reimagined brings together six contemporary artists who explore the intersection of land, memory, and perception. Through abstraction and intuitive mark-making, the exhibition reflects on the landscape as a shifting, psychological terrain shaped by lived experience and emotional resonance.

Each work invites a renewed way of seeing the natural world - as fluid, layered, and deeply personal. Opening Thursday 9 October, 6pm–8pm.

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

Ceramic Break Sculpture Park

Cowra Micro Gallery

www.cbreaksculpturepark.com.au

www.cowramicro.weebly.com

Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 1 March to 1 December, Thu to Sun, 10am–5pm and by appointment.

Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat & Sun, 10am–2pm, or by appointment.

Ann Morton, The Wren, 2004, oil on linen.

Cowra Micro is a new art space at Cowra Railway Station founded by Artists of Cowra East (ACE).

10 October—16 November Obsession to Create Ann Morton and Greg Daly

Liz Powell, Lost Clothesline, drypoint etching, encaustic, oils, 55 x 60 cm.

Opening 7 September Larger Than Life A Borderline art group exhibition featuring artists throughout the Granite Belt.

Exhibition open from 10am–5pm and continues through October. 2025 Triennial Acquisition Sculpture Prize winner announced at the opening.

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.

Obsession to Create exhibition brings together two Cowra artists Ann Morton and Greg Daly, one a painter the other a ceramicist. For over 30 years a collaboration has taken place between these two artists of different mediums—Greg making ceramic vessels for Ann to include in her still life paintings. Both are drawn to the Cowra landscape and atmospheric light, these elements appearing in Ann’s landscapes and in the surfaces of Greg’s ceramics. Ann’s still life paintings are rich in composition and alive with details from the lace tabletop on which sits Greg’s work filled with flora that creates a canvas of complexity. Her landscapes strive to capture the colour, light and mood of the land and sky. Greg’s work draws upon light and interaction with the atmosphere and environment. He captures impressions of light through mist, rain, clouds, sunrise, sunset, dust, storms, heat and the moment as the sun goes down—that after glow that changes for just a moment the land and sky. His ceramic pieces reveal the importance of light itself interacting with the lustre surfaces of the work. Light and lustre have a synergy that creates colour and movement. The angle of the light striking the lustre surface will change its colour and intensity as you move around each of his ceramic works.

Danielle Allen, Grand Champion, Horticulture section, 2025, acrylic on linen.

13 September—28 September Take 2 Sonia Turner and Danielle Allen Take 2 celebrates the artwork of two rurally based women who are reclaiming their creative identities with vigorous energy after years of juggling work, parenting, farm life and other responsibilities. Responding to the natural beauty and ephemeral landscapes in which they live; photographing, painting and creating for the sheer joy of it, because life is short.

31 August—5 October Calleen Art Award 2025 The Calleen Art Award is an annual acquisitive painting prize and exhibition. It presents the best of contemporary Australian painting in any style, theme or subject.

The Award was established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM to encourage originality, creativity and excellence in the visual arts, and is made possible by the generous support of the Calleen Trust. The exhibition is a must-see opportunity for collectors, art lovers and those with a special interest in contemporary painting.

Cowra Micro Gallery → Sonia Turner, Starburst, 2015, black and white digital print.

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Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney.

02 9699 5353 Tue to Sat 10am–5pm.

D’Lan Contemporary www.dlancontemporary.com.au 97-99 Queen Street, Sydney/Gaidigal Country NSW 2025 [Map 10] 02 9199 9646 Tue to Fri 10am–5pm, Sat 11am–4pm.

the highlight of which, Djorra 2014-15, consists of 45 decorated panels.

8 September—25 October Purtaninga Ngima (Rainbow Serpent Feeling) Jane Margaret Tipuamantuamirri D’Lan Contemporary is proud to present a solo exhibition of paintings and works on paper by Jane Margaret Tipuamantumirri, in association with Munupi Arts and Crafts Association, Melville Island, and Ngaruwanajirri Art Centre, Bathurst Island.

Jane Margaret Tipuamantuamirri: Purtaninga Ngima (Rainbow Serpent Feeling) will open with a celebratory event on Saturday 11 September, 11am–1pm at D'Lan Contemporary Sydney.

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.

Animal examines the raw, often animalistic behaviour of humans in their relationship with the natural world.

7 October—25 October Lineage 1631.1 Linda Sok A Cambodian-Australian artist whose work investigates the intergenerational transmission of cultural identity through the language of textile. In Lineage 1631.1 she shows paintings upwards of 160 meters long, scrolled archives fragmented yet almost tangible when collated.

28 October—15 November Penny Byrne: A Survey Penny Byrne With her trademark acerbic wit imbued into re-imagined porcelain figures to imposing bronze sculpture, Penny Byrne dissects political and social tensions, offering commentary that is both provocatively satirical and deeply reflective. This career survey assembles a compelling curation of key works and new pieces.

Fellia Melas Gallery www.fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

See our website for latest information.

The Gallery predominantly exhibits figurative, abstract and realist paintings by Australia’s leading contemporary artists.

Kitty Kantilla, c. 1928 - 2003, Pumpuni Jilamara, 2003, earth pigments on linen, 57.5 x 74 cm. © The Artist/Copyright Agency 2025.

11 September—14 September Sydney Contemporary D'Lan Contemporary will feature the work of prominent Top End and Tiwi Island artists Nyapanyapa Yunupiŋu, Midpul (Prince of Wales) and Kitty Kantilla, alongside works by rising artists Jane Margaret Tipuamantumirri and Rerrkirrwaŋa Munuŋgurr at this year's Sydney Contemporary.

Leading the exhibition will be a series of multidisciplinary works by the late Nyapanyapa Yunupiŋu from Yirrkala,

Lucienne Rickard, 3 Boxers 2 Belted Galloways, 2025, graphite on paper, 75 x 60 cm. Image courtesy of Lucienne Rickard and Eloise Cato Gallery.

2 September—4 October Animal Lucienne Rickard A Tasmanian artist whose powerful drawings outcry extinction and species decline.

Victor Rubin (1950-), Wattle and Flannel Flowers, acrylic on paper, 75 x 55 cm.

Jane Margaret Tipuamantumirri, born 1982, Ampitji, 2025, earth pigments and synthetic binder on canvas, 100 x 100 cm. © Courtesy the Artist, Munupi Arts & Crafts Association and Ngaruwanajirri Inc. 20 8

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.

Linda Sok, Lineage 1631.1, (detail), 2025, dye, silk, pewter, steel and polyester nylon. Image courtesy of Linda Sok and Eloise Cato Gallery.

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

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.

29 August—22 September Australian Fibre Art Award Artwear Publications The Australian Fibre Art Award (AFAA) celebrates the creativity and skill of fibre artists from across the country.

Established in 2021, this biennial, nonacquisitive competition offers prizes of over $2,000. This project is grant funded

by City of Canada Bay.

Gosford Regional Gallery → Gosford Art Prize 2024 at Gosford Regional Gallery.

Gallery LNL www.gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Tue to Sat 10am–6pm.

5 September—4 October Metamorphic Ian Jones

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

Flora Friedmann, Rain Catcher 2.

26 September—28 October A Coming of Age Flora Friedmann This exhibition marks twenty-one years since Flora Friedmann first became bewitched by the craft and art of basket making. A Coming of Age is symbolic of her growth in confidence in her skills. The mix of traditional and contemporary baskets exhibited are a result of the inspiration she has taken from many different cultures and makers. At times, she has felt she is dancing with the fibres – sometimes the materials dictate the type of weave and other times, the weave tells her what fibre to use. Artist talk: 15 October, 11am– 12noon, from $20.

Chester Nealie, Tenmoku Urn, 2011, woodfired stoneware, salt glazed tenmoku over ball clay slip, shell marks.

5 September—4 October Woodfire 2025 Steve Harrison, Ryuichi Kakurezaki, Gi Ho Lee, Sandy Lockwood, Moraig McKenna, Chester Nealie, Yeon Tae Park, Joshua Rowell, Bill Samuels, Goro Suzuki, Aaron Scythe, Byung Uk Park and Soo Yeol Yang.

Glasshouse Regional Gallery www.glasshouse.org.au

25 September—28 October Australian Quaker Narrative Embroidery Project Friends in Stitches Committee This collection of embroidered panels is designed to tell the story of The Religious Society of Friends (Quakers) in Australia, through stitch. Inspired by the 77 elaborate and intricately designed British Quaker Tapestries (the ‘Kendal Tapestries’), these follow the same approach, focusing on the Australian perspective.

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.

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.

Ian Jones, Slab Built Vase, 2025, uglazed anagama fired.

19 July—21 September Looking Back Moving Forward … bringing the past with us NSW Mid North Coast Fibre Artists Network 20 9

artguide.com.au Glasshouse RegionalGallery continued...

The works featured utilise elements of performance art, through actions and perspectives that engage the body and time in unique ways. Artists embrace tenets of performance, with many directly featuring the body, voice, or gesture. Other works convey lived experience through language, layered imagery, and intimate visual detail that echoes human perception and sensory experience.

Artists Virginia Hilyard and Fiona Kemp, equipped with discreet consumer technologies, journeyed across Russia to Kotlin Island, to take part in an immersive art residency. Place of Anchors, produced for GCS, invites viewers into a sensory and conceptual exchange with Kotlin Island—its inhabitants, atmosphere, sonic textures, ecologies, and topography.

Nixi Killick, Cryptic Frequency Augmented Reality Activated (insitu), scuba knit.

30 August—23 November New Exuberance JamFactory Touring Exhibition.

Barbara May, A Dream Came True 2, 2024, 38 x 48 cm. Screenprint, linocut and collage.

2 October—25 October Dreaming, Looking Inwards

Artists Bradley Collins and Chris Proctor.

27 September—9 November Take A Seat Brad Collins and Chris Proctor

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm.

Zoe Brand, (heavy sigh), 2019, Pressed aluminium, cord, 18 x 4.5 x 0.2 cm. Image courtesy the artist.

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. In her practice, Brand engages with the ambiguity and slippages of language, exploring the multiple readings and associations of single words or statements.

15 artists from Open Bite Printmakers Inc explore the interplay between traditional and contemporary printmaking techniques in an exhibition imagining inner worlds, memory, and the quiet space of reflection.

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.

Grace Cossington Smith Gallery www.gcsgallery.com

Jodie Whalen, We already know how to build a time machine, 2023, video still, HD video, with sound, 16:9, 4:58 min. Image courtesy of the artist.

GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm.

Free admission.

5 September—8 November Moving Hannah Brontë, Katthy Cavaliere, Lottie Consalvo, Dennis Golding, 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.

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Virginia Hilyard and Fiona Kemp, Still from the video series round and around, 2025.

5 September—27 September Place of Anchors

Olive Cotton, Teacup ballet, 1935, National Gallery of Australia, Kamberri/Canberra, purchased 1983.

23 August—19 October Olive Cotton and her contemporaries Olive Cotton is one of Australia’s great

N E W S O U T H WA L E S modern photographers. For the first time, her work is being exhibited alongside photographs by some of the most celebrated figures in international photography, including Ilse Bing, Dora Maar, and Lucia Moholy. Olive Cotton and her contemporaries will illuminate Cotton’s exceptional innovations. Olive Cotton and her contemporaries is a National Gallery Touring Exhibition presented as part of the Bowness Family Foundation Photography Touring Program.

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.

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.

Hazelhurst Arts Centre

Until 14 September Sanctuary: 25 Years of Hazelhurst Arts Centre Del Kathryn Barton, Michelle Cawthorn, Adam Cullen, Marc Etherington, Cherine Fahd, George Gittoes, Rochelle Haley, Bianca Hester, Gavin Hipkins, Shen Jiawei, Ildiko Kovacs, Bob Marchant, Alexander McKenzie, Idris Murphy, Caroline Rothwell, Alex Seton, Peter Sharp, Garry Shead, Hiromi Tango, Imants Tillers, Esme Timbery and Marilyn Russel, Kerry Toomey, Jason Wing, Anne Zahalka.

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.

14 August—31 October Production Design: Scene Archtects Build On-Screen Worlds

www.hazelhurst.com.au Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm.

Free admission.

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.

Ken Done, Tuesday, 2025, oil and acrylic on linen, 80 x 100 cm.

20 August—15 October Recent Work Ken Done

King Street Gallery on William www.kingstreetgallery.com.au 177-185 William Street, Darlinghurst, Sydney NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm, Sun and Mon by appointment.

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.

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.

David Lawrey & Jaki Middleton, Eternal Return, 2023, sculpture (with kinetic model components). Winner of the Hazelhurst Art on Paper Award 2023.

Image courtesy the artists.

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.

Korean Cultural Centre → Installation view at the Korean Film Museum, 2023. Image courtesy of the Korean Film Archive.

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Lismore Regional Gallery

The Lock-Up

www.lismoregallery.org

90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm.

Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thur until 6pm.

www.thelockup.org.au

Liverpool Powerhouse: 13 September—26 October 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

Melanie Valentine, Eastern Wisdom and Modern Life, 2024.

15 August—5 October Melanie Valentine: Active stillness

Dear Belly: Food Stories from Liverpool is a vibrant exhibition served like a mezze; rich, diverse, and meant to be shared. It is a celebration family, feasts, and the global food cultures that flavour the heart of the city.

Sonia Levy, We marry you, O sea, as a sign of true and perpetual dominion, video still, 2025. Courtesy the artist and TBA21.

22 August—16 November We marry you, O sea, as a sign of true and perpetual dominion Sonia Levy 5 September—16 November Islands not to scale (Maru a’o) – Act II Mark Maurangi Carrol

Karla Dickens, Praying For The Planet, 2025, mixed media, 24 x 24 x 72 cm.

Courtesy the artist. Photograph: Michelle Eabry.

23 August—16 November Locked On Karla Dickens 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 and New Annual, a “lock-on at The LockUp”. Addressing themes of climate crises through ecofeminism, Locked On interrogates the legacies of colonialism, capitalism and patriarchy, and their effects on post-contact Aboriginal experiences and the natural world.

Liverpool Powerhouse www.liverpoolpowerhouse.com.au

Margaret Torrens. Photo: Kate Holmes.

Courtesy Arts Northern Rivers.

13 September—9 November Bulaan Buruugaa Ngali Exhibition … we weave together 212

Dharawal Country 1 Powerhouse Road Casula NSW 2170 [Map 11] 02 8711 7123 Until 10am–5pm Sat 10am–9pm, Sun 10am–4pm.

See our website for latest information.

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.

13 April 2024—28 September Pregnant woman Ron Mueck Ron Mueck – Pregnant woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work has engaged with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity.

7 June—19 October Found Rebecca Rath For Hunter Valley artist Rebecca Rath, establishing human connection with the natural world is the premise of her practice and the impetus for Found. In this series of paintings Rath brings to life her surrounds, seeking to find new ways of seeing what is in her own ‘backyard’.

14 June—2 November 9.5 The Elliott Eyes Bequest Rick Amor, Robert Fielding, James

N E W S O U T H WA L E S editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. The works in this exhibition all demonstrate an irrepressible desire to bring deep themes to the surface with humour and an incredible attention to detail. An ACMI touring exhibition.

12 July—26 October Mother Michael Cook, Katthy Cavaliere, Shan Turner-Carroll, Victoria Atkinson, Nell, Anna Louise Richardson

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.

See our website for latest information.

‘Mother’ as a subject, concept or idea has been explored and depicted by artists across time and cultures. In the final weeks before we farewell Ron Mueck’s Pregnant woman, MRAG presents a selection of works from the MRAG Collection that reflect on new life, family bonds, love and loss that can all be the experience of Motherhood.

Installation view of 9.5 The Elliott Eyes Bequest, featuring artworks by Robert Fielding and Anne Ross.

Gleeson, Jess Johnson, Euan Macleod, Clement Meadmore, Reko Rennie, Anne Ross, Terry Stringer, Michael Zavros With selected works from a private art collection usually housed in a quiet inner city terrace in Sydney, 9.5 The Elliott Eyes Bequest is an exhibition celebrating a bequest by our benefactors Gordon Elliott and Michael Eyes.

14 June—19 October Watered-up by Sea… Malvika Satelkar Watered-up by Sea… is proposed as an alternative phrase for the word ‘flood’. In this installation, Malvika Satelkar is asking us to seek a different set of keys when experiencing ‘a flood’.

Macquarie University Art Gallery www.artgallery.mq.edu.au Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2109 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

MQ Art Gallery and Collection integrates art, culture and creativity into the Macquarie University experience.

This year’s winner is Tamara Dean, with her work Genesis. Image courtesy of the artist and Michael Reid Galleries.

19 July—13 September Naked & Nude Art Prize 2025 Presented in partnership with the Friends of the Manning Regional Art Gallery, the Naked & Nude Art Prize is the only art award of its kind in Australia and attracts entries from artists at all stages of their careers and working in all mediums. This year the prize pool totals $42,000, with a major acquisitive Prize of $40,000.

21 June—24 August Chinese Restaurant Playground Steffie Yee Chinese Restaurant Playground is a multimedia exhibition about childhood, imaginative play, and finding joy within the frenetic settings of a family-run Chinese restaurant located in Branxton NSW. 28 June—19 October Sticks and Stones: Earth and Bones Monica Rani Rudhar, Catharine Truman, Robert Fielding, Ken Unsworth, Patricia Wilson-Adams, Wukun Wanambi, Peta O’Brien Sticks and Stones: Earth and Bones will showcase Ken Unsworth’s kinetic work Zone of Wistful Thoughts, which he donated to MRAG in 2023. Alongside this iconic installation, works from our collection and a selection of stunning loaned pieces inspired by earthy materials will be on display.

5 July—12 October Between [the] Details Zanny Begg, Deborah Kelly, Jason Phu, David Rosetzky, Christian Thompson, Kaylene Whiskey Showcasing six moving image artworks by Australian artists, Between [the] Details celebrates ACMI’s vibrant collecting and commissioning program. Working in video offers artists the opportunity to use

26 September—29 November Feathered: Birds in Myth and Memory

Mick-Richards, Helen Richards feeding the sheep, Heads of the Valley Road, South Wales, UK, 1993, Hahnemühle gloss warmtone art fibre 300gsm, 38 x 25.5 cm.

27 August—10 October No Control: Four Documentary Photographers Effy Alexakis, Emmanuel Angelicas, Juno Gemes and Mick Richards.

Curated by Kon Gouriotis.

Birds, with their graceful forms and enigmatic behaviours, have long been entwined with human myth and memory as symbols 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.

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Manly Art Gallery & Museum

Mario Nithiyendran, and Creative Director of Sydney Design Week, Keinton Butler.

www.magam.com.au

What happens when the cardboard box becomes a vessel for ideas or concepts?

In this exhibition we will seek to 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, Sean Rafferty.

Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm.

19 September—30 November Beyond the Box

Kovacs, Tim Maguire, Monica Rani Rudhar, Bruce Slorach, Maya Stocks, Nina Walton.

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 (18701955) early influences, legacy as a teacher, and impact on 20th-century Australian modernism. Known as a colossal teacher of drawing, Dattilo-Rubbo’s teaching life lasted 43 years with many notable Australian artists passing through his studio, including Grace Cossington Smith, Margaret Coen, Frank Hinder, Roy de Maistre, John Olsen, Alison Rehfisch, and Roland Wakelin.

In turn, these students have influenced generations of artists to follow through teaching, mentoring, and friendship. This is a partnership exhibition between MAG&M, Italian Cultural Institute Sydney, and Consulate General of Italy in Sydney.

Catherine McGuiness & Diane Pirotta, My Parents Always Called Me a Possum.

1 August—15 September 2025 Environmental Art & Design Prize Explore the diverse ways artists and designers Australia-wide have interpreted our unique landscape, responded to our climate crisis and advocated for our planet through their creative practices.

See works by 191 finalists across three categories exhibiting at Manly Art Gallery & Museum (Art), Curl Curl Creative Space (Design) and Mona Vale Creative Space Gallery (Young Artists/Designers).

Finalists include The Arthitects (Gary Carsley/Renjie Teoh), Tamara Dean, Susie Dureau, Nic Fern, Maddison Gibbs, David Manley, Meagan Pelham, and Angela Tiatia. Judging are visual artist Ramesh

David Manley, Post-traumatic Urbanist 2, 2017.

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Martin Browne Contemporary www.martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

Bridie Gillman, Found Wool, Hobart, 1, 2025, wool and synthetic yarn on cotton, 75 x 65 cm.

28 August—20 September Tapestry Featuring Tia Ansell, Lucia Dohrmann, Adrienne Doig, Adrienne Gaha, Durrmu Arts Corp, Bridie Gillman, Ildiko

Dan Kyle, In the light of many suns, 2025, oil and mixed media on canvas, 180 x 150 cm.

2 October—25 October Balance and Abundance Dan Kyle

Mosman Art Gallery www.mosmanartgallery.org.au Cammeraigal and Borogegal Country, 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm.

Closed public holidays.

23 August—2 November Mosman Art Prize The Mosman Art Prize is an acquisitive award of $70,000, with the artwork entering the Mosman Art Collection, a valuable historic collection that surveys Australian painting since 1947. The prize is an open

Remy Faint, Silhouettes (arrival), 2025, acrylic and ink on silk painted and stitched fabric cotton, embroidered silk, laser cut brackets, wood. Image courtesy and © the artist.

N E W S O U T H WA L E S painting prize with no specific theme, encouraging a wide range of artistic styles and expressions.

23 August—2 November The Cube: Remy Faint Remy Faint Contemporary artist Remy Faint engages with the interplay of silhouettes and transparency, where memory, materiality, and abstraction intersect. Reflecting on globally diverse interpretations of the ‘archive’ through personal references tied to Remy’s Chinese heritage, the work presents a fragmented and speculative dialogue between past and present.

Museum of Contemporary Art → Emmaline Zanelli, I take care of what’s mine, (still, detail), 2023–2024, two channel video, sound, 25:47 minutes. Commissioned by Adelaide Film Festival X UniSA Samstag Museum of Art EXPAND Lab, Supported by Creative Australia © and courtesy of the artist.

Nasha Gallery www.nasha.com.au Gadigal Land, L1, 215 Thomas Street, Haymarket, NSW 2000 [Map 9] See our website for latest information.

Leanne Tobin, Koree, 2024 digital illustration. Image courtesy and © the artist.

9 August—19 October In Profile: Leanne Tobin Leanne Tobin Tobin is a multidisciplinary artist of Irish, English, and Aboriginal heritage descending from the Buruburong and Wumali clans of the Dharug, the traditional Aboriginal people of the Greater Sydney Region.

5 September—16 November Lismore Regional Gallery: Islands not to scale (Maru a’ o) – Act II Mark Maurangi Carrol 5 September—21 September Lucus Howard and Daniel McClellan 11 September—14 September Sydney Contemporary: Islands not to scale (Maru a’ o) – Act II Mark Maurangi Carrol 26 August—12 October Kyra Henley

Museum of Contemporary Art Australia

National Art School NAS Gallery

www.mca.com.au

Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm.

Free admission.

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm.

Closed Tuesdays.

www.nas.edu.au

11 July—18 October The Neighbour at the Gate Jacky Cheng, Elham EshraghianHaakansson, Dennis Golding (Kamilaroi/Gamilaraay), Jenna Mayilema Lee (Gulumerridjin (Larrakia), Wardaman, KarraJarri), James Nguyen and James Tylor (Kaurna, Thura-Yura language region).

Curated by a guest curatorium led by Clothilde Bullen OAM (Wardandi Noongar and Badimaya Yamatji), with Micheal Do and Zali Morgan (Whadjuk Balladong and Wilman Noongar).

The Neighbour at the Gate is a commissioned exhibition project for the National Art School, proudly supported by the NSW Government through the Blockbusters Funding initiative. The exhibition will be accompanied by a publication, learning and education framework and public programs.

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.

21 March—21 September Shadow and Substance Warraba Weatherall 6 June—19 October Cerith Wyn Evans .... in light of the visible 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

Cho Hwayoung, Tension Between Memory, detail, 2024, drawing.

15 August—19 October Art Express Eon Aniano, Gemma Barker-Tomkins, Eva Francesca Barnes, Hwayoung Cho, Isabelle Colbert, Amber Dekell, Elodie Dubuisson, Imogen Gavin, Henry George, Georgia Greig, Andrew Huynh, Olivia Kiely, Audrey Yen-Yu Lin, Brigitte Kate 215

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Ngununggula

21 June—7 September Mighty Minds/Mega Machines

Mangobos, Ella Moy-Watson, Matilda Oliver, Jacqueline Pingol Watson, Connor Plummer, Bella Pollard, Max Soepono, Michi Takayama, Madeleine Shira Torres, Seini Vulawalu.

www.ngununggula.com

16 August—21 September ARTEXPRESS

This dynamic and popular annual exhibition features a selection of exceptional student artworks created for the art-making component of the HSC examination in Visual Arts in 2024.

ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority.

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.

15 August—28 September A Way With Words: Lee Bethel

Wynne Prize 2025 finalist, Lucy Culliton, Cliff Hole, Bottom Bullock. © the artist.

Lee Bethel explores the material and symbolic potential of paper, cutting and shaping it into intricate forms that cast shadows of memory, history, and meaning.

A Way with Words is a powerful reflection on feminism, language, and domesticity, using song lyrics, political speeches, and names to honour and interrogate women’s experiences.

6 September—16 November Wynne Prize 2025 4 October—30 November HERE/NOW

Outback Arts Gallery www.outbackarts.com.au

Cosima Scales, Two kinds of illumination, 2024, oil on board.

15 August—28 September Personal Cinema: Cosima Scales Cosima Scales’ paintings capture fleeting moments of domestic life — sunlight on floorboards, fruit on a table — transforming everyday scenes into quiet dramas.Presented in partnership with AK Bellinger Gallery.

15 August—2 November Stages: Michael Simms Stages is an ongoing series of portraits

by Michael Simms, honouring performers whose work spans music, theatre, dance and performance art. The series explores how presence is expressed — both onstage and off.

Lisa Reihana, Kupe, 2025, photograph on Fuji crystal flex paper, mounted on aluminium, 164 x 120 cm. Edition of 5 plus 2 AP. Image courtesy of Lisa Reihana and Gallery Sally Dan-Cuthbert, Sydney.

6 September—9 November Lisa Reihana: Voyager

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.

Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

7 July—5 September Peyton Johnson NAIDOC film Festival 15 September—25 October Survival Kits for Literary Heroines Catherine Farry A playful and poignant exhibition imagining what essential tools might help beloved literary characters survive the trials they face, through vibrant drawing. If you could give your favorite book character an item to save them from their predicament, what would it be? This exhibition brings stories to life and playfully breaks the fourth wall.

Using a variety of mediums while staying

3 October—9 November NYMPHEA NYMPHEA: Anna Johnson Anna Johnson’s first regional gallery exhibition reinterprets Monet’s reflective landscapes through a neurodivergent lens, exploring mood-state duality via symmetry, contrast, and fractured forms.

24 October—9 November Packsaddle Exhibition 2025 Each year the Packsaddle Exhibition presents a diverse range of paintings, original prints and sculpture by leading Australian artists, providing local collectors and art lovers the opportunity to purchase great artworks to start or build their own collections, while also supporting NERAM. Orange Regional Gallery → Mia Tzannes, Willoughby Girls High School μιας (Ones), (detail), 2024, drawing.

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Catherine Farry, Buzz Rickson Jacket (in case of an emergency) for Cayce Pollard, (detail), pencil on paper, 2025. true to each fictional world, the artist brings hope to literary heroines and offers them choices, showing compassion and creating an unspoken sisterhood.

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.

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.

2 August—26 October Hibiscus Angela Tiatia and Philip Juster A collaboration with artist Angela Tiatia and the Art Gallery of New South Wales, Hibiscus celebrates the unique quality of collage to make us see differently,

Penrith Regional Gallery → Angela Tiatia, The Pearl, (still), 2021, single-channel digital video, colour, sound; duration 00:07:45 min; aspect ratio 32:9. Art Gallery of New South Wales. Purchased with funds provided by the Contemporary Collection Benefactors and Atelier 2022 to commemorate the 30th anniversary of the Contemporary Collection Benefactors. © Angela Tiatia. Image © Art Gallery of New South Wales. creating a conversation between Tiatia’s ‘hyper-beautiful, hyper-surreal’ digital work The pearl (2021) and a selection of works by the prolific and obsessively creative yet little known artist Philip Juster (1952-2004). Presented in collaboration with Art Gallery of New South Wales, and supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.

2 August—26 October Edge of the C Shireen Taweel Shireen Taweel’s solo exhibition Edge of the C sees the return of the ancient and inextricable relationship between art, science and spirituality to contemporary discourse on space travel. Taweel adopts heritage coppersmithing techniques to imagine sacred architectures and speculative celestial navigation devices— instruments to aid in wayfinding a more culturally diverse future amongst the stars. Supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.

ban as sites of uncanny, the uncommon, and the unexpected. Supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.

Performance Arts Culture Cessnock | PACC www.mypacc.com.au 198–202 Vincent Street, Cessnock NSW, 2325 [Map 12] 02 4993 4266 Tue to Fri 9am–4.30pm, Sat 10am–2.30pm.

2 August—26 October Wonderland Julia Scifo

Shireen Taweel, sacred architecture and the celestial body, (detail), 2023, hand pierced copper, silver solder, image taken

by Document Photography, images courtesy the artist and STATION gallery.

Julie Scifo’s first solo exhibition – Wonderland – is equal parts autobiography, speculative fiction and mash-up. Working primarily in painting, Scifo draws on such sources as 90s pop culture, street art and her own recollections of life in Western Sydney to propose ways for reconsidering the familiar, the everyday and the subur-

Ted Prior, Grug learns to cook, 2009, pencil, pen and maker on paper, 30 x 32 cm.

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Ted Prior, Grug gets lost, 2015, pencil, pen and maker on paper, 30 x 32 cm.

20 September—15 November Ted Prior’s Grug Ted Prior Performance Arts Culture Cessnock (PACC) is thrilled to present a heartwarming and nostalgic new exhi­bition celebrating one of Australia’s most beloved children’s book characters Grug and the brilliant mind behind him, Ted Prior. This major retrospective exhibition will trace the imaginative world of Grug, created by local artist and author Ted Prior, Grug continues to delight young readers today with his gentle humour, curious spirit, and problem-solving adventures.

Rex-Livingston Art + Objects → Judi Moss, Anamnesis, 2025, oil and wax on board, 51 x 76 cm.

31 July—30 August DOZO! Adam Lester 31 July—30 August There were no up, there were no down Yvonne Roberts and Thorbjørn Bechmann

Official Opening and Book Signing: Satur­day 27 September, 12pm–2pm.

Free entry. Family-friendly activities and refresh­ments provided and book signing with Ted Prior.

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.

Fiona Ryan-Clark, Conversation, 2025, stoneware, oxide, slip and enamel, 46 x 32 x 33 cm.

Johanna Bath, Gap, 2025, oil on linen, 60 x 50 cm.

4 September—27 September The looking hour Johanna Bath, Gabrielle Dunayski, Bridget Stehli, Thérèse Mulgrew, Scout Zabinski

Rex-Livingston Art + Objects www.rex-livingston.com

Adam Lester, The Ceramic Leopard, 2025, acrylic and oil on canvas, 61 x 50.5 cm.

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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. See our website for latest information.

12 September—5 October Liminality Judi Moss and Fiona Ryan-Clark Liminality - a tandem exhibition featuring Judi Moss, (paintings) and Fiona Ryan-Clark (ceramic figurative sculptures) explores ‘the space which exists in the in-between’.

This space conjures uncertainty and transition, characteristic of a rite of passage, where one is neither fully in their previous state nor fully in their new one. Moss paints in oil, wax and raw pigments. Her subtle, often abstract landscapes based on the Blue Mountains are both beautiful and evocative, almost meditations on canvas. Ryan-Clark constructs and sculpts clay into figurative, characterful portraits of mythical, mysterious forms. These sculptures seemingly visit from other worlds, occupying the liminal spaces posed by the Australian wilderness and its place in our psyche.

11 October—2 November Directors Choice – Gallery artists and selected secondary market works.

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

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.

30 August—20 September Lost Dennis Mortimer and Lia Kemmis Lost is a joint exhibition by Dennis Mortimer and Lia Kemmis, responding to the impact of human activity on our shared environment. Informed by contemporary data on plastics, pesticides, deforestation, monocultures, and fossil fuel use, each artist offers a distinct perspective on our shared ecological crisis.

30 August—19 October Shared Spaces: The Wildlife Next Door Kahli McLeod

SCA Gallery www.sydney.edu.au/sca Gadigal Lands, Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm.

See our website for latest information.

Kahli McLeod draws inspiration from the birds and animals, native to her regional home in Braidwood, NSW – those that quietly visit gardens, perch on fences, or pass through the bush at the edge of town.

A series of acrylic paintings on canvas, the works are a celebration of the beautiful, surprising, and often-overlooked wildlife that lives alongside us.

9 October—8 November The SCA Alumni Fauvette Loureiro Memorial Scholarship 2025

Dhambit Munuŋgurr, Our Life Mana & Octopus, 2024, acrylic on paper, 122.5 x 80.5 cm.

Mid-Career/Established Finalists: Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver

29 August—20 September Dhambit Munuŋgurr

Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young

26 September—18 October James Angus 26 September—18 October Hilarie Mais

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.

Opening and Recipient Announcement: Wednesday, 8 October, 6pm–8pm.

Leigh Penton, Shell, 2024, digital photograph, 27.5 x 35 cm.

27 September—19 October Changing the Narrative Leigh Penton Through digital photography, artist Leigh Penton investigates how light, colour and line can be manipulated to reframe a moment in time—shifting the narrative beyond the instant of capture.

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.

27 September—19 October Ghosts in the Snow Judith Tokley This exhibition celebrates the haunting beauty of snow gums, one of Australia’s most iconic but endangered trees. These sentinels in the high-country landscapes, have weathered years of harsh conditions and the impact of climate change.

17 October—18 October Marrawuy Journeys Pop Up Contemporary Aboriginal Art Sarah Richards

Lia Kemmis, Culture, 2012, acrylic paint, spakfilla, and spray paint, 60 x 60 cm.

Join Bungendore local and Ngiyampaa artist Sarah Richards at her pop-up exhibition and shop showcasing a collection of original artworks, prints, and wellbeinginspired products (such as jigsaw puzzles) that celebrate connection, reflection, and renewal. This activation forms part of the Queanbeyan-Palerang Arts Trail.

Richard Zaloudek.

13 September—4 October Osmosis Richard Zaloudek

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S.H. Ervin Gallery www.shervingallery.com.au Gadigal Country, National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.

Portia Geach. The $30,000 non-acquisitive award is for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit. The finalist exhibition presents the work of 58 artists from across the country and has been important in nurturing and celebrating the contribution of female artists.

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.

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.

SteelReid Studio www.steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

12 July—13 September Bithry. Time.

Bonita Ely 12 July—13 September Among Other Entanglements Jess MacNeil

Emily Kame Kngwarreye, Awelye, 1991, synthetic polymer paint on canvas, 150 x 120 cm. Private Collection.

2 August—14 September Classics from the Golden Age of Utopia This exhibition showcases the explosion of talent that emerged from Utopia at the end of the 20th century. Emily Kngwarreye, Gloria Petyarre, Ada Bird Petyarre lead with major canvasses that were revolutionary at the time, and they are supported by many of their friends and peers who add to the richness of and diversity of the broader Utopia community.

There are master works in this exhibition are well known as well as stunning works drawn from private collections that have never been seen publicly before. This is an exhibition that will thrill and surprise all and complements the major retrospective of Emily Kame Kngwarreye now at the Tate, London. Exhibition presented in association with Utopia Art Sydney.

Alick Tipoti. Photo: Marinco Kojdanovski, Australian National Maritime Museum.

27 September—29 November Mariw Minaral Alick Tipoti

State Library of NSW www.sl.nsw.gov.au 1 Shakespeare Place, Sydney, NSW 2000 [Map 8] 02 9273 1414 See website for opening times.

Lori Pensini, The conversation #3,(selfportrait), oil on raw linen, 52 x 80 cm. Winner 2024 Portia Geach Memorial Award.

Penny Evans, Proof, 2015.

19 September—2 November Portia Geach Memorial Award

11 August—3 May 2026 Paper Universe: The book as art

The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award, first given in 1965, was established by Kate Geach in memory of her sister, artist

Discover rare and beautiful works by leading contemporary artists, from the Library’s little-known collection of artists’ books. Featuring striking and innovative creations by leading artists including

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Brian Reid, Lily and Bean, oil and pastel on paper.

Pennie Steel, Abelard and Heloise, work on paper.

Viewings and artworks by Pennie Steel and Brian Reid by appointment.

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Straitjacket www.straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 See our website for latest information.

Straitjacket is an art partnership run by two artists: Dino Consalvo and Ahn Wells in Newcastle, NSW Australia. We present curated solo, group and represented artist exhibitions.

16 August—7 September Stories to tell - drawings and paintings from the suitcase Claire Martin

Sullivan+Strumpf Gadigal/Sydney

Tamworth Regional Gallery

www.sullivanstrumpf.com

www.tamworthregionalgallery.com.au

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.

466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5247 Tue to Fri 10am–5pm, Sat & Sun10am–4pm.

28 August—20 September Maria Fernanda Cardoso 28 August—20 September Seth Birchall

16 August—7 September The Goat Artist or Get me through the next five minutes Michael Bell

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.

Susan Ryman, As you died, coloured pencil on rag paper, hand varnished, overall dimensions 17 x 252 cm.

13 September—5 October Imperfect silences Susan Ryman Chevron Island Tom Kearney Opening event Saturday 13 September, 11am–5pm.

13 September—30 November Bush Lines Group Exhibition.

Barayuwa Munungurr, Garapana, 2024, engraving on reclaimed metal panel, 60 x 45 cm. Image courtesy of Buku Art Centre.

25 September—18 October Ŋaraka – bones of the land Barayuwa Munuŋgurr

Kerrie Oliver, Weightless with Intention, 2025, oil on linen, 76 x 61.5 cm.

11 October—2 November Red Ox, Green Ox Nicola Hensel and John Turier Opening event Saturday 11 October, 11am–5pm.

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.

Irene Perez Lopez, Disrupted WaterLand, 2023. Coutesy Irene Perez Lopez.

13 September—5 October Tippy-Toes Kerrie Oliver Opening event Saturday 13 September, 11am–5pm.

Tin Sheds Gallery

Alex Seton, Yet Another Mouth to Feed, 2024/25, Queensland Pearl marble (Wakaman), cosmetic mica powder, 44 x 33 x 22 cm. Photograph: Mark Pokorny.

25 September—18 October The Fabulists Alex Seton

7 August—19 September WaterTalks Creative team: Irene Perez Lopez, Shellie Smith, Maria Cano Dominguez, Glenn Albrecht, Mia Tulumovic, Therese Keogh, Ananya Khujneri The exhibition highlights the central role of water in societies, particularly important for First Nations people, emphasising waters’ cultural, spiritual, and economic 221

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Bundjalung Award, Wollumbin Art Award 2024, sponsored by the Tweed Regional Gallery Foundation Ltd. A Tweed Regional Gallery initiative.

significance. WaterTalks presents the Hunter River, known as Coquun to the Traditional Custodians, as a living entity, shedding light on the profound and pervasive impacts of the Anthropocene on water ecosystems. The exhibition highlights the central role of water in societies, particularly important for First Nations people, emphasising waters’ cultural, spiritual, and economic significance. The Coquun’s hydrosocial narratives are depicted through a series of artefacts, projections and interactive elements that centre the viewer in colonialist and post-colonialist practices, belonging, ownership, extractivism, dispossession and the biodiversity and climate crisis that shape the River and its memories. Acknowledgements: University of Newcastle.

Until 9 November Worlds Around Us Sammy Hawker The artworks in Worlds Around Us by Sammy Hawker are interactions between the artist and the more-than-human worlds she encounters.

Until 30 November Material Memory Dean Stewart

Tweed Regional Gallery & Margaret Olley Art Centre

2025 Olive Cotton Award Finalist, Paula Mahoney, Seb, Portrait of a Young Gentleman, 2025, pigment print, 100 x 67 cm. Image courtesy the artist © the artist.

www.gallery.tweed.nsw.gov.au

Until 2 November 2025 Olive Cotton Award

Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm.

12 September—8 March 2026 Ode: Margaret Olley and Sally Anderson Ode 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 Tweed Regional Gallery initiative. The Nancy Fairfax Artist in Residence Studio is supported by benefactor Mr Tim Fairfax AC via the Tweed Regional Gallery Foundation Ltd.

The Olive Cotton Award recognises excellence in photographic portraiture and is generously funded by the family of one of Australia’s leading 20th century photographers, Olive Cotton. The 2025 exhibition will celebrate the Award’s 20-year anniversary with a showcase of new portraits by professional and emerging artists. Works from 65 finalists were selected by 2025 award judges Sally McInerney, Glenn Iseger-Pilkington, Angela Connor, and Shaune Lakin who will announce the $20,000 award winner at the Opening and Awards Ceremony. The Olive Cotton Award is funded by the family of Olive Cotton with additional awards funded by the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc.

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. A Tweed Regional Gallery initiative.

Curated by Bradley Vincent.

Breast Plates is a personal photographic series by Bundjalung and Yugambeh Nation artist Luther Cora, that delves into the intricate layers of history, culture, and colonisation impacting Australian Aboriginal peoples. A Tweed Regional Gallery initiative.

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UNSW Galleries www.unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.

Kensuke Todo, Two rocks sitting, 2018.

Image courtesy of the artist, Kamberri/ Canberra. Photograph: Brenton McGeachie.

29 August—16 November Matters of Time: Contemporary Metal Practices

3 October—15 February 2026 Figure and Field Lucia Canuto, Hilary Herrmann, Meg Stoios

Until 28 September Breast Plates Luther Cora

In Material Memory by regional artist, Dean Stewart, found objects are deconstructed and rearranged to evoke emotion, memory, and quiet delight. 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.

Nickolla Clark, Ngalwaa ma lee la Brunswick Balun (Gathering on Brunswick River), 2023, ochre on canvas, 124 x 124 cm. © The artist. Photograph: Jaka Adamic.

Until 9 November Water Connects Us All Nickolla Clark Water Connects Us All by Arakwal Bundjalung artist Nickolla Clark celebrates the traditional practices of Bundjalung people and their rich cultural heritage associated with water. Recipient of the

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.

29 August—16 November A Caressing Gaze Mason Kimber A Caressing Gaze brings together a collection of recent textural paintings, sculptural reliefs, and a site-specific installation by Mason Kimber that engage with the social dimension of architecture, particularly its relationship to memory, through processes of moulding, casting, and reassembling

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

Mason Kimber, Skyfade 2025. Image courtesy of the artist. architectural fragments into transformative surfaces.

29 August—16 November The Sky Swallowed a Stone Emma Fielden 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.

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 → Arthur Wicks, Yellow Thaw, 1974, acrylic on canvas, 168 x 3035 cm.

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.

26 July—26 October Canberra vs the Government: Prints from the archive of Megalo Print Studio In celebration of Megalo Print Studio’s 45th

anniversary, Canberra vs the Government brings together selected works produced at Megalo, Canberra by outstanding Australian printmakers. Guest curated by printmaker and Megalo founder, Alison Alder.

26 July—26 October Paintings 1967–1974 Arthur Wicks In glorious colour - rarely seen large abstract paintings from the personal archive of groundbreaking colour field artist Arthur Wicks.

26 July—26 October House of Cards Greg Carosi House of Cards explores the fragility of our human condition through a theatrical series of large-format acrylic on aluminium paintings, inviting viewers to become a “figure” in the landscape.

13 September—25 November All These Years Mary Coughlan 10 May—31 December 50 Years / 50 Treasures Wagga Wagga Art Gallery Collection

19 July—6 September Know My Abstraction Virginia Cuppaidge, Belinda Street, Lezlie Tilley, Patricia Wilson-Adams

Celebrate Wagga Wagga Art Gallery’s 50th anniversary, featuring treasures from the National Art Glass Collection, collected over the past 5 decades.

27 September—January 2026 Glass Chrysalis – Glass Art of Promise This exhibition celebrates the evolution of the art form through the creativity, innovation, skill, and technique of ten of Australia’s leading early-career glass artists. Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks, and JamFactory Adelaide, this exhibition highlights emerging trends in the contemporary studio glass scene.

Wentworth Galleries

Rob Cleworth, Head - Australia Felix, (detail), 2025, oil on found canvas, 90 x 48 cm.

19 September—25 October A Kind of Resistance Rob Cleworth, Kate Dorrough, Doug Heslop, Georgina Pollard, Malvika Satelkar

www.wentworthgalleries.com.au

Greg Carosi, House of Cards, 2025.

175 Pitt Street, Sydney NSW 2000 [Map 8] 02 9223 1700 Open 7 Days, 10am–5.30pm.

See our website for latest information.

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Watt Space Gallery www.newcastle.edu.au/wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

23 July—13 September Response III – Sculpture in the Botanic Gardens and Watt Space Gallery

30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

18 June—16 November Tender Comrade Group exhibition Chinese history wasn’t always straight.

While queerness may seem like a foreign import, its roots in China date back to ancient times. This was part of a broader history of same-sex relationships, non-normative sexualities, and 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.

Sara Bowen, Infiltration (my breath/your breath) #1-2, 2024-2025, (detail). Photo

by Silversalt Photography.

Yarrila Arts and Museum www.yarrilaartsandmuseum.com.au Martin Koszolko, The cascading Sailors Falls near Daylesford, Victoria, 2021, manipulated digital photograph, 21 x 21 cm.

17 September—1 November BIO ASSEMBLY Part of NEW ANNUAL featuring: Martin Koszolko and Max Schleser – Time Traces, Louisa Magrics – Nestled, Sandy Sanderson – Ampulla of Lorenzini (composer Tim Merrikin), Marie Hadley with Adam McDade and Shane Burke – Grey Lines.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org

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.

Yarrila Arts and Museum (YAM) is located in the heart of Coffs Harbour within the cultural and civic hub, Yarrila Place.

Alexandra Byrne, Carbon Webs: Pin Mould - Mucorales No1568, 2025, photograph on Hahnemuhle paper. Image courtesy of the artist.

28 June—14 September Airborne Sara Bowen, Christine Courcier-Jones, Penelope Lawry

Explores the connections between human behaviour, industrial systems, and nature through the invisible networks that shape our world.

Drawing from observation, microscopic life, and multiple environmental perspectives, the artists make the invisible visible through printmaking, papermaking, and suspended forms.

6 September—9 November STILL | National Still Life Award 2025

White Rabbit Contemporary Chinese Art Collection → Lin Zhipeng 林志鹏 (aka No. 223), Layers, 2018, archival pigment print, 67 x 100 cm. Image courtesy of the artist and the White Rabbit Gallery.

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18 September—9 November Natural Capital: Carbon Webs, Energy and Me (us) Alexandra Byrne

STILL is Yarrila Arts and Museum’s biennial art award. STILL 2025 finalists: S.A.Adair, Summer Aldis, Miguel Aquilizan, Svetlana Bailey, 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.

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

Queensland

Exhibitions

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Image: 2023 Award Winner Zoë VENESS I Wreath 2023 I Neckpiece: archival paper, stainless-steel cable, sterling-silver tubing I 42 x 42 x 4cm Toowoomba Regional Art Gallery – Toowoomba City Collection 2417 I Purchased 2023 with funds donated by Toowoomba Gallery Society Inc., 2018. I © Zoë Veness

Toowoomba Regional Art Gallery 531 Ruthven Street, Toowoomba QLD 4350.

P 07 4688 6652 E art@tr.qld.gov.au W www.tr.qld.gov.au/trag I FREE ENTRY Gallery opening hours are available on the website.

TRC_0625_Art Guide

Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council, Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD

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artguide.com.au People’s persistent interest in self-image is explored in a new exhibition of work from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Collection. Drawing from QAGOMA’s Australian, Indigenous Australian, Asia Pacific and International collections, Looking Out, Looking In: Exploring the Self-Portrait highlights richly diverse approaches to the timeless artistic genre. Looking Out, Looking In: Exploring the Self-Portrait is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art. 16 August—16 September AHA! Moments Art Lab is a platform for critical conversations about art and art making.

It is a method for exploration and dialogue fostering meaningful connections between makers and enthusiasts alike.

Caboolture Regional Art Gallery → Cindy Sherman (photographer), Ancienne Manufacture Royale (Limoges) (manufacturer), Madame de Pompadour née Poisson (1721-1764), 1989, hard-paste porcelain modelled after a Sèvres original, with Rose Pompadour ground colour, silver details and transferred photograph. Purchased 1990.

Collection: Queensland Art Gallery | Gallery of Modern Art. © Cindy Sherman.

Artisan

5 July—14 September Karike Ashworth: Home

www.artisan.org.au

26 September—14 December En Plein Air

45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 Wed to Fri 10am–5pm, Sat 10am–4pm.

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

18 October—20 November Caught in the Rear-view Ricky Larry

www.artspacemackay.com.au

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/caboolture-gallery

Euan Macleod, Watching Sunrise Off Mackay, 2024, oil on polyester, 90 x 110 cm.

Photo: Michèle Brouet.

5 July—14 September 2025 Libris Awards: The Australian Artists Book Prize 28 June—14 September Neil Binnie: Architectonics and Observations 228

20 September—14 March 2026 Yield 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 practices that Bancroft was connected to and how we continue to be impacted by them today. Exhibition devel­oped by City of Moreton Bay.

Artspace Mackay 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.

Shivanjani Lal, ek story bathao, (still), 2020, 5-channel digital video. Winner 15 Artists 2020, City of Moreton Bay Art Collection.

Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

21 June—6 September Looking Out, Looking In: Exploring the Self-Portrait Abdul Abdullah, Davida Allen, Fiona Foley, James Gleeson, Nora Heysen, George W. Lambert, Tracey Moffatt, Vincent Namatjira, Luke Roberts, Cindy Sherman and Madonna Staunton.

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. His work invites viewers to reflect on their own notions of home and to appreciate the fleeting beauty of everyday moments.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Gubbi Gubbi Country, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

See our website for latest information.

QUEENSLAND Caloundra Regional Gallery presents a changing exhibition program featuring leading local and national artists.Professional curators and education staff develop and deliver a range of exhibitions and public programs that explore the unique culture and character of the Sunshine Coast.

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.

Court House Gallery is an art gallery and performance space in the heart of the city.

The gallery presents a vibrant and dynamic program of shared arts experiences, including visual and performing arts in a variety of innovative spaces in the refurbished, historic Court House building.

Huseyin Sami, Sunshine Coast National Art Prize 2025 Finalist, Untitled (SPB), 2025, polymer paint on polyester, 100 x 100 cm.

15 August—12 October Sunshine Coast National Art Prize 2025 Celebrating its 21st year, the Sunshine Coast National Art Prize 2025, is the region’s premier national contemporary art award, celebrating exceptional 2D and new media art in Australia. As part of the Sunshine Coast Council’s strategic collection plan, this acquisitive prize contributes to the region’s cultural legacy. The 40 finalist artworks, selected from nationwide entries, offer diverse interpretations of our world through various mediums, from traditional oils, drawings, prints, photographs, assemblages to digital compositions.

17 October—30 November Wildflowering by Design 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 designs reimagine and celebrate native wildflowers and women’s connection to place. Curated by Dr Sue Davis and Dr Lisa Chandler.

Jennifer and Josh Herd, BAMA. 24 May—7 September OCCURRENT AFFAIR: JUSTICE NOW proppaNOW Collecive Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR addresses current socio-political, economic and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. OCCURRENT AFFAIR: JUSTICE NOW embraces the slippage between language and its associated readings to probe and present new narratives. The exhibition reflects on the ongoing state of affairs affecting Aboriginal peoples and issues that are relevant to all Australians.

Richard Tiejun Chao, Peonie, 2025, watercolour on 300gsm watercolour paper.

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 goal of the Australian Watercolour Muster is to create a broader platform for Australian artists to engage with the international arts community, and specifically for the watercolour community to take their work into new and creative fields of endeavour, creating opportunities to share studios and exhibition spaces where possible in this world. The biennial Australian Watercolour Muster is part of a network from over 90 countries - engaged and linked together via the FabrianoInAcquarello - Italy Art Symposium, held annually in Italy over the last sixteen years.

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.

Lesley Kane, Untitled 2025, intaglio, 15 x 10 cm.

1 September—31 October Kane and Printbank

Caloundra Regional Gallery → Marni Stuart, After the Fire, 2022, digital surface design paint and pen on board, 40 x 60 cm. Image courtesy of the artist.

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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.

Hervey Bay Regional Gallery → Halle Bryant (Aldridge State High School), A Question of Meaning on the Death-bed of Life, digital illustration, 59.4 x 84.1 x 5 cm.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au

Tallara Brown, Munda Gambi, The 30th Golding Showcase: Port Curtis Callide Valley Youth Art Exhibition people’s choice winner.

22 August—9 October The 31st Golding Showcase: Port Curtis Callide Vallery Youth Art Exhibition An annual display and an initiative of the Gladstone Regional Art Gallery and Museum Society, supported by the late society patron, Mr Cyril Golding (1920–2012).

The exhibition offers young artists aged 15-18 years the unique opportunity to display their artwork in a professional gallery space.

The 49th Rio Tinto Yarwun & QAL Martin Hanson Memorial Art Awards Official Opening and Awards presentation.

Photograph: MGR Photography.

8 November—24 January 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. The Art Awards are one of Queensland’s most prestigious regional art events and is eagerly anticipated each year Calling for entries 14 to 18 October, 2025.

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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.

Hervey Bay Regional Gallery (HBRG) is a destination gallery, featuring a curated programme hosting national touring exhibitions alongside our own internally curated shows, focusing on hyper-local themes with a universal meaning for contemporary audiences, local and visiting alike.

23 August—16 November Strange Kinship Including work by Australian and international artists Allora & Calzadilla (in collaboration with Ted Chiang), Fernando do Campo, Dolphin 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.

23 August—16 November Girra: Fraser Coast National Art Prize 2025 Girra: Fraser Coast National Art Prize was borne out of the enduring social and cultural importance of the natural environment on Fraser Coast. Drawing its name from the Butchulla word for sand, a vital component of our region’s landscape, Girra brings together contemporary art that examines the intersection of people, place and the environment. 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, held at the Hervey Bay Regional Gallery, will form 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).

Margaret Preston, Still life: fruit (Arnhem Land motif), 1941, oil on canvas, National Gallery of Australia, Canberra, purchased 1976 © Margaret Rose Preston Estate/ Copyright Agency.

Until 20 September 2026 National Interests: Australian Art in the 20th Century This exhibition explores the cultural legacy of Australian Modernism in the 20th century, pairing artworks from the Hervey Bay Regional Gallery Art Collection with significant works from Australia’s national collection. National Interests includes works on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

QUEENSLAND

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

12 July—20 September Desire Is a Machine Curated by Stephanie Berlangieri.

Featuring Graeme Doyle, Stuart Ringholt and Giselle Stanborough (Australia); Pedro França and Rodrigo Sano Calazans with Ueinzz Theatre Company (Brazil); Aurélien Froment (Scotland/France); Fritz Kahn (Germany); and Angela Melitopoulos (Greece/Germany) and Maurizio Lazzarato (France/Italy).

12 July—20 September Breathform Max Athans Breathform is Athan’s first solo exhibition in a major institution, awarded as the 2025 recipient of the Institute of Modern Art’s Jeremy Hynes Award.

12 July—20 September Delivery Dancer’s Sphere Ayoung Kim 4 October—20 December DIGGERMODE 2 Joel Sherwood Spring

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 “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.

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.

4 October—20 December Confronting Femininity Curated by Sal Edwards and Robert Leonard. Featuring Rosemary Laing, Natalya Hughes, and Michaela Stark.

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.

Liz Williamson (1949-2024), Shadows of the wardrobe, (detail), 2011 and 2023, cotton, cotton polyester, mercerised cotton, spun polyester and wool terylene yarns; various types of woven and knitted cotton, silk, wool, synthetic or rayon fabric strips. + 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. As we unfold from the recent global events, we reflect on our connection with others, our shared history and possible futures. 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.

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

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

Institute of Modern Art → Pedro França and Ueinzz Theatre Company, Archichroma (New Romanticisms for Somber Times), 2017.

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 important works promise to captivate 231

artguide.com.au Ipswich Art Gallery continued... and delight with their profound beauty and sensitivity. 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.

Jan Murphy Gallery www.janmurphygallery.com.au Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

26 August—13 September Constructed Realities Paul Davies 16 September—4 October Duality Michael Muir 7 October—25 October In between space Tim Edwards 7 October—25 October Paintings Amber Wallis

A key part of Leighton Contemporary’s yearly exhibition schedule is ongoing attention to and celebration of works in the stockroom, many of which are on display during the gallery’s ever-evolving and recurring Stable exhibition.

Logan Art Gallery www.loganarts.com.au/artgallery Yugambeh Country, Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm.

18 July—6 September The piano keys of humanity Wu Zhipeng 18 July—6 September Ex Libris (from the library of) Christina Lowry 18 July—6 September Love Logan Community art exhibition 13 August—6 September Running Rivers: Pigments of Place Kuweni Dias Mendis

Leighton Contemporary www.leightoncontemporary.com

Bianca Tainsh, Terra Culture, 2025.

4 September—15 November Terra Culture Bianca Tainsh 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.

5/64 Gateway Drive, Noosaville QLD 4566 [Map 13] 0413 477 947 Tue to Fri 10.30am–2pm, or by appointment.

5 September—26 September A Gentle Unfolding Sarah Darling, Clare Dubina, Jordy Hewitt, Christopher Jewitt Together, these artists demonstrate that unfolding, whether of perception, form, or meaning, is not always immediate. It is a gentle process of movement between states: from closeness to distance, from gesture to refinement, from the seen to the sensed. In this space, detail and abstraction are not at odds, but two expressions of a shared language.

Zahraa Rane, Behind the veil, 2024, acrylic on canvas. John Paul College.

People’s choice award winner 2024.

Courtesy of the artist.

13 September—1 November Artwaves Logan and adjacent areas secondary schools art exhibition. Artwaves is an annual exhibition of work sourced from the creative and talented high school students in the Logan region. Artwaves aims to show the wealth of imagination and creativity present in the City of Logan and adjacent areas.

Metro Arts www.metroarts.com.au Hannah Lange, Woven Reeds, 2025, acrylic on cotton canvas, 76 x 102 cm, as part of Stable.

1 October—31 October Stable Leighton Contemporary Stable Artists 232

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.

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

QUEENSLAND fresh insights into how artists from both cultures interpret and respond to their shared experiences.

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.

See our website for latest information.

Museum of Brisbane is central to conversations about the evolving life of Brisbane, its histories and contemporary cultures.

Museum of Brisbane → New Light: Photography Now + Then at Museum of Brisbane.

Artwork: Keemon Williams. Photo: Katie Bennett. reclaim intimacy, these sculptures revel in floundering inadequacy. An ontology both anxious and self-aware which draws from minimalism, love hotel interiors, industrial materials, kink environments, classical statuary, ball gags, fetishism and diaristic modes. Fragments amass into minimal scapes of mock dramaturgy, where luxury and sensuality are fraught with cheapness, unable to sustain the projections of arousal we attribute to them.

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.

See our website for latest information.

Mitchell Fine Art www.mitchellfineartgallery.com Turrbal and Yuggera Country, 86 Arthur St, Fortitude Valley, QLD 4006 [Map 15] 07 3254 2297 Mon to Fri 10am–5.30pm, Sat 10am–5pm.

See our website for latest information.

Decorative Egg, red enamel egg with gold detail, gilt stand and bellyband. Private Collection.

2 April—2026 Precious What makes a collection? Museum of Brisbane is giving you the keys to some of the most awe-inspiring collections across our amazing city. An irresistible array of breathtaking curiosities, Precious brings together thousands of remarkable items from more than 20 public and private collections.

17 August 2024—6 October New Light: Photography Now + Then Pax Jakupa, The Fallen Currency.

30 August—25 October The Invisible Line: Stories, Legends & Past Connections Gazellah Bruda, Jimi K Thaiday, Wendy Mocke, Pax Jakupa, Bernadette Killin, Morgan Lavapo, Charlie Street, Leonard Tebegetu

Steve Lopes, Bloom Figure - Z, 2025, oil on canvas, 70 x 55 cm.

11 September—14 September Sydney Contemporary, Stand J01 Mirra Whale and Steve Lopes

The Invisible Line invites audiences to discover the profound yet often unseen connections that continue to influence and enrich the relationship between Australia and Papua New Guinea - connections that remain as vital today as they were generations ago. Central to the exhibition are new artworks born from an artist exchange program conducted in Port Moresby earlier this year. These pieces embody the living, breathing nature of Austronesian-Melanesian relationships, offering

Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams.

A mesmerising display of photography spanning 1890 to 2024.

With the power to freeze and preserve time, photography has captured imaginations for centuries. This August, step into New Light: Photography Now + Then, an exhibition where past and present converge in a mesmerising display of photography spanning 1890 to 2024.

Immerse yourself in the remarkable tale of amateur Brisbane photographer Alfred Henrie Elliott (1870-1954), whose extraordinary images lay dormant for decades until they were discovered in 1983, stored in cedar cigar boxes beneath a home in Red Hill.

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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.

Brian Robinson, Kingdom Animalia: Curious Creatures, 2025, vinylcut.

1 July—6 September That Hint of Magic Brian Robinson Brian Robinson’s exhibition That Hint of Magic, showcases a compelling fusion of traditional printmaking with contemporary digital animation. Renowned for his use of linoleum block prints—a technique rooted in his cultural heritage—Robinson sets himself apart by incorporating motifs from pre-contact Melanesian myths alongside unexpected icons from global popular culture.

This body of work reflects a deep and ongoing relationship with the northern Queensland landscape—an experience of living within it, observing it intimately, and translating its visual and emotional impact through paint.

11 August—4 October Enfolded Laurel McKenzie Laurel McKenzie engages with feminist themes in her artistic practice, particularly examining and reinterpreting the portrayal of women in historical fine art and contemporary popular media. She addresses ways in which women’s bodies are imaged, and the implications of such imagery for women and girls.

Onespace Gallery www.onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Tue to Fri 10am–5pm, Sat 12–5pm, or by appointment.

4 August—27 September The Familiar Faces Lesley Wengembo In The Familiar Faces, Papua New Guinean artist Lesley Wengembo presents a powerful visual narrative drawn from his lived experience between 2018 and 2025.

The exhibition captures people he has encountered in cities and villages alike— some known intimately, others briefly, and many now nameless.

3 October—1 November The Water Diaries Ross Booker

4 August—27 September IMMERSE: THE DANCE OF LIGHT AND THE COMING OF FORM Kim Rayner In IMMERSE, artist Kim Rayner explores the threshold where coastal rainforest meets the radiant light of the Coral Sea. 23 4

3 October—1 November Poodle Boy Teddy Horton Teddy Horton’s Poodle Boy exhibition features a series of short AI-generated films that have been developed over Horton’s creative trajectory of the last year. Through her precisely crafted, one-hundred percent AI-generated short video works, Horton subverts character stereotypes and storytelling expectations. Horton’s AI video piece ‘Stars Align’ won the Emerging Artist category at the 2024 Queensland Regional Arts Awards and initiated the development of her first solo-exhibition, Poodle Boy, with Onespace gallery. Her digital collage works featured in the 2023 Horizon Festival, and her photographic portrait ‘Rabbit Phone’ was Highly Commended in the 2021 Next Gen Brisbane Portrait Prize. Poodle Boy at Onespace also features her latest mesmerising film, The Reaper, a finalist for this year’s The Churchie Emerging Art Award, along with a new film and several uniquely created movie posters. Opening event 11 October, 5pm–7pm.

Outback Regional Gallery, Winton Ross Booker, we are you you are us, 2023, dye-sublimation on aluminium, 92 x 92 cm, ddition of 5. Image courtesy of the artist and Onespace.

Kim Rayner, Between Earth and Light, 2025, oil on belgian linen

Teddy Horton, still from AI-Generated film The Reaper, 2025. Courtesy of the artist and Onespace.

The Water Diaries is a new body of textbased works on aluminium by Ross Booker, where water is at the genesis of this exhibition. Growing up on the coast, water has always been central to Booker’s life, both culturally and physically. Residing now in Brisbane beside Maiwar (Brisbane River) and swimming laps regularly at the local pool, Booker claims that he is a person of both salt and chlorine. The Water Diaries ‘tether’ the otherwise vast subject of water.

Within them, the eye wanders into a puzzle, searching for emergent forms, in a similar way to which we look into water, searching for life, movement, divining meaning from the reflections of what is above as well as the mysteries that may be revealed beneath. The words held within the circle ask enigmatic questions, pose phrases, evoke meanings that open other sociocultural questions into ways in which people and nature might interact, echo, and merge. Opening event 11 October, 5pm–7pm.

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.

Joe Furlonger, Untitled, 1997, pigment with acrylic binder on canvas, 124 x 184cm. Gift of Ray Hughes through the Queensland Art Gallery | Gallery of Modern Art Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program. Collection: QAGOMA, Brisbane. © Joe Furlonger.

16 August—5 October Joe Furlonger: Horizons QAGOMA touring exhibition.

QUEENSLAND

PARKER Contemporary

tion 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.

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.

Queensland Museum Kurilpa Director & Founder, Emily Parker at PARKER Contemporary. Photograph courtesy the gallery and Robyn Wood. gallery’s stockroom by Gallery Director and Founder, Emily Parker, offering a rich reflection of the diverse range of artistic practices that have shaped this first ‘edition’ for the gallery.

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.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

See our website for latest information.

Claudia Husband, a/drift I, (detail), 2025, mezzotint on somerset satin, 56 x 38 cm.

Photograph courtesy the artist and Christopher Hagen.

22 August—6 September a/drift Claudia Husband a/drift presents a new body of work by Brisbane-based artist Claudia Husband that seeks to capture the essence of clouds, or rather, our fascination with them. The series of mezzotint prints and lithographs offer vignettes, windows and glimpses of cloud-like formations in an attempt to capture their ephemeral motion within the printed surface. The depiction of clouds as solitary forms may seem intuitive, but clouds rarely exist alone. Their portrayal as formations in isolation are often interpreted as an analogy for the human psyche, floating adrift, but inevitably drifting toward one another again.

16 September—11 October Tim Storrier 16 September—11 October Peter Boggs 14 October—8 November Michael Zavros

Un/tethered exhibition view. Queensland Museum, Lee Wilkes.

27 June—19 April 2026 un/tethered: connections through storytellers from Papua New Guinea un/tethered brings together the stories of six creative women from the Papua New Guinea diaspora community in Queensland as they explore belonging and connection.

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.

11 September—14 September Sydney Contemporary Carriageworks, Sydney.

From 27 September Edition One: Marking the First Year Opening event Saturday 27 September, 6pm–9pm.

Edition One is a special moment to celebrate and mark the first year of PARKER Contemporary. A year filled with 3 art fairs, 10 exhibitions, meaningful conversations, thought-provoking artwork and establishing a dedicated gallery space for contemporary printmaking in Queensland. This springtime show will bring together a thoughtfully curated selection of works available from the

Merinda Davies, Earth Refuge 3000, (installation view), 2022-23, dual channel video 5:36 minutes, speculative performance and installation. Photograph: Louis Lim. 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 connec-

Mark Wilson, Hairy Dog, fashion label 1990-1993, from the Mark Wilson Collection, Queensland Museum Collection.

5 September—19 July 2026 Make a Scene: Fashioning Queer Identity and Club Culture in the 90s In the 1990s, a vibrant and creative underground nightclub and dance party scene emerged in Brisbane for LGBTQIA+ people and their allies – safe places to wear fabulous fashions that celebrated the community’s diversity and reflected a fearless self-expression of identity.

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QUT Galleries and Museums

Blak Creatives is supported through the Creative Industries Investment Program and is jointly funded by ArtsCoast through Sunshine Coast Council’s Art and Heritage Levy and the Regional Arts Development Fund in partnership with Queensland Government.

www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 The QUT Art Museum is currently closed for repairs. In the meantime, please visit our website and take a virtual tour of our recent exhibitions.

Archie Moore, Mīal, 2022/23, (detail), Purchased 2023. © Archie Moore.

Raja Ravi Varma, India 1848–1906, Ravi Varma Press, Karla-Lonavla, India, Sheshnarayan early 20th century, printed c.1910–20, Oleograph with bundaki embellishment, before conservation treatment / Purchased 2024 with funds from the Henry and Amanda Bartlett Trust through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: QAGOMA.

William Robinson, Landscape with noon reflection, 1985, watercolour, 74 x 55 cm.

QUT Art Collection Donated through the Australian Government’s Cultural Gifts Program by William Robinson, 2009.

From 16 September William Robinson: Reflections This exhibition explores the transformative moment when William Robinson discovered the artistic possibilities of multiple perspectives. After a typical late-afternoon Queensland storm, Robinson experienced a revelation that would forever change his approach to landscape painting. Standing before a rainwater puddle, he witnessed the night sky and moon perfectly mirrored on its surface. In this singular moment—looking down yet seeing up—Robinson realised landscape could be portrayed through simultaneous, inverted viewpoints rather than fixed linear perspective.

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.

20 September—5 October 2026 The God of Small Things: Faith and Popular Culture Queensland Art Gallery | Free 236

Archie Moore, Kamilaroi/Bigambul peoples, Australia b.1970, kith and kin (installation view, Australia Pavilion, Venice Biennale 2024) 2024.Photograph: Andrea Rossetti. Image courtesy: The artist © Archie Moore.

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.

27 Sepember—18 October 2026 Archie Moore: kith and kin Gallery of Modern Art | Free

Redcliffe Art Gallery www.moretonbay.qld.gov.au/redcliffe-art-gallery Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 13] 07 3883 5670 Tue to Sat 10am–4pm.

Across four exhibition spaces, visitors can experience works by local, emerging and established Australian artists.

28 June—8 November Blak Creatives Exchange City of Moreton Bay Art Galleries have partnered with Munimba-ja’s Blak Creatives Program for an exhibition of fresh perspectives of the City of Moreton Bay Art Collection. Exhibition developed

by City of Moreton Bay in collaboration with Blak Creatives and Munimba-ja.

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.

QUEENSLAND

Redland Art Gallery, The Mezz www.artgallery.redland.qld.gov.au Redland Performing Arts Centre, 2–16 Middle Street, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8131 Mon to Fri 9am–4pm, and 1 hour prior to all performances.

Admission free.

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: Josh Howlett.

Create Exchange is supported by Haymans Electrical, Queensland Art Gallery | Gallery of Modern Art (QAGOMA) and Redland Art Gallery | Redland City Council.

Rockhampton Museum of Art www.rmoa.com.au

2025 Brisbane Broncos Indigenous Jersey designed by Delvene CockatooCollins. Photograph courtesy of Brisbane Broncos.

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 jersey 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.

Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

22 February—28 September Lincoln Austin: The Weight of Experience Lincoln Austin, assisted by artist Chelsea Jewell, presents a new, site-specific sculptural, tensegrity and light-based work The Weight of Experience.

www.artgallery.redland.qld.gov.au

7 September—18 November CREATE EXCHANGE: Wearing Country Delvene Cockatoo-Collins 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. This exhibition is part of a three-year project of artist-led exhibitions and activations, collectively titled CREATE EXCHANGE.

This diverse assembly of Queensland artists remind us of who and where we come from, and explore where we are going. Featuring James Bourbon, Darren Blackman, Rachel Burke, Ruth Cho, Jamie Congdon, Ernest Garrett, Naomi Hobson, Seinileva Huakau, Tara Lewis, Noel McKenna, Wendy Mocke, Sally Molloy, Glen O’Malley, Teho Ropeyarn, Joel Sam, Clare Jaque Vasquez, Judy Watson, and Keemon Williams. Cocurated by Robert Connell, Ashla Doherty, Melinda Mann, Jonathan McBurnie, Tessa McIntosh and Emily Wakeling.

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.

6 September—1 February 2026 RMOA Collection: Beyond Abstraction Beyond Abstraction showcases works by several artists from the RMOA Collection.

Through a variety of abstraction methods such as manipulation of colour, form, shape and expressive mark-making, the works present a departure from depicting conventional likeness.

2 August—2028 Sally Smart: The Artists Ballet

Redland Art Gallery, Cleveland 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.

Naomi Hobson (b. 1978), Guidance II, 2024, pigment print on archival cotton rag paper, 104.5 x 154 cm. Courtesy of the artist.

Danish Quapoor, Urn’t you glad it’s not that fragile, 2021, hand-coiled and stitched baling twine, 20 x 14.5 x 14.5 cm.

Courtesy the artist. Photograph: Amanda Galea.

23 August—26 January 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.

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. In 2025 Sally Smart will transform RMOA’s Long Gallery, responding to the monumental yet intimate scale of this space through exploration of the legacies of theatre and visual art.

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.

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Toowoomba Regional Art Gallery

Stanthorpe Regional Art Gallery continued...

www.tr.qld.gov.au/trag

Brisbane Portrait Prize 2024 in slq Gallery. Photograph: Joe Ruckli, State Library of Queensland.

20 September—9 November Brisbane Portrait Prize 2025

Chris Worfold, Numinous.

10 July–7 September Numinous Chris Worfold 10 September–5 October Crisps Youth Art Prize 2025 “Oceans” 1 October–4 March, 2026 $50,000 Stanthorpe Art Prize 2026 Calling entries from all artists.

9 October–23 November Reflections and Celebrations Maryke Miller and Laurie Astill

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.

There’s something quite special about walking through it's giant iron gates, with woven centuries-old fig tree roots, into another world. It's a place where history, nature and culture entwine. A place for everyone to discover something new.

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.

9 August—12 October Ornamentalism Taking its cue from Rupert Bunny’s The harem c.1913, this exhibition features artists from the Gallery’s collections whose work embodies their fascination with pattern and decoration. It focuses on links between ornamentation and Asia’s diverse creative histories.

16 August—12 October Stepping Stones: First Nations Artworks from the City Collection Eveline Kotai Every First Nation of Australia is spiritually and reciprocally connected to their own unique, living place – Country. The First Nations artists represented in this exhibition celebrate and share their ancestral connection to their timeless Country.

22 August—7 September Fever Dreams Hans Ahwang, Jamie Cole, India Collins and Melania Jack

Karen Johns, A Moment in Time.

9 October–23 November A Moment in Time Karen Johns

State Library of Queensland

Fever Dreams is an artist-driven exploration of the gap between the dreams we’re sold and the reality we live. This diverse group of artists comes together to explore themes of what creates a sense of home and community, what we hold sacred and worship, and our pursuit of an ever-elusive paradise, a fantasy we’ve created and feel compelled to uphold, no matter the cost.

It’s a dream of beauty, abundance, and freedom, all of which come at a price.

Susan Frost, Rise, 2022, (detail). Photo: Grant Hancock © Susan Frost.

16 August—12 October SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 ADC On Tour: An Australian Design Centre national touring exhibition.

SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 is a special Australian Design Centre On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary.

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.

Annabel Galea, A Solitude in Bloom, 2024, acrylic on canvas.

19 September—5 October Energy Exhibition 2025

Artists painting a banner as part of Culture Love activities in New Mapoon 2010, photographer unknown, John Oxley Library, State Library of Queensland.

5 July—12 October Culture Love 23 8

Young artists share their creative energy and insights in this annual student exhibition, bursting with innovative, high-quality works that will engage and inspire you.

ENERGY is a presentation of visual art produced by school students across the region. Featuring works submitted to the 2025 Creative Generations Awards, ENERGY presents the best young and emerging artists of our region, and a level of professionalism and maturity well beyond their years.

2023 Award Winner Zoë Veness, Wreath, 2023, neckpiece: archival paper, stainless-steel cable, sterling-silver tubing, 42 x 42 x 4 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 2417. Purchased 2023 with funds donated

by Toowoomba Gallery Society Inc., 2018. © Zoë Veness.

QUEENSLAND This major exhibition will showcase the work of twenty-two acclaimed ceramic artists from across Australia, including Toowoomba’s own Dan Elborne, and other previous exhibitors such as Pippin Drysdale, Vipoo Srivilasa and Greg Daly.

SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program.

30 August—23 November Contemporary Wearables ’25 Showcasing some of Australia’s most prominent and emerging contemporary makers, this exhibition is the focus of Toowoomba Regional Art Gallery’s contribution to promoting excellence in contemporary adornment. Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council, Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art.

Umbrella Studio Contemporary Arts

Shivanjani Lal, Mere Porvaj [I am Remembering], installation detail, in situ at Linden New Art, 2024. Photograph: Simon Strong, courtesy Shivanjani Lal and Linden New Art. forgotten, the labour of women, and the love of a land that continues to hold them.

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.

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.

19 September—2 November Woven Together: Undivided We Rise Kim Ah Sam, Jayme-Lee Harley, Clare Jaque Vasquez, Jaeda Lenoy, Erica Muriata, Aunty Rosalind Sailor and Michona Warria Woven Together: Undivided We Rise is a powerful celebration of resilience, community, and cultural continuity.

Curated by Gangulu woman Sabrina-Rose Toby, this exhibition honours the trust of the seven exhibiting artists, who share their stories through the transformative practice of weaving.

19 September—2 November Mere Porvaj [I am Remembering] Shivanjani Lal The works in Mere Porvaj [I am remembering] speak to a history that has been

Keiran James, Jilamara Arts (Martina Baxter, Neil Black, Pamela Brooks, Walter Brooks, Brenda Bush, Doriana Bush, Michelle Bush, Timothy Cook, Colin Heenan-Puruntatameri, Nancy Kerinauia, Raelene Kerinauia Lampuwatu, Raylene Miller White, Edwina Moreen, Mary Elizabeth Moreen, Bernadette Mungatopi, Gerry Mungatopi, Jimmy Mungatopi, Janice Murray Pungautiji, Tina Patlas, Geraldine Pilakui, Aileen Puruntatameri, Barbara Puruntatameri, Colleen Freddy Puruntatameri, Marie Claire Puruntatameri, Patrick Freddy Puruntatameri, Rachel Puruntatameri, Irene Tipiloura, Pius Tipungwuti, Pedro Wonaeamirri, Michelle Woody Minnapinni), Numbulwar Numburindi Arts (Rose Wilfred, Joy Wilfred, Megan Wilfred, Virginia Wilfred, Jangu Nundhirribala, May Wilfred, Jocelyn Wilfred, Nicola Wilfred) Brian Robinson and Lucy Simpson.

Curated by Freja Carmichael.

Michael Candy, ETHER ANTENNA, 2017, (still), single-channel video, colour.

Courtesy of the artist.

16 August—25 October Reciprocity Tully Arnot, Tega Brain (with Alex Nathanson and Benedetta Piantella), Michael Candy, Lyndon Davis, Janet Laurence, Eugenia Lim, Sara Morawetz, Gail Priest & Helen Pynor, Anna Madeleine Raupach and Yandell Walton.

Clare Jaque Vasquez and Aunty Rosalind Sailor, Woven Together: Undivided We Rise, indicative collaborative installation, 2025, Impasto and woven raffia, Variable dimensions. Photograph: Amanda Galea.

Nici Cumpston, Oh my Murray Darling, 2019, archival pigment print on Hahnemühle paper. Image courtesy of the artist and Michael Reid Galleries.

Reciprocity—the response to a positive action with another positive action—is the theme for ANAT SPECTRA 2025. Reciprocity involves cultivating relationships through giving and receiving, fostering care, ethical collaborations, and meaningful exchanges in creative practice. For ANAT SPECTRA 2025: Reciprocity, UniSC Art Gallery presents a major exhibition featuring Australian artists whose artistic practices intersect and deeply engage with these ideas.

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 Solomon Booth, Nici Cumpston, Megan Cope, Heather Koowootha, Napuwarri Marawili, Jimmy John Thaiday and

‘Rainforest meets reef, next 800m’, sign at Mission Beach, Djiru Country. Image courtesy of Rachel O’Reilly.

22 July—6 December NORTHERN WATERS Rachel O’Reilly NORTHERN WATERS is a new featurelength experimental film exploring complex aftermaths of the successful 1960s Save the Reef Campaign.

22 July—6 December 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. Guest Curator: Benison Kilby, PhD candidate 25 July—22 November SUNA (Middle Ground) Yuriyal Bridgeman Yuriyal Bridgeman’s monumental installation SUNA (Middle Ground) 2020 is a beacon for storytelling, idea-sharing, and connection. Represented on the front lawn of the University of Queensland Art Museum is a raun haus (traditional Papua New Guinea Highlands round house) that is the artist’s home and the heart of Bridgeman’s extended family, the Yuri Alaiku tribe and his renowned practice in the Waghi Valley in PNG. 239

AU S T R A L I A N C A P I TA L T E R R I T O R Y

Australian Capital Territory

Exhibitions

SEP TEMBER/OCTOBER 2025

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AU S T R A L I A N C A P I TA L T E R R I T O R Y

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.

ANCA → Jacki Stone, HERstoric Brooches 1 2 3 & 4, 2024, silver, 55 x 35 mm.

Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays.

Ken Knight, Cuverville Island - Antarctica Day 4, 9th February, 2020, oil on board, 120 x 122 cm.

19 September—12 October Ken Knight Solo Exhibition

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.

3 September—14 September PIN 10 45 Artists Australian National Capital Artists Incorporated hosts its 10th PIN show, exhibiting wearable art by 45 artists from across Australia.

17 September—5 October Lady Drag Emma Beer When I make paintings—or even just think about making them—I focus on two main things: raw material and pure feeling. What stands out most in my work is the strong tension between surface and depth, light and colour. There’s also a constant play between materials and technique—how they oppose, reverse, and interact with each other. Full of energy and life, my paintings respond to light in all its forms—its tones, hues, shadows, and brightness. I stretch and manipulate the paint, thin and extend pigments, then reshape them into bold lines that give structure.

Margaret Hadfield, Kangaroos in the Mist, 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 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),

29 October—16 November Thresholds as Other Space Murray and Burgess (Ro Murray and Mandy Burgess), Catherine Anselmi, and David Helmers (Artist and Curator) Crossing thresholds is an activity undertaken thousands of times without a second thought to privilege, this show considers queer thinking in being open to the unknown can be a catalyst for change. Three projects by NAS alumni Thresholds as Other Space seeks dynamic sites to disrupt and question normative transitions.

Belco Arts www.belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

29 August—12 October Creek Walks Jo Hollier Creek Walks consists of creative explorations and processes of times spent along the edge of a creek which rises in S.E. Forests National Park (NSW). Inspiration is drawn from the surroundings, capturing the essence of the natural beauty and tranquility found in secluded areas.

Around the Shimmering Lake Rowena Evans

Rmsina Daniel, Pace 9, 2025, steel, 3.4 x 5.95 m.

8 October—26 October The Remaining Echo Rmsina Daniel

“Around the Shimmering Lake is supported

by Belco Arts and Megalo Print Studio through the ACT Government and Australian National University Emerging Artist Support Scheme. I am using this opportunity to develop ideas coming from investigating and sharing a place; its sounds, sights, ambiences, impressions and presences.”

This exhibition explores the idea of originality by returning to its root—Mesopotamia, the birthplace of civilizations. Through reimagining symbols like the Winged Bull, ancient forms are transformed, not recreated. The past becomes present, revealing that true originality may lie not in invention, but in rediscovery and reinterpretation of origins.

Lisa Jose, Diana (detail).

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artguide.com.au Belco Arts continued...

CMAG respects and celebrates the continuing Ngunnawal culture and the rich contribution that Ngunnawal people, and other Aboriginal and Torres Strait Islander peoples, bring to our community and to our understanding of the country that surrounds and nurtures us.

29 August—12 October Rescue Lisa Jose In Rescue Lisa presents intimate linocut portraits of domestic, wild, and farm animals—all inviting you to reflect on the bonds between rescue animals and their human rescuers.

AWARE Savanna Storm AWARE tells the story, in unique jewellery, of our environment and the imperative to repair it.

Enrico Taglietti in his studio in Griffith Canberra, c1976. Photo Ted Richards.

Will Lynes, 2025. Courtesy of the artist.

21 August—26 October Oily Water Will Lynes

Heidi Smith, Untitled (detail).

A classically trained gilder, Will Lynes explores the historical and artistic relationship between glass and painted lettering, rooted in traditional signwriting techniques such as reverse glass painting and gilding, blending art and advertising.

7 June—22 February 2026 Taglietti: Life in Design Enrico Taglietti Until 16 November Outer Space: Stromlo to the Stars Permanent Exhibition Canberra/Kamberri, Place & People

Whirligig and the Book Heidi Smith “Whirligig and the Book is an experimental project that attempts to consolidate multiple aspects of my art making. The aim is to generate a series of interconnected textiles, drawings and sculptural objects.”

17 October—30 November Behind the View Cassandra Dove “Behind the View brings together my personal experiences in the landscape in Canberra and surrounding NSW, and my inner world as the artist.”

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.

Millinery – A Fine Art Cynthia Jones Bryson 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.

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.

Canberra Glassworks www.canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 242

Bronte-Cormican Jones, Of Line, 2024.

Photo: Kevin Miller 21 August—26 October Bronte Cormican-Jones Emerging glass artist, Bronte Cormican-Jones responds to the architectural space of the Glassworks Smokestack Gallery. Interested in our physical responses to the infrastructure around us, her practice is primarily sculptural, exploring spatial practice through object, installation, performance, and photography.

6 November—25 January, 2026 Gabriella Bisetto 2024 Tom Malone Glass Art Prize winner, Gabriella Bisetto has developed a sculptural practice that explores organic and visceral objects. Drawing inspiration from the shapes and structures found within the human body, she considers the connection between the human body and the act of blowing glass. Opening 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.

Sidney Nolan, The Male, (Lyrebird) costume from The Display, 1964. On loan from the Australian Performing Arts Collection, Arts Centre Melbourne, gift of the Australian Ballet, 1998.

Until 8 March 2026 A Total Work of Art: Sidney Nolan and the Stage Sidney Nolan

Craft + Design Canberra www.craftanddesigncanberra.org Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

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.

Arthur Wicks, Measuring stick (#3), displacement (for Archimedes), 1980, screen print.

5 September—28 September Print + paper Group show including Alison Alder, Surya Bajracharya, Adam Bell, Elaine Camlin, Max Gosling, Lizzie Hall, Clare Jackson, Robbie Karmel, Francis Kenna, Julian Laffan, Alex Lundy, Derek O’Connor, Jacob Potter, Broni Sargeson, Elise Stanley, Jackson Taylor, Arthur Wicks.

Grainger Gallery → Lauren Starr, IRIS (Ornate Frame), 2024, fine art photograph, with mixed media and 23k gold leaf archival printing. systems and carriers of meaning. Featuring a diverse group of contemporary artists, the exhibition features painting, sculpture, photography, and mixed media.

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.

3 October—26 October Light and mind Liz Coats Five decades of abstract painting practice.

Coats works in series that explore enduring questions about colour perception and spatial relations.

Grainger Gallery 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.

13 September—18 October Full Bloom – A Group Floral Exhibition As Canberra bursts into colour for the annual Floriade Festival, Granger Gallery presents Full Bloom, a vibrant art exhibition exploring the poetic intersection of floral beauty and science. Floriade, the Southern Hemisphere’s largest celebration of spring, transforms the capital into a floral wonderland. In harmony with this seasonal spectacle, Full Bloom brings the bloom indoors — inviting audiences to experience flowers not only as symbols of natural beauty, but as complex biological

Michael Desmond, You are here, 2025.

Image courtesy of the artist.

Sarah Waghorn, Emerald Forest, oil on canvas, 50 x 120 cm.

23 October—7 November The Path Within – An Overland Journey Sarah Waghorn This exhibition presents a series of large-scale oil paintings inspired by Sarah Waghorn’s journey along the Overland Track in Tasmania — an iconic 65 kilometre trail that winds through some of the most remote and ancient terrain in Australia.

This track weaves through a strikingly diverse range of environments: from alpine plateaus and glacial valleys to dense, prehistoric rainforests cloaked in moss and with an air of mystery.

Caren Florance and Melinda Smith, 1962: Be Spoken To, 2014-2017. Image courtesy of Brenton McGeachie.

5 Septemer—28 September Rendezvous: Notes from the Botanic Gardens 24 3

artguide.com.au M16 Artspace continued...

Michael Desmond, Peta Jones, Bryn Desmond-Jones, Ossian Desmond-Jones See What I See Nature Art Lab Opening Thursday 4 September, 6pm–8pm.

3 October—26 October Corridors of Power Caren Florance and Melinda Smith.

Opening Thursday 2 October, 6pm–8pm.

National Gallery of Australia

2025 the National Gallery will present Proofs & Processes: The Kenneth Tyler Collection – a selection of works from the catalogue alongside associated proofs and archival material that unpack their creation.

13 September—12 April 2026 Bilong Papua New Guinea: 50 years of Independence Bilong Papua New Guinea marks the 50th anniversary of Papua New Guinea’s independence and the birth of a new nation on September 16, 1975. Prior to this date, Papua New Guinea was under Australian colonial rule from 1906, preceded by British and German rule from 1884.

installation. The display illustrates the diversity of artistic practice in the region through a range of works dating from 1860 to 2016.

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.

www.nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

The National Gallery is Australia’s national visual arts institution dedicated to collecting, sharing and celebrating art from Australia and the world.

The national collection comprises over 155,000 works of art, including the world’s largest collection of Aboriginal and Torres Strait Islander art.

Lindy Lee, The long road of the river of stars, 2015. National Gallery of Australia, Kamberri/Canberra, purchased 2018. © Lindy Lee/Copyright Agency.

25 October 2024—February 2026 Lindy Lee One of Australia’s most accomplished contemporary artists. To complement the unveiling of Ouroboros, Lee’s major new public art commission for the National Gallery, this exhibition brings together highlights from across the artist’s career as well as a monumental new installation and works on paper.

From 22 March Know My Name: Kee, Jackson and Delaunay

Em Jensen, Thelma, 2024, (detail).

National Photographic Portrait Prize 2025 Finalist. © Em Jensen.

16 August—12 October National Photographic Portrait Prize 2025 Celebrating its 18th year, the National Photographic Portrait Prize supports and showcases photographic portraiture in Australia. Featuring 48 finalist works, the exhibition provides a powerful visual record of the year, reflecting Australian culture both socially and artistically.

Showcasing two of Australia’s leading fashion designers: Linda Jackson and Jenny Kee, in conversation with international, multidisciplinary artist Sonia Delaunay (1885–1979).

Pablo Picasso, Woman in a multicoloured hat (Tête de femme au chapeau), 1939, Museum Berggruen, Neue Nationalgalerie―Stiftung Preußischer Kulturbesitz. © Succession Picasso/Copyright Agency, 2025. Photograph © bpk/ Nationalgalerie, SMB, Museum Berggruen/Jens Ziehe.

From 17 April Know My Name: Global

31 May—21 September Cézanne to Giacometti: highlights from Museum Berggruen / Neue Nationalgalerie

August—February 2026 Enjoy This Trip: The Art of Music Posters

This exhibition marks the first time works from this internationally significant collection will be seen in Australia. The exhibition presents a journey through the dynamic changes in European and Australian art in the twentieth century.

19 July—28 June 2026 Proofs & Processes: The Kenneth Tyler Collection To celebrate the release of Tyler Graphics Catalogue Raisonné 1986—2001 in June 24 4

Presenting works of art by living women artists who have pushed the limits of artistic practice through experimentation with form, colour and spatial innovation from the 1960s to the present day.

Drawn from the National Gallery’s expansive collection of Australian and international music posters spanning the 1960s to 1980s, Enjoy this trip: The art of music posters captures the spirit of the times as an era of experimentation.

13 September—June 2026 New Asian Art This exhibition highlights recent acquisitions by artists from across Asia and the Asian diaspora in a range of media including paintings, prints, textiles, video, photography and multidisciplinary

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 lesserknown works from the National Portrait Gallery collection.

Tasmania

Exhibitions

SEP TEMBER/OCTOBER 2025

artguide.com.au All in. The exhibition features artworks by creative locals of North West Tasmania, representing all ages and all abilities.

16 August—27 September ArtRage 2024 Each year since 1994, the Queen Victoria Museum and Art Gallery (QVMAG) has presented ArtRage, a showcase of top artworks created by year 11 and 12 students studying Visual Art or Art Studio Practice as part of their Tasmanian Certificate of Education (TCE). Now in its 30th year, ArtRage continues to support budding artists from across the state.

Bett Gallery → Imants Tillers, Nature Speaks: HI, 2021, synthetic polymer paint, gouache on 16 canvasboards, nos. 112558–112573, 101.6 x 142.2 cm.

Bett Gallery

Colville Gallery

www.bettgallery.com.au

www.colvillegallery.com.au

Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

30 Collins Street, Hobart, TAS 7000 [Map 17] 03 6224 4088 Open Thu and Fri, 10am–5pm.

See our website for latest information.

29 August—20 September On Island NOW Featuring Imants Tillers, Julie Gough, Valerie Sparks, David Keeling, Raymond Arnold, Ricky Maynard, Rob O’Connor, Kelly Austin, Belinda Winkler, Megan Walch, Amanda Davies, Michael Schlitz, Pat Brassington, David Stephenson, Richard Wastell, Philip Wolfhagen, Neil Haddon, Ashlee Murray, Vanessa Greeno.

26 September—18 October Britt Fazey

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.

Brigita Ozolins

This is Us - The Future: Duck, 2023.

1 February—17 January 2026 Little Gallery Emerging Artist Program 2025 Selected Artists: Emily-Rose Wills, 22 March–3 May; Esther Touber, 10 May–21 June; Ashlee Hambleton; Rebecca Cannon, 28 June–9 August and Freya Tripp, 22 Nov – 17 Jan 2026.

Nicole O’Loughlin, Woman ignoring housework, watching the world implode, 2025, hand embroidery and mixed media textiles, 50 x 60 cm.

24 October—15 November Nicole O’Loughlin Joan Ross 24 6

The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice.

26 July—13 September All in 2025 The Devonport Regional Gallery invites you to our second annual community exhibition,

Amanda Davies, Interior (after Owen Lade), 2025, oil on linen 71 x 92 cm. Reflections on the Portraits of Owen Lade Amanda Davies Solo Commission 2025.

30 August—1 November Reunion: Reflections on the Portraits of Owen Lade Amanda Davies Solo Commission 2025.

Reunion reimagines Owen Lade’s poignant portrait paintings, transforming his solitary child portraits into dynamic group compositions. By exploring relationships between sitters and artist, Davies introduces new narratives and deepens connections. Her reinterpretation of Lade’s self-portrait, Yours Sincerely, provides a contemporary perspective on the nude.

The exhibition will integrate existing works from the Regional Devonport Gallery and Luke Wagner’s collection, enriching the dialogue between past and present.

Dr. Eliza Burke will contribute a critical essay, offering insights into Davies’ response to Lade and new approaches to portraiture. This project is made possible with the support of the Owen Lade Estate, Devonport Regional Gallery, and Luke Wagner.

27 September—15 November Queer Coast Ariel Pascoe, Mack Wharton, Hope Town, Karen Knight, Carly Peters and Stella Blackwell.

Queer Coast displays artworks of LGBTIQA+ people living in lutruwita / Tasmania. By drawing inspiration from the unique beaches in Devonport and across North-West Tasmania, artists share stories of seeking out safe spaces and resilience. As members of the Queer community, artists have faced experiences that have been challenging and rewarding, including discrimination through to connection and acceptance. Curated by Amy Bartlett and Ellina Evans.

6 October—15 November This is Us Young primary aged students from schools in the Devonport area are responding to the theme This Is Us. This

TA S M A N I A biannual primary exhibition invites young students to share their thoughts on what is important to them through art. The exhibition gives us, the audience, an opportunity to gain an insight into how they see and engage with the world.

Handmark www.handmark.com.au

Madeline Gordon Gallery www.madelinegordongallery.com.au Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm and by appointment.

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

October Duck Reach for decades Robert Habel October Gift from the Sea Elizabeth Barnetts

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.

Sandra Jenkins.

September Solo Exhibition Sandra Jenkins September Infinite Realms (Part Three) Emily-Rose Wills Nick Glade-Wright, Gorge, 2025, oil on canvas, 112 x 112 cm.

15 August—1 September Now Nick Glade-Wright

October Solo Exhibition Jen Brown

5 September—22 September Oceanic Heidi Woodhead

Al Roberts + Nightmarish Meatballs, Surrender, bronze, 44 x 15 x 55 cm.

5 September—30 September The Architecture of Collapse Al Roberts + Nightmarish Meatballs

Elizabeth Barnetts.

10 October—31 October Critters Kurt Hermann

Left: David Edgar, Drift, 2025, charcoal on paper, 110 x 110 cm. Right: Steven Carson, Deco pot, midfire ceramic.

26 September—20 October New works David Edgar and Steven Carson 24 October—17 November New works Adrian Barber

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

Penny Contemporary → Al Roberts + Nightmarish Meatballs.

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artguide.com.au 29 August—21 September rethink/refine/remake designedmade inc 6 September—5 October Clarence Prize 26 September—19 October Minds Do Matter 2025 26 September—19 October Cloud House Claire Pendrigh

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Rosny Farm → Patrick Adeney, Winslow Armchair, 2023 winner.

Queen Victoria Museum & Art Gallery

Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm.

Free admission.

See our website for latest information.

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.

Richard Wastell, World that I love (Inhaler), Autumn camp, Penstock Lagoon, 2004, acrylic and oil on canvas.

Purchased with funds from the Ruth Komon Bequest, 2004. AG7668.

Sam Jinks, The Messenger (Iris), 2018. 24k gold (wings), silicone, pigment, hair, water, powder-coated aluminium, tinted silicone oil. Image: QVMAG. 6 September—30 November Fragments and Artefacts David Hamilton 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 deep traditions of sculpture while pushing the boundaries of contemporary form.

Helen Wright, Birdscape 1, 2016-17, oil on linen, 152.5 x 122 cm. On loan from Helen Wright, courtesy of Niagara Galleries.

Photographer: Jack Bett.

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.

Rosny Farm www.rosnyfarm.com.au 22 Rosny Hill Road, Rosny Park, TAS 7018 03 6217 9607 Wed to Sun, 11am–5pm.

See our website for latest information.

24 8

An exhibition of artworks that respond to Tasmania/Lutruwita from a wide range of perspectives. All of the artworks are from the Tasmanian Museum and Art Gallery’s Collection.

23 May 12 October Oliffe Richmond An exhibition of works by Oliffe Richmond (1919–1977) who was a Tasmanian-born sculptor who built a distinguished career in Britain, working alongside Henry Moore before becoming a sculpture teacher at Chelsea School of Art. The Tasmanian Museum and Art Gallery holds a significant collection of his works on paper, spanning from the 1940s to the 1960s. These drawings trace the evolution of his artistic practice, from early explorations of form to studies reflecting his mature sculptural vision. This selection builds on a 1989 exhibition that first highlighted Richmond’s lesser-known works on paper, offering a deeper insight into his artistic journey.

8 August—26 January 2026 The World of Butterflies This exhibition celebrates the diversity and beauty of butterflies. The exhibition explores their biogeographic distribution and evolutionary adaptations, and the importance of scientific naming conventions. Visitors will have the opportunity to wonder at the rare and exotic specimens which are arranged in themed displays that highlight the fascinating colours, patterns, and behaviours of these remarkable insects.

14 June—9 March Sam Jinks || Mortal Reflections The first major Tasmanian exhibition of renowned hyperrealist sculptor Sam Jinks also marks the largest collection of his works ever shown. Renowned for his painstakingly crafted figures, Jinks’ practice reflects the deeply felt moments of our lived experience.

6 December 2024—21 September On Island

Ann Menezies, Treasures, oil on canvas, 2023.

South Australia

Exhibitions

SEP TEMBER/OCTOBER 2025 249

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

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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 → Mark Valenzuela’s studio, 2025.

Photograph: Morgan Sette.

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.

2 August—20 September Bantay-Salakay Mark Valenzuela

Adelaide Town Hall Gallery www.vasgallery.org.au 128 King William Street, Adelaide, SA 5000 08 8203 7590 Mon to Fri 9am–5pm.

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 September—31 October 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.

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.

1 September—31 October Bernadine Johnson Kemarre

Garawan Wanambi, Marrakulu clan, Yolŋu people, Northern Territory, born Miwatj Region, Northern Territory 1965, Springwater bubbles up through a larrakitj on the beach at Raymangirr, 2019, Yirrkala, northeast Arnhem Land, Northern Territory, earth pigments on board, 121.0 x 121.0 cm, Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide © Garawan Wanambi/BukuLarrŋgay Mulka Centre.

Bernadine Johnson Kemarre (Santa Teresa, NT) is gaining recognition for

17 October—18 Janurary 2026 Too Deadly: Ten Years of Tarnanthi

Zaachariaha Fielding and Yaritji Tingila Young, Tjungu (Together), acrylic paint on linen, 2023, 200 x 248 cm. Photo by Andy Francis, courtesy of the APYACC. 1 July–2 February, 2026 Purkarari: Slow Down Purkarari: Slow down is an exhibition of major new works by Zaachariaha Fielding alongside collaborative paintings created with Senior artists working out of the APY Studio in Adelaide. Rooted in the

Bernadine Johnson, Kemarre Bush Flower collection.

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artguide.com.au Art Gallery of South Australia continued...

The name Tarnanthi (pronounced tarnan-dee) comes from the language of the Kaurna people, the traditional owners of the Adelaide Plains. It means to come forth or appear – like the sun and the first emergence of light. Tarnanthi is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through artistic excellence, illuminating the diversity and depth of art and culture in communities nationwide. It encourages new beginnings by providing artists with opportunities to create significant new work and to extend their practice.

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.

17 October—18 October Tarnanthi Art Fair The ever-popular Tarnanthi Art Fair returns as an opportunity to learn about First Nations art and artists and to purchase works of art created by Aboriginal and Torres Strait Islander artists working independently or from art centres across the country. See more online.

Art Gallery of South Australia → Tarnanthi Art Fair 2023. Photo Sia Duf.

Flinders University Museum of Art

Murray Bridge Regional Gallery

www.flinders.edu.au/museum-of-art

www.murraybridgegallery.com.au

Kaurna Country, Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt.

Thu until 7pm. Closed weekends and public holidays.

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.

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.

Michael Kutschbach, cnidølysis noeëidolon, (detail), 2025, wood, glass, plastics, gel wax, acrylic stuffing, paint, pewter, chrome, hair, dust, textiles, grass, found objects, silicone, motor, LED lights, sound, speakers, fog machine, 67 x 418 x 247 cm.

On loan from the artist, Flinders University Museum of Art, Adelaide © the artist.

Photograph: Grant Hancock.

12 May—12 September Crosscurrents

Julie Brown, Look at that tongue, 2024.

Courtesy of the artist.

30 August—25 October Best in Show 2025: Australian Photographic Dog Prize Celebrating the many ways dogs continue to play a central role in our lives. A joyful exhibition and moving tribute to the loyalty and beauty of dogs through the eyes of talented photographers across the country.

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Ellie Maranakis, Kathryn, Women of the LMRIA, (detail), Long Island, 2023.

9 August—7 September RISE FROM THE OVERFLOW: Portraits + Stories from Women of the Lower Murray Reclaimed Irrigation Area (LMRIA) Ellie Maranakis An exhibition of photographic portraits, videoworks and moving personal narratives. Jointly funded by the Commonwealth and South Australian Governments under the Disaster Recovery Funding Arrangements.

A Flinders University Museum of Art exhibition curated by Dr Belinda Howden, presenting newly commissioned works

by Brad Darkson, Chris De Rosa, Honor Freeman, Michael Kutschbach, Sonya Rankine, and Mary-Jean Richardson.

Through their works, Crosscurrents unfolds as a richly layered schema of place where speculative sculpture, reimagined cultural practice, and collaborations with marine ecologies converge, alongside reflections on the stark realities of extractive bioprospecting. These works also give form to the intimate rituals of coastal life—swimming, walking, and observing the ever-shifting thresholds of land, sea, and sky.

Room 23 students (Daniel Tluang Rem Thang, Zing Tha, Kesiah, Taranum Akbari, Mariam Sharifi, Huma, Nazareth Guerrero, Fatima Safi, Abasin Amiri, Ayan Karasi, Hoomodi Alsankari, Hashir Habeeb Khan), Primary Awards Best Poster, (detail).

S O U T H AU S T R A L I A 9 August—7 September SA Refugee Week Youth Poster Awards 2025

22 August—20 September CHASSIS Matt Fortrose

Presenting handmade posters from primary, secondary and tertiary students from across South Australia, the annual SA Refugee Week Youth Poster Awards Exhibition is powerful, poignant and heart-warming. The posters encourage deep reflection on empathy, kindness and how we can make a difference.

This awards exhibition is a joint project of the Australian Migrant Resource Centre and Adelaide Festival centre. It is supported and assisted by the SA Ministers for Education and Multicultural Affairs and both the South Australian and federal governments.

20 September—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.

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.

Jess Dare, Impermanence, 2024.

Photograph: Grant Hancock.

2 August—28 September Beautiful Tensions: Gray Street Workshop celebrates forty years

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. Sun closed.

Alison Smiles, Wassail Offering, toasted bread, 10 x 10 cm.

26 September—25 October Wassail Alison Smiles and Caren Elliss

Riddoch Arts & Cultural Centre www.theriddoch.com.au Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

9 August—26 October JamFactory ICON Julie Blyfield: Chasing a Passion

Matt Fortrose, steel wheel, 2024, steel, 41 x 17 cm.

Julie Blyfield is a South Australian jeweller and metalsmith whose ever-evolving practice is inspired by her research into botanical specimens, historical silver collections and the rich diversity of the Australian landscape. Predominantly working in silver and copper, Blyfield interprets botanical motifs using the traditional metalsmithing techniques of chasing and repoussé to create intricately patterned jewellery and objects. JamFactory ICON Julie Blyfield: Chasing a Passion is a JamFactory touring exhibition.

Aunty Ellen Trevorrow, Selliera radicans (Swamp Weed) woven bag, 2025.

Photograph: Connor Patterson.

18 July—14 September JamFactory ICON 2025 Aunty Ellen Trevorrow: Weaving Through Time

JamFactory at Seppeltsfield www.jamfactory.com.au Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm.

Riddoch Arts & Cultural Centre → Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023 (video still).

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9 August—26 October I own a Phil Riley If you happen to glance down on the wrist of a local in Mount Gambier you will not be surprised when your eyes fall upon the knots of gold or silver of a Phil Riley bracelet. Riley’s bracelets mark the marriages, birthdays, and sentiments of so many loves and losses – the jeweller’s handiwork has become iconic to the place itself.

6 September—26 October Two Girls From Amoongoona An exhibition featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. It recounts their intertwining stories of friendship and resilience in the Central Desert.

Encompassing video, soft sculptures and paintings, the centrepiece animation Arrkutja Tharra, Kungka Kutjara, Two Girls was made in collaboration with Ludo Studio (Bluey, Robin Hood, and The Strange Chores). An ACMI Touring Exhibition.

Samstag Museum of Art www.unisa.edu.au/connect/samstag-museum/ Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 [Map 18] Tue to Sat 10am–5pm.

16 October—5 December Sean Cordeiro and Claire Healy: Psychopomp and selected works A cacophonous and vibrant moving image work that explores the porous relationship between science and mysticism. Turning their attention to rocket technology and its link to spirituality, the pair explore the expressive potential of motion, technology and pagan rituals.

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.

16 October—5 December 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 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.

Julie Blyfield, Viridescent neckpieces #1 – 2, 2024, patinated bi-metal: copper, sterling silver, oxidised sterling silver, cable, wax. Photo Grant Hancock.

6 September—26 October Memories Thumb Print Workshop Inc Celebrating 30 years of printmaking, Thumb Print Workshop Inc presents Memories, a exhibition acknowledging the long history of the group while the artists take their own deep dives into personal memories and reflections.

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.

Sauerbier House is a vibrant contemporary arts space which champions the

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.

5 July—14 December Ride on, shine on: The East Kimberley Art Movement Queenie Nakarra McKenzie (Mingmarriya), Rover Thomas, Freddie Timms (Ngarrmaliny), Jack Britten (Yalarrji), Birrbi Mungnari and Hector Jandany

Samstag Museum of Art → Sean Cordeiro and Claire Healy, Psychopomp, 2025, production still. Image courtesy the artists, N. Smith Gallery and MAGMA Galleries.

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Ride on, shine on: The East Kimberley Art Movement showcases 14 precious early paintings by the founding members of the contemporary East Kimberley art movement of Western Australia, representing the beginnings of what became a major episode in Australian art.

Western Australia

Exhibitions

SEP TEMBER/OCTOBER 2025

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lintonandkay.com.au

Images left to right: Robert Moore, ‘Two Birds’ 2025, ‘Crimson Rosellas’ 2025, ‘Magpies’ 2025, all oil and enamel on board, 48 x 38cm.

Robert Moore Magpie Season 18 September—6 October Subiaco

Pippin Drysdale, ‘Sap Rising Installation 2025’, seven porcelain artworks, dimensions variable, 24 x 10cm.

Douglas Kirsop, ‘Evening in Gorge’ 2025 [detail], oil on linen, 118 x 120.5cm.

Linton & Kay’s Ceramic Artists Keramos

Douglas Kirsop Light of Landscape

2—19 October Cottesloe

2—27 October Subiaco

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

David Giles, Chapmans Pool, acrylic on canvas, 75 x 75 cm, $2400.

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

MUNDARINGARTSCENTRE.COM.AU

THE CLAY PATH 24 AUG - 26 OCT ALISON BROWN, GREG CROWE, PIPPIN DRYSDALE, BERNARD KERR, W A R R I C K PA L M AT E E R A N D G A R R Y Z E C K

Image: Pippin Drysdale, The Kimberley Series, 2008, stain glazed, kiln fired, incised porcelain, dimensions variable. Photo by Josh Wells.

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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.

portraiture and inherited histories, these artists are bound not only by place, but by a shared impulse to situate Western Australia within an expansive global context – at once rooted and far-reaching.

9 August—13 September Aeon Cathy Blanchflower Cathy Blanchflower unveils a series of new paintings alive with movement, colour, and light. Flecks and pools of pigment drift across layered gestural marks, forming organic, ever-shifting fields that hover between stillness and flux. The exhibition brings together recent works from her ongoing Lithic series and paintings created during a 2025 residency in Bangkok, Thailand – each one tracing a quiet dialogue between sensation, memory and form.

9 August—13 September Road Trip Continued Eveline Kotai Panoramic paintings by Eveline Kotai trace a journey through the seasonal Karri forests of Margaret River. The works depict a changing perspective, where fleeting impressions are briefly held within the window’s frame – like fragments of memory passing in motion. Recurring themes of disintegration and regeneration underpin the artist’s intuitive practice, in which fragments of earlier works are reassembled and stitched to canvas.

Each line responds organically to the last, opening space for moments of surprise and the quiet wonder of moving through landscape.

Brad Rimmer, Sometimes I Wish 13, 2024, archival pigment print, 120 x 160 cm, ed. 1 of 3.

11 September—14 September Sydney Contemporary 2025 Brad Rimmer, Rebecca Dagnall, Sarah Elson and Susan Roux This exhibition brings together artists working across contemporary photography, sculpture, video and works on paper. While some engage directly with lens-based practices, others incorporate photographic imagery as one element in a broader, materially rich approach – puncturing, stitching, painting or eroding the surface to disrupt its fixity. Elsewhere, traditional metalworking techniques are reimagined, with native and foraged flora cast into intricate forms that are at once delicate and disquieting. Traversing themes of landscape, environment,

Hale Tenger, Borders / Borders, 1999, two-channel video (colour and sound, 4’45”, loop). Courtesy of Hale Tenger and Galeri Nev Istanbul.

Sandra Black, Misty Ranges 5, 2022, cast cool ice porcelain with clear glaze and photo decal, 22 x 13 x 12.6 cm.

20 September—25 October Solace Sandra Black

work explores power, memory and belonging, offering vital reflections on borders— political, psychological, and environmental—in our turbulent world.

Solace traces a sequence of journeys across significant Australian landscapes – beginning in the south of Western Australia, through Tasmania, and culminating in the Pilbara. Marked by both beauty and adversity, these environments inform the exhibition’s contemplative tone. The works draw on experiences of loss and renewal and are grounded in a quiet resilience.

Within the silence and endurance of country – weathered by fire, storm, and human presence – a subtle reckoning with fragility unfolds, accompanied by a profound reverence for the land as a source of strength and restoration.

In a world leading first AGWA showcases an extraordinary immersive exhibition combining sound and cutting-edge biological innovation to bring to life the musical genius of a deceased composer.

Four years in the making, Revivification, developed by artists Guy Ben-Ary, Nathan Thompson and Matt Gingold with neuroscientist Stuart Hodgetts, delivers a historic first: the in-vitro (external) ‘brain’ of the late composer Alvin Lucier (1931-2021) creating a new work in real time, as a live performance over the duration of the exhibition.

20 September—25 October In the Fold Jacky Cheng In the Fold presents a contemplative meditation into kinship, memory, and transformation. Informed by a lineage-based system that acknowledges age, hierarchy, and respect, the exhibition explores how relationships shape identity. Like paper holding the memory of a fold, each work carries emotional resonance through gestures of shaping, creasing, pinching and stitching – subtle acts that evoke tenderness, resilience and quiet strength.

Material and memory converge in this study of becoming, revealing the intimate architecture of connection through form and process.

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.

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

Until 21 September Revivification

Until 28 September Cast in bronze This State Art Collection exhibition explores the evolution of Modernist bronze sculpture, from the mid-to-late nineteenth century to the mid-to-late twentieth century, offering a fascinating glimpse into the development of sculptural practice during a period of profound transformation in the art world. Featuring iconic works from renowned artists like Auguste Rodin, Marino Marini and their contemporaries, the collection highlights the technical mastery and emotional depth of figurative sculpture, showcasing the enduring influence of these groundbreaking artists on the trajectory of modern art.

Until 9 November Sam Contis: Moving Landscape In an Australian first, AGWA presents Sam Contis: Moving Landscape, an exhibition by internationally acclaimed US artist Sam Contis. This stunning exhibition brings together three main bodies of work – Deep Springs, Overpass, and Cross Country – giving us a view of the artist’s practice over twelve years and 85 works.

The three series unfold across distinct landscapes, each offering a careful view into the long and complicated relationship that photography holds with human attachments to place.

Until 30 November Elise Blumann: Music in motion 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, 259

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Bunbury Regional Art Gallery

particularly through two series, The Surfer and The Conductor, while also highlighting Blumann’s evolution in materials and forms over her career.

www.bunbury.wa.gov.au/brag 64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

Janet Dreamer, Lily Flowers,2018, acrylic on canvas, 120 x 90 cm.

Jazz Money, It's Always Been Always, 2022, neon, 100 cm. The State Art Collection, The Art Gallery of Western Australia.

Purchased 2023. © Jazz Money, 2022.

Photograph: Dan McCabe.

My Country Stays in My Dreams. In sizzling hues, Dreamer’s unique works bring to life the flora, wildlife, water life and ancestral memories of her East Kimberley home.

To be opened by Kevin Kelly, long time Kimberley art centre manager.

Ongoing Balancing Act

Sam Bloor, A futile gesture of devotion, 2025, digital billboard.

16 August—26 October Futile Gestures Sam Bloor 16 August—26 October Teaching A Plant The Alphabet John Baldessari 19 July—19 October Mingei Clay Shoji Hamada, Bernard Leach, and Michael Cardew

Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Artitja Fine Art Gallery www.artitja.com.au Exhibiting at Earlywork: 330 South Terrace, South Fremantle, WA 6160 [Map 20] 0418 900 954 26 August—7 September My Country Stays in My Dreams Janet Dreamer In partnership with Everywhen Art & Yarliyil Art Centre.

The work of Jaru artist Janet Dreamer (1951-2021) continues its national exhibition programme with the solo show

Joanne Ken, Ngayuku Ngura – My Country, acrylic on belgian linen, 2025, 122 x 101 cm. Courtesy Artitja Fine Art in partnership with Kaltjiti Art. 10 October—2 November THE LAND LISTENS Group show

Pmara Nurnakanha Tukutrta Ikuma-Holding, We hold our country in our hearts and minds, 2022, installation.

6 September—18 January 2026 Clay on Country Various artists 30 August—19 October Iluka Visions 2025 South West High School students exhibition.

City of Perth Council House Gallery → Bridges, 2006, acrylic on marine ply, 60 x 300 x 16 cm. Courtesy of Simon Pigliardo.

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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.

1 September—31 October Between Worlds: The Vision of Rina Franz

Fremantle Arts Centre

Matthew Clarke, Dominique Coiffait, Jo Darbyshire, Annabel Dixon, Mauretta Drage, Troy Drill, Jacqui Driver, Lesley Duxbury, Robert Fielding, Freyja Fristad, Caroline Goodlet, Freya Hall, Angela Hayson, Deanna Hitti, Dwayne Jessell, Martin King, Hiroshi Kobayashi, Jo Lankester, Eric Lobbecke, Frances Malcomson, Tim McLaughlin, Tim Meakins, Mimili Wati Group, Louise Monte, Zali Morgan, Sally Mumford, Brett Nannup, Kate O’Shea, Jana Papantoniou, Emily Parker, April Phillips, Perdita Phillips, Maree Purnell, Alethea Richter, Brian Robinson, Joshua Searle, Mervyn Street, Ella Sutherland, Bill Taylor, Jacinta Taylor-Foster, Carine Thevenau, Peter Gooloou Thomas, Samantha Thompson, Richard Trang, Justin Trendall, Lois Waters, Kylie Watson, Noah Williams, Evangeline Wilson & Prita Tina Yeganeh.

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

www.fac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Goolugatup Heathcote www.melvillecity.com.au 58 Duncraig Road, Applecross, WA 6153 08 9364 5666 Tue to Sun, 10am–4pm.

26 July—7 September The world is all cut-outs then Marcus Camphoo, Clara Joyce, Michael Snow, Jimi DePriest and Nate Wood.

18 September—6 October Subiaco: Magpie Season Robert Moore

David Shrigley, Mayfair Tennis Ball Exchange, Stephen Friedman Gallery, London (2021). Courtesy Stephen Friedman Gallery, London and New York.

Photo by Mark Blowe.

4 August—7 Sepember David Shrigley: Walyalup Fremantle Tennis Ball Exchange

Robert Moore, Parrots, 2025, oil and enamel on board, 81 x 50 cm.

Amy Perejuan-Capone, Vdes, (detail), 2025, bees, copper, dimensions variable.

Image courtesy of the artist.

Robert Moore’s portraits of our feathered friends are sensitive studies that reveal the underlying geometric relationship between the parts and the whole. Balanced and nuanced, his focus is a timely look at species we take for granted, some increasingly dominant while others face numerical decline due to habitat loss or disease.

20 September—16 November Melville Contemporary 2025 Amy Perejuan-Capone, Andrew Varano, Ayo Busari, Bennet Miller, Brighde O’Hara, Bryce Olsen, Pip Lewi.

Linton & Kay Galleries 2018 Print Awards Judging, photo courtesy Jess Wyld.

16 August—21 September 47th Walyalup Fremantle Arts Centre Print Award 2025 Print Award Finalists: Studio 29B, Eero Almeida, Kelsey Ashe, Benjamin Bannan, Julie Barratt, Ange Bateman, Rebecca Beardmore, Alexander Beetle, Sam Bloor, Trevor Bly & Patrick Doherty, Ron Bradfield Jnr, Michael Bullock, Johnathon World Peace Bush, Emma Buswell, Mitch Cairns, Jon Campbell, Ruby Cason, Jacky Cheng,

www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

See our website for latest information.

Chi Hang Ho, Dead But Alive, 2025, stoneware, 36.5 x 25 x 22 cm.

18 September—6 October Cottesloe: Keramos Featuring Linton & Kay’s ceramic artists: Pippin Drysdale, Cathy Franzi, 261

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Sarah Keirle, Jeff Mincham, Warrick Palmateer, Samantha Dennison, Ted Secombe, Viviana Maier, Fleur Schell, Lesley Whitham, Chi Hang Ho, Janet Hummerston Each ceramicist uses earth, water and fire in their own style, showing a strong engagement to crafsmanship of the past whilst pushing the boundaries of ceramics beyond function and tradition. Their practices explore ideas around our engagement with humanity, our connection to identity and the fragility of our natural environment.

9 October—27 October Subiaco: Light Of Landscape Douglas Kirsop “Light influences and informs every aspect of our daily lives” says Douglas Kirsop.

“In Western Australia, with its relatively uniform topography, the sky appears vast and the light sharp and harsh, but beautiful in equal measure. Midday’s light can sap the energy from the colours, in sharp contrast to evening or dawn lighting, when highlights and shadows are at their most vivid. It is forever fascinating.”

Margaret Morgan, Crafty Business (detail), 1979, colour screen print, edition 11/16, 54 x 74cm. Cruthers Collection of Women’s Art, The University of Western Australia, Gift of Jeffrey Stewart, 2022, Copyright courtesy the artist.

Place Makers draws attention to the work of four exceptional artists whose work is grounded in relationships of place and 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.

Lawrence Wilson Art Gallery & Berndt Museum

Midland Junction Arts Centre

www.uwa.edu.au/lwag

276 Great Eastern Highway, Whadjuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

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.

27 September—6 December Place Makers – the work of senior artists Fiona Foley, Gladys Milroy, Margaret Morgan and Edith Trethowan

www.midlandjunctionartscentre.com.au

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.

Kasia Kolikow and Nazeurl Ben-Dzulkefli with their work in progress for Where Do We Truly Belong?

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 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.

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.

Abdul-Rahman Abdullah, For in that sleep of death what dreams may come, 2025, wood, 29 x 29 x 9 cm. Courtesy of the artist and MOORE CONTEMPORARY. 16 August—20 September Omens Abdul-Rahman Abdullah Midland Junction Arts Centre → Vahri McKenzie and Gemma Ben-Ary, W_OFF, 2024.

Photograph: Christophe Canato.

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In this exhibition Abdullah plumbs deeply the personal to produce a series of works

W E S T E R N AU S T R A L I A that allude to evocations that are deeply universal. A preoccupation with interstices informs much of this work. The amorphous zones between sleep and wakefulness, conscious and unconsciousness, darkness and light, life and death provide fertile ground for inner narratives, dreams and imagination to take hold.

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 → Pippin Drysdale, The Kimberley Series, 2008, stain glazed, kiln fired, incised porcelain, dimensions variable.

MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature n ew exhibitions bi-monthly and showcase 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.

Nada Murphy, Lagoon for the birds, 2025, USP Intaglio colour print on Hahnemühle paper, 49.5 x 64 cm.

3 September—27 September Beyond Time Nada Murphy Beyond Time opens up a conversation about the artist’s exploration of the energy held in estuaries in both Tasmania and in Western Australia’s Derbal Yerrigan. The tidal movement sets a different pace with a constant ebb and flow stepping beyond contemporary timekeeping. This body of work firstly bears witness to a critical event in the Pipeclay Lagoon signalling an ecological crisis. The parallel intersect of time in the urban ecologies of three saltmarshes remaining in Melville Waters reveals tentative connections to the once abundant river life and habitat. The question remains: “What exists beyond time?”

4 October—1 November Looking through the Window Matthew Clarke An Industrious and flourishing visual narrator, Matthew Clarke is enamoured with the vibrant world that surrounds him.

He is a painter, drawer, sculpture and printmaker. Clarke paints his subjects with an unquestionable spontaneity and conviction. No facet of life is too mundane or too fleeting to avoid drawing Clarke’s engrossing contemplation and intuitive ingenuity. In the manner of a true

Jen Kerr, Picnic at Paynes Find, 2024, ceramics, dimensions variable.

24 August—27 October Picnic Terrain Jen Kerr

Matthew Clarke, Lost in Hay Street, 2023, acrylic on linen, 196 x 104 cm. raconteur of the everyday. Clarke’s recent works chronicle life. With unique acuity, his works tell of an effervescent ecology bursting at the seams with eccentric and dynamic characters.

Mundaring Arts Centre 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.

Jen Kerr displays a collection of ceramic plates, platters and vessels that continue her exploration of the in between - the spaces and places, where one way of being meets another - where the land meets the sea, the forest meets the river, the salt meets the lake and the track meets her feet.

24 August—27 October The Clay Path Alison Brown, Greg Crowe, Pippin Drysdale, Bernard Kerr, Warrick Palmateer & Garry Zeck To complement the offerings of Wedge: The Australian Ceramics Triennale, a selection of works from local Collections are presented alongside new artistic responses from established WA ceramists, celebrating the journey of their practice and response to the land.

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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.

Alana Hunt, Surveilling a Crime Scene, 2023, super 8mm film still. Image courtesy of the artist.

17 October—21 December A Deceptively Simple Need Alana Hunt Alana Hunt’s solo exhibition and major new commission, A Deceptively Simple Need extends Hunt’s ongoing investigations into the complexities surrounding non-indigenous life on stolen land.

17 October—21 December Vádye Eshgh (Valley of Love) Second Generation Collective Through an exploration of the Collective’s own dual identities and heritage, Vádye Eshgh (Valley of Love) will draw attention to narratives and experiences of Iranian-Australians and issues of collective trauma, remembering, love and loss.

7 February—21 December Cement Frogs the Ghost of a Swamp Tyrown Waigana

Tom Duffy, Djagats (The Newly Arrived Native Dignity), 2024. Photograph by Tom Williams.

2 August—5 October Hatched: National Graduate Show 2025 Charlotte Rose Jeffrey-Bannister (SA), Chloe Catto (TAS), Clara Chanisheff (VIC), Ebony Maurice-Wilmott (VIC), Elsa Mona (WA), Germaine Chan (WA), Gosha Heldtz (NSW), Grace Yong (WA), Isabella Rose Cort (QLD), Jade Power (VIC), Karen Zipkas (VIC), Litia Roko (ACT), Madi Jones (NSW), Maelyse Xinh Leculier (NSW), Mandana Eizadi (WA), Marcus C. Payne (VIC), Mim Kowner (WA), Nicole Goode (VIC), Pippini Niamh (SA), Rosemary Tamas-Cao (QLD), Samuel Chan (NSW), Silki Wong (SA), Tom Duffy (NSW) Hatched 2025 marks the 34th edition of PICA’s iconic annual exhibition, which showcases exceptional work from art school graduates from across Australia. This year, Hatched is presented in an expansive, light-filled venue at Forrest Chase in the centre of Perth’s CBD. Hatched is the only national survey of its kind, which highlights the diversity and creativity of some of the country’s most promising new artists.

17 October—21 December SETTLED Joel Sherwood Spring SETTLED takes the form of an infomercial.

Developed by mob.io, a pro-Indigenous grassroots software company, the video shows a young tech professional marketing a new wellness app called ‘Settled’. Her scripted spiel has the subtle, slippery fluency of ChatGPT. Racist logic and built-in biases frequently appear and intermittent digital glitches hint she may not be a real person but an AI-generated deepfake.

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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.

7 February—21 December F = m•a (five ways to make a rainbow) Amanda Bell Awarded the 2025 Judy Wheeler Commission, Amanda Bell uses sunlight, sound and language to respond to the PICA building’s location, acknowledging its construction on unceded land, a moment marked by colonial dispossession and violence.

(L) Shana James, How Do You See Your Divinity?, (detail) 2025, linocut on 100% cotton paper, diptych, 2 panels, 76 x 110 cm overall. (R) Ebony Russell, Circe Font: Twelve Maidens, (detail) 2025, porcelain and glaze, 22 x 18 x 8 cm.

Building on this perspective, James and Russell offer a visually rich and conceptually layered response that explores themes of agency, metamorphosis, and myth-making. Alongside Circe’s story, they delve into the roles and representations of women in Greek mythology, examining how these ancient narratives continue to shape perceptions of femininity and power.

Combining narrative-based printmaking and delicately constructed ceramic forms, this exhibition unites the artists’ distinct practices into a cohesive and immersive experience—bridging Perth and Sydney through creative collaboration.

Zig Zag Gallery www.kalamunda.wa.gov.au 50 Railway Road, Kalamunda WA 6076 08 9257 9998 Mon to Fri 9am–4pm, Sat and Sun and public holidays 10am–4pm.

STALA Contemporary www.stalacontemporary.com.au 11 Southport Street, West Leederville, WA 6007 0417 184 638 Wed to Sat 10am–4pm and by appointment.

28 September—18 October Circe – Witch, Woman, Goddess Perth printmaker Shana James and Sydney sculptor Ebony Russell present a collaborative exhibition as part of the Australian Ceramics Triennale. Developed through an ongoing cross-country dialogue, their work draws on shared interests in narrative, myth, and feminist reinterpretation. Taking inspiration from Circe by Madeline Miller as a central text, the exhibition reimagines classical mythology through a contemporary feminist lens. Miller’s retelling positions Circe not as a supporting character in a male epic, but as a fully realised protagonist— complex, powerful, and transformative.

Brad Coleman, Molten Ice, 2024.

30 August—21 September Dreamscapes: Exploring the Subconcious Through Art 27 September—12 October Myths: Young artists awards

Northern Territory

Exhibitions

SEP TEMBER/OCTOBER 2025 26 5

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm.

The Araluen Arts Centre operates as the visual art and performance hub of Central Australia, presenting an annual program of exhibitions, performances, and film. Known as the keeping place of stories, Araluen holds within its spaces some of the most significant works of art in Central Australia and brings to the stage world class performances from around the nation (and at times the world).

Museum and Art Gallery of the Northern Territory → Cyclone Tracy installation.

Photography by Georgina Campbell. 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 thought-provoking 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.

Alison Alder, Carcass, 2009, Winner of the 2010 Alice Prize.

3 July–2026 Deviate Araluen Collection 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. The Araluen Art Collection harnesses many incredible creative

Ongoing Cyclone Tracy When Cyclone Tracy took an unexpected turn on Christmas Eve in 1974, it changed the course of a city.

Small but deadly, Cyclone Tracy destroyed Darwin, leading to the largest evacuation and relief effort in Australian history.

The Museum and Art Gallery of the Northern Territory was also destroyed that night. Since then, it has become the home of the Cyclone Tracy story through its much-loved exhibition, which has been redeveloped for the 50th commemoration of the disaster.

Explore a classic 1970 elevated home, monitor the cyclone at the desk of the

Darwin Bureau of Meteorology office much as it looked in 1974, experience the real sound of Tracy brought to life through new technology and remastered sound in a new sound booth and explore 50 years of stories.

Over the last decade, MAGNT has received donations of family photo albums and treasured objects from residents who experienced Cyclone Tracy; some of these are on display for the first time. See the ‘Raggedy Andy’ doll featured on the iconic cover of The Australian Women’s Weekly, a Christmas tree that was salvaged from Tracy’s wreckage, a dress worn for days in the aftermath, a treasured survivor t-shirt and the iconic ‘Tracey You Bitch’ replica, embodying the dark humour that fuelled the resilience of Darwinites in their darkest hour.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

See our website for latest information.

Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs.

Araluen Arts Centre → Robert Andrew, White wash over the burn, 2017. Winner of the 2018 Alice Prize.

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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

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L A S T WO R D

“When I see similarities between how audiences from all over the world engage with my work, it is very moving for me.

It shows the commonality between human experience. Ultimately, it is the foundational mission of my work to investigate and explore that.”

— TSCH A BA LA LA SELF

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.

28 0

I N S I D E Helen Wright, Jacobus Capone, Georgie Mattingley,

Maggie Hensel-Brown, Sally Gabori, Jennifer Kemarre Martiniello, Savanhdary Vongpoothorn, Betty Kuntiwa Pumani, Robert Mapplethorpe, Kyoko Hashimoto, Natasha Walsh, and more.