Art Guide Australia — January/February 2025

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C OV ER S T ORY Yona Lee is sculpting the ordinary

PLUS The tension between making art and making home PLUS Three photographers on seeing new worlds

Inside this issue A Note from the Editor

Neha Kale PR EV IEW

The Huxleys: Wrap Your Troubles in Dreams

Home Truths

Jo Higgins

INTERV IEW

Windows to the World: A Conversation with Glen O’Malley

Steve Dow

Barnaby Smith

Hold the world to its word

STU DIO

Briony Downes

Imants Tillers: Metaphysical Journey

Steve Dow

Roberta Joy Rich: Lying Inside

Briony Downes

Koori Mail Indigenous Art Award

Josephine Mead

Numinous: The Landscape Paintings of William Robinson

Giselle Au-Nhien Nguyen Tony Clark: Unsculpted

Sally Gearon

Two Girls From Amoonguna

Josephine Mead

Arriving Slowly: Exploring the Abstract

Sally Gearon Shared Skin

Giselle Au-Nhien Nguyen F E AT U R E

Object Lessons: Yona Lee

Giselle Au-Nhien Nguyen Thread of History: Nusra Latif Qureshi

Tahmina Maskinyar

Sandra Black

Rosamund Brennan F E AT U R E

Altered States: The Future & Other Fictions

Michelle Wang

Life in Technicolour: Telly Tuita

Steve Dow

Ways of Seeing

Amos Gebhardt Kyle Archie Knight Isabella Melody Moore Maternal Inheritance: Carol Jerrems

Josephine Mead

Different Strokes: Ethel Carrick

Sally Gearon

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A Note From the Editor January/February 2025

I often think about the tension between making art and making home. If you believe the myths that persist in our culture, the risk associated with good art seem diametrically opposed to more basic needs like security and stability. Yet, it’s difficult to take imaginative leaps when you feel precarious—a state that’s exacerbated by the way the nature of artistic labour in 2025 intersects with a housing crisis that’s gradually worsening. In a compelling reported essay for this issue accompanied by original illustrations by Caitlin Aloisio Shearer, writer Jo Higgins explores the intersection of housing and art making. She also speaks to artists who have conceived an approach to housing that is more expansive than its current definition, reimagining what it can be.

Home, of course, has always meant different things to different people.

The images of Queenslanders by the photographer Glen O’Malley—the subject of an interview by Barnaby Smith—speak to both beauty in the everyday and a way of living that seems increasingly elusive, at least to my generation.

The artist Nusra Latif Qureshi, whose exquisite works draw on musaviri, a centuries-old form of miniature painting, grapples with the interruption of roots. In a thoughtful profile, Tahmina Maskinyar explores what Qureshi’s practice has to say about the arcs of history and the conditions of exile.

Elsewhere, Josephine Mead’s essay on Carol Jerrems’s portraits of women speaks to the power—and limits of—matrilineal lineages and how a photograph can create connections and collisions that span decades. To that end, we asked three acclaimed photographers to write about an image that they think is inventing a visual language that lives up to the demands of our current cultural moment—and the possibilities this can open up.

Neha Kale Acting Editor-in-chief, Art Guide Australia

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ACTING EDITOR–IN–CHIEF

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Sally Gearon and Caitlin Aloisio Shearer GRAPHIC DESIGNER

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Caitlin Aloisio Shearer INTERN

Madeline Walling CONTRIBUTORS ISSUE #153

Rosamund Brennan, Steve Dow, Briony Downes, Sally Gearon, Jo Higgins, Tahmina Maskinyar, Josephine Mead, Giselle Au-Nhien Nguyen, Caitlin Aloisio Shearer, Barnaby Smith, Michelle Wang, Duncan Wright SUB EDITOR

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Postscript Printing PUBLISHERS

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Issue 153 Contributors

R O S A M U N D B R E N N A N is a freelance journalist and

photographer based in Fremantle, Western Australia, who focuses on culture, travel and society. Her work has appeared in publications including The Guardian, The Australian, Al Jazeera, The Sunday Telegraph, Qantas Magazine and Delicious, among others.

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.

S A L LY G E A R O N works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing. She is the assistant editor at Art Guide Australia.

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.

TA H M I N A M A S K I N YA R is a Tajik Afghan,

architecturally trained creative producer who facilitates contemporary art projects and community programs focused on artistic development and audience accessibility.

She has supported the creative industries across academia, not-for-profit organisations, volunteer boards, and government roles.

Her writing has been published nationally including in Architecture Australia, un Magazine, and West Space Offsite.

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

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

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.

C A I T L I N A L O I S I O S H E A R E R is a painter and

illustrator based in Melbourne. She has a Bachelor of Fine Arts and a background in fashion design, culminating in an idiosyncratic practice which encompasses oil painting, graphics and textile design. She regularly exhibits her work within Melbourne’s independent galleries, and dabbles in poetry for pleasure.

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

currently living on Bundjalung Country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.

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

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

D U N C A N W R I G H T is a Western Australian

photographer, artist and the founder of West End Workers Studio in Walyalup/Fremantle.

Duncan works commercially across a range of clientele, and maintains an artistic practice that combines conceptual, commercial and journalistic approaches to image making.

Duncan likes to immerse himself in the histories and communities of his subjects, and takes great interest in the everyday people that make a place.

A R T I S T C O N T R I B U T O R S for Ways of Seeing:

Amos Gebhardt, Kyle Archie Knight, and Isabella Melody Moore.

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Previews W R ITERS

Steve Dow, Briony Downes, Sally Gearon, Josephine Mead and Giselle Au-Nhien Nguyen.

Fremantle/Walyalup The Huxleys: Wrap Your Troubles in Dreams Fremantle Arts Centre On now–27 January

The Huxleys, Leigh, 2022, from the series, Bloodlines.

Partners in life and art, Will and Garrett Huxley revel in the excess of their sequined wonderland, paying homage to their queer artist forebears. Their first collective survey, showing in Perth where British-born Will grew up, unfurls a decade of photography, music recordings, costume, film and performance.

Curator Abigail Moncrieff says Will, 42, is the extroverted one in the relationship, although Melbourneborn and Gold Coast-raised Garrett, 51, became “more sparkly” after the pair met. The Huxleys recently drove from their Melbourne home across the Nullarbor with their Staffordshire terrier-cross dogs Edward and Vivienne to perform at Fremantle Arts Centre when the survey show opened there in November.

Moncrieff says the “spirit of celebration of creativity” makes their work compelling. “It’s their skills as dressmakers and performers, a union of talents. They’ve found each other’s soul mate.

There’s an incredible optimistic spirit they attach to their work.”

Wrap Your Troubles in Dreams brings together The Huxleys’ major bodies of work, including DisGraceland and Places of Worship. The survey’s central work is Bloodlines. The evolving exhibition, previously presented at Melbourne’s Abbottsford Convent and Sydney’s Carriageworks, pays homage to queer artists lost to AIDS, such as Leigh Bowery, Klaus Nomi, Peter Tully, Derek Jarman, Sylvester and Cookie Mueller, combined with community “stitch’n’bitch” quiltmaking sessions.

The Huxleys also have a fictitious band, S.O.S, which means Style Over Substance. “Too much is never enough,” laughs Moncrieff. “I don’t think either of them necessarily consider themselves singers, but I don’t think that’s what’s being celebrated. The energy and drive and creativity to make it happen is what counts. It’s about communion.” — S T E V E D O W

r ight The Huxleys, Get Shucked, 2023, from the series, Gender Fluids.

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Albury/ Bungambrawatha Hold the world to its word

Murray Art Museum Albury On now—16 March

When times are hard, we often turn to art to remind ourselves that beauty and hope persist. Mercifully, a favourite artwork, poem or film can lift us from the darkness.

Stephen Ralph, Sleepless, 2023, Evans Crown, The idea of art as an agent for good is the central 2023, The promise of company, 2023, Dead Wood, theme of Hold the world to its word, a group show 2023. Hold the world to its word, 2024, Murray Art curated by Michael Moran. Bringing together nine artists Museum Albury. image: jeremy weihr auch. working across painting, photography, text-based work and sculpture, Moran says the main drive behind the show was “a genuine belief art has a purpose, and that artists have a job to do.

It’s to make the world a better place.”

Tying together conflicting feelings of tenderness, mortality and the immense beauty of life, Stephen Ralph’s pair of sculptural works, Evans Crown, 2023 and Sleepless, 2023 represent parts of the human body – a torso and disembodied legs – rendered in marble and sliced into pieces. Cast from the real-life bodies of the artist’s sons, the forms are placed horizontally on plinths, their combined parts at rest yet not quite aligned.

Positioned as a centrepiece is Resounding (infrared), 2013, a video work by celebrated British conceptual artist Susan Hiller. A large screen pulsing with colour occupies its own room, and viewers are invited to sit and listen to audio recreations of the Big Bang, combined with voices talking about unexplained happenings. An artist with a strong interest in the paranormal, Hiller’s work implies there is a multilayered symphony of beauty and poetry in the unknown.

As Moran says, “it’s about finding ways through and finding a voice for a multitude.”

With additional works by Sandra Selig, Hoda Afshar, Matthew Harris, Spence Messih, and Michael Riley, this collection of work offers a point of respite and an opportunity to re-centre oneself, away from the stressors of contemporary life. — B R I O N Y D O W N E S

Hobart/Nipaluna Metaphysical Journey Imants Tillers Bett Gallery 14 February—8 March

Imants Tillers, After Warhol, 2023, synthetic polymer paint, gouache on 32 canvas boards, 203 x 142.2 cm.

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Postmodern painter and writer Imants Tillers titled his latest exhibition in honour of one of his main inspirations, the Italian artist Giorgio de Chirico, who invented a metaphysical style of painting in the early 20th century.

Several of Tiller’s 20 all-new works on display will reference de Chirico, reflecting the Sydney-born artist’s interest in the Italian’s output and life, which Tillers also wrote about in Metafisica Australie, a chapter in his 2022 essay collection Credo, published by Giramondo.

De Chirico was a writer, too, and his 1929 novel Hebdomeros “was better than anything André Breton

ever wrote”, says Tillers from his home and studio in Cooma, in south-eastern New South Wales. De Chirico’s book references Melbourne, and he also created lithographs with water as zigzags, “which looks very Aboriginal to me”, says Tillers.

“There’s a strange resonance with Australia, even though he never came here.”

At 74, Tillers has amassed a body of work that references world cultures, the history of Western art, 20th century European literature and philosophy, and Indigenous Australian culture. For the past three decades, he has been incorporating poetic and philosophical text into his paintings. “Most of contemporary art really is postmodern, so I’m happy to be called a postmodern artist,” he laughs. “Younger artists, even if they don’t know it, are benefitting from the postmodern past.”

Moving 28 years ago from Mosman on Sydney’s North Shore to the Monaro precinct, the gateway to the Snowy Mountains once home to high volcanic activity, “opened up a sensitivity to landscape”, says Tillers. “I became interested in place names. Nothing, really, apart from grass will grow here.” — S T E V E D O W

Bendigo/Dja Dja Wurrung Country Roberta Joy Rich: Lying Inside Biannual Façade Commission La Trobe Art Institute On now—19 January

For La Trobe University’s Biannual Façade Commission, artist Roberta Joy Rich brings the dark corners of archival material into the light.

On the glass frontage of the La Trobe Art Institute Roberta Joy Rich, Lying Inside, 2024, vinyl in Bendigo, Rich has created Lying Inside, a work using printed image and audio. courtesy of the artist. sound, image and text to explore South African diaspora. photogr aph: leon schoots.

During the development process, Rich spent time looking at cultural objects housed within the university’s ethnographic collection and speaking to the local migrant community. To communicate the effect of this experience, Rich produced an inverted photograph of La Trobe’s underground storage complex and its shelving, and overlaid images of cowry shells sourced from the collection onto the facade.

“The shells dance around a reproduction of a letter that Roberta and I found in the administrative documentation from when the Southern African materials were donated to La Trobe University,” explains curator Jacqui Shelton. “The letter is from 1993, and states the materials are essentially of no value, and have been kept in poor storage condition for years.” Designed to challenge and question institutional collecting practices, Shelton says Rich’s work serves as a catalyst for further dialogue about “access to knowledge, who holds knowledge and power, and how unearthing archival material can re-work these boundaries of power.”

In addition to the visuals, a sound component can be accessed via a QR code on site. Here viewers can listen to Rich speaking with a member of the Zulu diaspora as they handle and reconnect with ancestral materials, bringing them back to life by understanding their deeper meaning. As the artist says, the completed work is part of “a process that breathes oxygen and life into Southern African cultural materials that have been silenced for far too long.” — B R I O N Y D O W N E S

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Lismore/Bundjalung Country Koori Mail Indigenous Art Award Lismore Regional Art Gallery On now—2 February

The Koori Mail Indigenous Art Award was launched at Lismore Regional Gallery (LRG) in 2021. This second iteration reflects the tenacity of LRG, following Covidrelated closures and a multi-faceted restoration after Karla Dickens, Rise and Fall 1, 2024, digital the 2022 floods. The award celebrates the vibrancy of photograph, 90 x 120 cm. courtesy the artist Aboriginal and Torres Strait Islander art across Australia, and station gallery. presenting diverse artists and echoing LRG’s prioritisation of First Nations-led programming. “The prize provides a reflection of the high calibre of work being produced,” says curator Ineke Dane.

This year’s award received over 80 entries and 25 finalists were selected.

LRG director Ashleigh Ralph says that the award will showcase “diverse practices, conceptual-drives, and age groups. We’ve got artists like Karla Dickens alongside Jenna Lee. It’s a beautiful way to collapse hierarchies between artists and arts organisations.”

Entries include submissions from capital cities such as Peppimenarti (Daly River Region); Mer (Thursday Island) on the Torres Strait; and Bundjalung Country, where LRG and the Koori Mail are based. Many entries were received from students from Gooniyandi Country (Fitzroy Crossing) thanks to a particularly enthusiastic teacher. This shows the importance of good teachers and the ability of prizes to catapult early-stage careers. Rebecca Ray, the curator of Aboriginal and Torres Strait Islander collections and exhibitions at the Museum of Contemporary Art, judged this year’s prize. As Dane reflects, Ray’s contribution allows her and like-minded peers a “chance to discover new artists and synergies between practices. There will be ripple effects for the emerging artists.”

Aware of the strength of partnering with the Koori Mail, LRG notes the pride felt by award winners receiving “money from First Nations enterprise.”

The deep respect this prize carries reflects the reputation of the 100% Aboriginal- owned Koori Mail. — J O S E P H I N E M E A D

Brisbane/Meanjin Numinous: The Landscape Paintings of William Robinson William Robinson Gallery On now—31 August

William Robinson, Landscape 19, 1987, watercolour on paper. qut art collection. donated through the austr alian government’s cultur al gifts progr am by william robinson 2018.

William Robinson is the only living Australian artist with a public gallery dedicated to his work. Since 2009, the William Robinson Gallery has held regular exhibitions showcasing the prolific Queensland artist’s oeuvre.

The latest is Numinous, focusing on landscape painting.

These works are largely from the 80s, 90s and early 2000s, showing the natural world through Robinson’s careful eye.

“He never went out to landscapes that he didn’t understand,” says curator Vanessa Van Ooyen. r i g h t William Robinson, Tallanbanna with cloud front, 2005, oil on canvas. qut art collection. gift of the artist under the cultur al gifts progr am, 2005.

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“He always painted where he lived, those really familiar spaces—so you get the really rich connection that he’s got to the landscape.”

This show has been in the making since Ooyen first came across Robinson’s work in the 90s as part of an exhibition at the Museum of Contemporary Art. “At that time, I was actually writing my thesis on spirituality in art, and it was called Numinous,” she says. “I saw his work in the context of spirituality.”

The works include everything from Robinson’s large-scale, multi-panel Creation series, featuring The dome of space and time 2003/04 on display for the first time, to small, detailed oil paintings measuring just 30 centimetres. The apocalyptic Evening Bushfire (2004) reflects Robinson’s thinking around the changing landscape: “His environmental concerns come through in quite a lot of his work,” Van Ooyen says.

Working in the gallery and curating exhibitions based on Robinson’s work, Van Ooyen has developed a deep appreciation of the artist’s vision. “The whole idea of this single artist museum is that you really get this depth of understanding…

It’s the true meaning of slow art and slow curating,” she says. “There’s always room for discoveries, even when you’ve been looking at his practice for so long.”

— G I S E L L E AU - N H I E N N G U Y E N

Melbourne/Naarm Tony Clark: Unsculpted Buxton Contemporary On now—1 June

For over four decades, Tony Clark’s painting practice has merged a deep appreciation for art history with a desire to push beyond the traditional confines of prescribed mediums. Known for landscape paintings that both subvert and celebrate the genre, he has turned his attention to sculpture—or the idea of it—in a major career retrospective at Buxton Contemporary.

“The show is called Unsculpted, which is more or less a made-up word, but it seemed appropriate to describe a lot of work that I’ve done over many years, from very early on, that reference sculpture in some way,” says Clark.

The deep fascination with sculpture was always there, just waiting for the pieces to be put together. “You don’t get a sense of the continuity of things when you’re doing them. I’m surprised at the level of continuity there is.

You can see the threads that link them all up.”

You won’t find Clark switching mediums for the show, but that doesn’t mean there aren’t any sculptures Tony Clark, Seated & Reclining, 2008, in Unsculpted. He collaborated with long-time friend acrylic on canvas. buxton international Joanne Ritson, who has created 3D sculptural objects collection, melbourne. out of his 2D paintings and drawings. He describes the singular side of his painted sculptures, and how, “it was up to her to invent the other three sides, so to speak, which is exactly what she did,” adding that “she turned them into something of her own.”

Along with the sculpture-focused works are sections of paintings referencing architecture and theatre design. “I love painting for painting’s sake, but I’ve [also] always loved this idea of a painting that is a design for something else,” says Clark.

“Painting is a vehicle to do all sorts of things with ideas.” — S A L LY G E A R O N

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Alice Springs/ Mparntwe Two Girls From Amoonguna Araluen Arts Centre On now—27 January

Two Girls From Amoonguna features work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Arrernte and Western Arrarnta artist Marlene Rubuntja.

Originally conceived by Luritja curator Jenna Rain Sally M Nangala Mulda and Marlene Rubuntja, Warwick for ACMI in 2023, the exhibition has been Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023, re-staged at Araluen Art Centre. This is not a coinci(video still). dence. The show revolves around community, the reality of the artists’ lives and the deep connection they feel for each other.

Mulda and Rubuntja grew up in Amoonguna—a camp established by the government in 1963. They separated for most of their adult lives, pursuing art and caring for family, re-connecting as established artists. As Rain recounts, “they had a moment of reflection where they were able to look back and see their accomplishments—established art practices and strong and healthy families.”

The exhibition centres around an animated film Arrkutja Tharra, Kungka Kutjara, Two Girls. “The video presents the retelling of their young lives at Amoonguna, their separation and their re-connection,” Warwick says. Mulda, working at Tangentyere Artists, presents observationalist paintings reflecting on daily life in community, bearing witness to the ongoing brutality of colonial violence experienced

by First Nations peoples. Rubuntja, working from Yarrenyty Arltere Art Centre, presents soft sculptures made from natural materials, embodying Country. These works show the resilience of these two women. As Sally explains, “when you are an artist you have got to think in bright colours and lift things up.”

As prominent figures in their communities, Mulda and Rubuntja teach and guide the young people. The voices of their younger selves in the video are narrated by their grandchildren. For these artists, everything comes back to family, back to community, back to home. — J O S E P H I N E M E A D An ACMI touring exhibition. Arrkutja Tharra, Kunkga Kutjara, Two Girls is the third Artbank + ACMI Commission, proudly supported and made in collaboration with Ludo Studio.

Ipswich/Coodjirar Arriving Slowly: Exploring the Abstract Ipswich Art Gallery On now—16 February

Consuelo Cavaniglia, Untitled and Untitled (simultaneous spaces), 2016, galvanised steel, grey mirror and black acrylic, 200 x 120 x 220 cm. courtesy of the artist and station gallery. melbourne. photogr aph: zan wimberley.

“I’m after an experience for the viewer,” said Mark Rothko in a 1958 lecture at the Pratt Institute, “one that involves his emotions as well as his intellect.” Claire Sourgnes and Kezia Geddes have adopted this approach in the curation of Arriving Slowly: Exploring the Abstract at Ipswich Art Gallery. “Some abstraction is deeply intellectual, and not emotional at all,” says Sourgnes. “We’ve curated wanting to elicit that emotional vibration.”

Arriving Slowly was triggered by the National Gallery of Australia’s ‘Sharing the National Collection’ program, which loans significant pieces from their collection to regional and suburban galleries. Ipswich Art Gallery has loaned three pieces for the show: Mark Rothko’s 1957 # 20, 1957 and two paintings from Agnes

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Martin. The abstract heavyweights are presented alongside 20 contemporary artists working across the expanded definition of abstraction, including Lindy Lee, D Harding, Paul Knight, Jonny Niesche and Rosslynd Piggott. “We looked to works that invite longer temporal relationships,” says Sourgnes. “Works that are subtle and not always obvious, that will ask something.”

At the heart of the show is an emphasis on slow looking. “I’ve got an interest in duration, and the speed with which people look at work,” says Geddes. “On average, people look at an artwork on a wall for six seconds and then move on. We are trying to slow the process right down.” Sourges and Geddes encourage considered, deliberate looking. They make reference to Rothko’s search for “pockets of silence”, a state that he believed allowed true growth to happen. “With slow looking, every time you go into the gallery, you can experience the work differently,” says Geddes. “Looking and allowing a work to happen, it’s about seeking the sublime, the unknown, and being happy in a shifting space.” — S A L LY G E A R O N

Adelaide/Kaurna Country Shared Skin

Adelaide Contemporary Experimental On now—12 April

Shared Skin explores the concept of family through the lens of First Nations and culturally diverse artists.

It’s a personal question for curator Rayleen Forester, who started thinking about it after starting a family of her own. “I’ve questioned what that structure looks like in art making, and how I navigate my profession as a Jennifer Tee, Still Shifting, Mother Field, parent,” she says. “I’ve been taken with the idea of how performance conceived together with Miri we build families and how they look as different strucLee, dancers: Bita Bell, Jessica Comis, Samuel tures outside of bloodlines… A lot of my work has Minegibe Ekeh, Timothy Nouzak, Seraphim involved working with Elders, young leaders, mothers Schuchter, Mariia Shurkal, Secession 2022. photogr aphy by ernst van deursen. and caretakers, looking at that idea of how we connect with one another, not only as kin to other bodies and other families, but also what that connection looks like to Country.”

Shared Skin comprises new commissions and existing works, including a video work by Jacob Boehme and the Narungga Family Choir which reimagines a section of his 2024 dance work Guuranda. Amsterdam-based Jennifer Tee’s work uses tulip petals to create Indonesian maps: “She reimagines her ancestry using the materials of her new home,” Forester explains. Atong Atem and Marikit Santiago use imagery of their family in their work: “Both have a very strong work ethic about representation of women of colour and women that are caretakers.”

In curating the show, Forester ensured that artists’ time with their families was prioritised. “While institutional spaces do a great deal to involve families through public programming and workshops, there’s still a lot of work that needs to be done about how that’s represented in exhibitions,” she says.

“Giving some of these artists that extensive leeway to develop a work whilst they’re looking after their own families has ensured that they can do both.”

— G I S E L L E AU - N H I E N N G U Y E N

r ight Marikit Santiago: The kingdom, the power, Bendigo Art Gallery, 2023. photogr aph: leon schoots.

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Object Lessons For the Auckland-based artist Yona Lee, function is a source of formal possibility and ordinary material moulds space in extraordinary ways.

In Yona Lee’s work, the quotidian takes on new forms.

Chairs, fans, lamps and beds are placed into looping metal structures, forcing a new perspective on an ordinary thing. Stainless steel tubes interlink with one another, seamlessly melding and twisting to create labyrinthine sculptural arrangements with no clear beginning or end. Lee’s site-specific works bring new dimensions to the spaces they exist in.

Lee began to explore the tubular form around 2016, influenced by the differences between South Korea, where she was born, and New Zealand, where she moved at the age of 11. “It really started from spending time in Seoul and thinking about sound travelling through space—there was a moment when this concept developed into a body traveling through space,” Lee says. “A really dominant difference between living in Auckland and Seoul was the density of space. Thinking about different transportation systems, like trains or cars and planes, and how that changes our understanding of time and space, and how technology really collapses and flattens the experience.”

Lee noticed the tubular structures everywhere in Seoul, from subway trains to bus handles; and in the private, domestic sphere, in towel racks and beds. “I was really intrigued by its universal quality and its ability to be anywhere,” she says. She was also struck by the physical boundlessness of the material: “It’s such a strong material, but if you apply heat it’s also very malleable, and that really allowed a lot of different languages. The smaller it gets, it becomes

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Giselle Au-Nhien Nguyen

an object, but if you go thicker, it gives the possibility of going to a building scale, an architectural scale.

There’s a huge range of possibilities.”

Growing up learning to play classical cello also informs the way Lee makes this work: the metal is like a score, and her interpretations each time she uses it are akin to a musician playing pre-written melodies with feeling. “I was making work in an iterative way, and what I think that’s got to do with the idea of performance is that you perform the same piece of music so many times, but there’s something about the beauty and small iterations you make,” she says.

“That attitude or practice definitely influences the way I think about projects.

“You follow the instructions, but somehow you are able to bring your own interpretation of the pieces.

I find the coexistence of composer and performer really beautiful and bring that same approach: the work can coexist with the space, rather than treating the space as neutral.”

Some of Lee’s works have an implicit invitation within them: a chair, for instance, invites the viewer to take a seat. Lee never includes instructions on how the audience should interact, and has been fascinated to see how viewers engage with the work depending on its situational context.

r ight Yona Lee, Shower in Transit, 2021, stainless steel, shower, 222 x 139 x 126 cm, unique. courtesy the artist and fine arts, sydney. photogr aph: sam hartnett.

“I was making work in an iterative way, and what I think that’s got to do with the idea of performance is that you perform the same piece of music so many times, but there’s something about the beauty and small iterations you make.

That attitude or practice definitely influences the way I think about projects.” — YON A L EE

Yona Lee, Table and Lamp in Transit, 2022, (detail), stainless steel, glass, lamp, 54.5 x 81.5 x 74 cm, unique. courtesy the artist and fine arts, sydney.

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Yona Lee, Clock in Practice, 2023, clock, stainless steel, 40 x 68 x 23 cm, unique. courtesy the artist and fine arts, sydney.

“Over time, I recognised the possibilities it’s got in terms of interactivity from the audience, and I realised that it wasn’t the same as so-called interactive art,” she says. “There’s something quite distinguishing in this idea of functionality.

“I get all these notes from institutions: kids like sleeping in the bed, and a lot of people are socialising and resting within the space. In commercial galleries, people are more cautious.”

For Melbourne Art Fair 2025, Lee has made a new work which responds to the kinetic motion sculptures of the New Zealand artist Len Lye. “There’s something quite interesting about his use of movement in his work—it’s a bit like a piece of music,” she says. “It’s very clear where there’s an introduction and how it unfolds over a period of time. There’s a clear sense of where the climax is.”

This sculptural work spans 15 metres, drawing on the tubes and activating a sequence of subtle movements in the kinds of objects one might find in a ‘smart’ home, such as a robot vacuum, fans and a warmer rack. “I have all these objects in my previous work that are functional. There’s something in that which I thought might be quite interesting to develop in response to Len Lye, and that was to do

with curating, or in a way, composing movement of these objects,” she says. “That thinking really led me to look at these smart devices where you can simply control these movements on a hub or your phone, and that made me think a little bit more about technology.”

Through this work, Lee illustrates the bind of modern living: in accepting the terms of existence today in all its infinite possibility, we give up a part of ourselves. “There’s something about all these dualities, the contradicting quality in this idea of technology,” she says. “There are all these devices to make our life convenient. But there’s always the dark side—what are we sacrificing?”

Yona Lee Melbourne Art Fair

Melbourne Convention and Exhibition Centre (Melbourne/Naarm VIC) 20—23 February

Yona Lee

Fine Arts, Sydney (Sydney/Eora NSW) February—March

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Threads of History The intricate paintings of Nusra Latif Qureshi remake and reroute imperial narratives and trace the borders of the shifting self.

Through Birds in Far Pavilions, Nusra Latif Qureshi invites us into her inner sanctum. Displayed across four spaces at the Art Gallery of New South Wales, this timely exhibition acknowledges the breadth of Qureshi’s artistic career while presenting her lifelong inquiries into the inadequacies of representation.

The exhibition commences with artworks Qureshi made in Pakistan including untitled, 1995, marking her graduation from the National College of Arts in Lahore. The work consists of five paintings, each marking a certain decade (roughly) of the political changes and events of Pakistan’s history and each accompanied by a text commenting on the era. Visitors will then encounter Museum of lost memories, 2024, commissioned by AGNSW on the occasion of this monographic exhibition. Qureshi describes this work as “constantly in the making, articulating loss through presence and substitution”.

The installation gathers from the artist’s collection of cultural material combined with hand-picked objects, paintings and photographs from the art gallery’s collection with presentation cases and additional objects provided by the Powerhouse Museum.

Described by Qureshi as an interventionalist approach, this new installation is an exciting beacon of what is to come in her practice.

Qureshi’s context for her unique craft of musaviri (a term used throughout West and South Asia that refers to local painting traditions) is weighted by the expectation of respect for traditions, the complexity

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Tahmina Maskinyar

and complicity of its masters and its dilution—marked by the force of colonisation and imperialism within the region. It takes a steady nerve and critical disobedience to reimagine the possibilities of traditional craft into a contemporary sensibility. Qureshi has honed and embodied this over three decades, opening doors for the further examination of history, representation of power and the complexities of the human condition.

The word meticulous is synonymous with her artworks. It also offers clues into her deep commitment to musaviri painting, a personalised methodology and style catalysed through Qureshi’s years at the National College of Arts. She says that this focus continued when she arrived on the shores of this continent for post-graduate studies at the Victorian College of the Arts. ”It was a very conscious decision to remain with the methodology of musaviri painting when I arrived in Australia, because I see myself belonging to a much larger entity, which is this tradition of painting,” she says. “But it is not just painting, it is a way of thinking—which is very different to how I grew up, and the majority of my art training.” r ight Nusra Latif Qureshi, Medusa’s respite room, 2017, gouache and synthetic polymer paint on illustration board, 32.5 x 25 cm. the state art collection, the art gallery of western austr alia, purchased 2018. © nusr a latif qureshi.

“This tradition of painting has a certain kind of alignment with what I am and with what I sense that I have lost culturally, over generations” — N USR A L AT I F QU R E SH I

Nusra Latif Qureshi, Descriptions of past II, 2001, gouache, tea wash and gold leaf on wasli paper, 30 x 22 cm. art gallery of new south wales, bulgari art award 2019. © nusr a latif qureshi.

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Nusra Latif Qureshi, Did you come here to find history?, 2009, (detail), digital print on clear film, 60 x 872 cm. collection of the artist (exhibition print). © nusr a latif qureshi.

This is evident when considering the scope of Qureshi’s musaviri style. It draws upon a continuous becoming of her own personal subjectivity and attention to the language of traditional miniature painting, which was born out of the 16th century Mughal courts of Persia and evolved within the region.

“It’s not submissive, it is not a blind following,” she says. “I have very consciously rejected certain parts of the (musaviri) practice. I find a lot to disagree with.”

Unbinding the technique from the patronage of its foundations and filling it with ongoing research offers opportunities to question, subvert its insistent patriarchy and centre a continuous becoming of identity. Qureshi’s magnetic aptitude for her craft is in her ability to build worlds for independent discovery from often little-known histories, articulated through complex arrangements intended to draw pause.

“Histories are like imagined worlds, with all their distortions and malformations,” she says. “Later interpretations of grand histories, as in my work, are like imagining far-off lands, with their strangeness and romance magnified or inversely diminished.”

Like so many of us from the subcontinent, Qureshi’s experience is entwined with the social, political and economic structures of British and European colonialisms as well as the imperialism many empires continue to impose. For those of us in the diaspora, it is an existence steeped in paradox— one that is ouroboros in nature within the context of meaning-making or belonging. Qureshi’s artistic practice offers a personal solace for this experience, allowing her to interrogate and comprehend what has been forgotten.

“This tradition of painting has a certain kind of alignment with what I am and with what I sense that I have lost culturally, over generations,” she says.

“Whenever I am able to connect to it, I gain, I grow, and this makes me remain faithful to this tradition, and I accept that this is an entity much larger than my practice.”

The exhibition’s third room groups artworks that have become synonymous with later-career explorations alongside figurative works that draw on abstraction and fragmentation. The final space collates artworks where the artist is portrayed indirectly as a female figure, or artworks encapsulating and prefacing the multitudes of the feminine through photography, collage and painting.

A further visual layer emerges through artworks selected by Qureshi over the course of a year of research into the AGNSW collection. These are purposefully placed throughout each of the four exhibition spaces, offering a reciprocal dialogue with Qureshi’s artworks and extending the many tendrils of each work on display.

Birds in Far Pavilions is only one passage of the boundless muraqqa—visual album— that is Qureshi’s artistic prowess. Stepping into the exhibition will be like encountering the artist’s acute gaze. Harnessing deliberative decision-making as a form of expression, to discover relationships between entities or oblique unformed thoughts—far from panoptic, these artworks are offerings to contend histories and reckon with identity.

Nusra Latif Qureshi: Birds in Far Pavilions Art Gallery of New South Wales Naala Nura building (Sydney/Eora NSW) On now—15 June

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Home Truths

Illustrations by Caitlin Aloisio Shearer.

W R ITER Jo Higgins

Material concerns such as housing can determine an artist’s wellbeing and sense of possibility—an idea that is often overlooked by romantic ideas of art making that are out of sync with our current reality. How can artists navigate a society in which reliable shelter is elusive? And can art itself help us reimagine what it means to achieve secure footing in an increasingly volatile world? Jo Higgins investigates.

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top Sarah Poulgrain, Houseboat, installation as part of Platform at IMA, 2023. Houseboat has two channel video by Charlie Hillhouse, rocket stove and alcohol burners by Alrey Batol and handmade rugs by Leen Rieth. Installation includes floodline and acrylic on yellow tongue painting. documentation by carl warner. bot tom Sarah Poulgrain and Dana Lawrie, Dream boat: sunlight and leadlight, (detail), 2022, installation view, Outer Space, Brisbane, leadlight, steel studs, solar panel and battery, LED light and chain. image courtesy and © the artists, photogr aph: louis lim artist.

Every few years artist Sarah Poulgrain finds themselves at home, thigh-deep in flood water and literal shit as the sewers overflow. Living and working in a warehouse in a once-wetland suburb of Brisbane/ Meanjin, Poulgrain’s living situation and art practice are increasingly indistinguishable. Together with Hailey Atkins and Anya Swan, they started renting the former wrecker’s workshop in 2017 and the process of making their live/work space both liveable and workable was a formative experience for Poulgrain, whose collaborative, collectivist practice focuses on community building through skill-learning and knowledge-sharing.

Unsurprisingly, over the last several years Poulgrain has been thinking a lot about the housing crisis and the cost of increasing environmental crises, as well as their desires for more practical exhibition outcomes and a more communal, sustainable future.

Which is how they’ve come to be building a fully functional pontoon houseboat and floating artist-run initiative that will launch in mid-late 2025.

“I opted for a rental situation that folded my art production space into my living space while that was still a viable option, before all the disused industrial-commercial spaces had been turned into gyms and microbreweries. The houseboat project was conceived as a way to reduce some of the financial pressures of ongoing rental costs but living in a flood zone (in a property that also floods to ankle height several times a year) was definitely the biggest contributing factor to getting the boat started,” says Poulgrain.

For the artist, who also works part-time as a gallery collection officer, rental expenses account for about a quarter of their income. By Poulgrain’s calculations, they currently sit financially just above the latest poverty line for a single person.

“Real estate costs are a huge factor in most people’s lives right now. I find myself constantly balancing time and available energy, health and capacity, money for essentials and money for my art practice.”

The ongoing housing crisis, with its myriad financial, emotional and social implications, was always going to critically impact artists and creatives.

Setting aside the need also for affordable, long-term studio space, there’s the juggle and precarity of freelance and non-arts work, the generative importance of creative networks and community, and the reality of fewer professional opportunities, particularly for early and mid-career artists.

David Throsby and Katya Petetskaya’s major economic study in 2024, Artists as Workers, is a sobering 268-page testimony to many of these challenges. To read that more than 40 per cent of artists cannot meet their minimum income needs from all of their combined work earnings is not surprising when you learn that the mean gross creative income for a visual artist in Australia in 2021-2022—$22,500— has remained unchanged since 1986. And if an artist has moved four or more times in the last five years their income will have also steadily declined by as much as $15,000 annually.

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Gudskul’s Gudkitchen at documenta fifteen, 2022. image courtesy of gudskul.

Assuming artists can afford to move, the actual lack of housing makes it near impossible. Anglicare’s Rental Affordability Snapshot in March 2024 found that of 45,115 rental listings across the country, only 289 were affordable and appropriate for a single person earning a full-time minimum wage. Of these 289, 13 were in Greater Sydney and the Illawarra, 12 were in Brisbane, 22 were in Melbourne and 14 were in Perth.

According to researchers Throsby and Petetskaya, over 70 per cent of artists are living in major cities like these, and while Sydney is home to the largest creative workforce in the country, 2021 census analysis by the City of Sydney also shows that the number of artists, writers and musicians living there had decreased by 11 per cent over the last decade.

Much has been made of Sydney’s $20 million plan for more affordable creative workspaces but it still doesn’t solve the urgent lack of affordable housing.

Artists Claire Healy and Sean Cordeiro moved out of Sydney in 2011, buying a house two-and-a-half hours away in the Blue Mountains. “The only way we could do that was by living in Germany for seven years, with really cheap rent, saving all our income and having a sell-out show in the early noughties with Gallery Barry Keldoulis,” explains Healy. “We bought into Blackheath because our income as artists is so tenuous and changeable. A bank wouldn’t give us a loan, so we had to be really frugal and save and just pay cash. But there’s no way you could do that now, in this day and age,” says Cordeiro.

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The couple, who are also artistic collaborators, recognise that the security of having a home and backyard studio allows them to take more risks creatively but in the early days of their career, a lightfooted flexibility was important for their practice. “We just went wherever the opportunities were, which was usually in Europe or Asia. Our first child was literally born in an artist residency,” says Cordeiro. “I wonder how many opportunities there are to do those kinds of things today, especially for younger artists.”

Cordeiro is right to be concerned. Throsby and Petetskaya found that since 1986-1987 the proportion of artists under 34 has dropped from 38 per cent to 13 per cent. There’s no doubt that diminishing opportunities, as well as increased financial pressures and available housing and studio space, are contributing factors to that depressing statistic.

In the late 1990s Healy and Cordeiro were founding members of artist-run collective Imperial Slacks, alongside Shaun Gladwell, Angelica Mesiti and others. They lived and worked for several years in a five-storey warehouse in Surry Hills in Sydney, exploiting a brief window of lax zoning laws with landlords happy to rent spaces and turn a blind eye.

“That critical mass and strong community, with a real geographic density, was such a beautiful thing,” reflects Cordeiro, and while he and Healy continue to collaborate, they recognise the importance of community. “Being able to work with people around you, having that input, you become part of a greater conversation,” says Healy.

“While housing continues to be seen as an investment and not a basic human right, a radical rethinking of resources and how we might foster communities and collectivise security feels morally and creatively critical.”

— JO H IG GI NS

Sarah Poulgrain, A Set of New Skills: Weaving & Welding, Outer Space, Brisbane, 2019. image courtesy and © the artist. photogr aph: charlie hillhouse.

Gudskul’s Gudkitchen at documenta fifteen, 2022. image courtesy of gudskul.

Keg de Souza, a founding member of Squatspace, also remembers this time in Sydney and how valuable it was as an emerging artist just arrived from Perth. “When I was starting out, we made work out of nothing, but we were squatting [in empty buildings on Broadway] and paying a peppercorn rent. It feels like as the city grows, it’s becoming much harder to find those gaps and cracks. Without those warehouse spaces, what happens? It affects the whole cultural landscape.” De Souza’s practice interrogates the politics of space, colonisation, gentrification and displacement and her iterative project The School of Displacement has activated communities and conversations in Redfern, Newcastle, North Melbourne and Hervey Bay. “The regional town of Hervey Bay has a huge houseless community because locals are being pushed out by demands for Airbnb holiday homes and people leaving the city. The neighbourhood centre is basically working as a frontline refuge placing people in emergency accommodation.”

While admitting it’s been hard work, de Souza nevertheless feels privileged to be able to make her way as an artist in the city, but the long-term impacts of gentrification and housing instability trouble her. “Gentrification is a global issue but it’s all those different diversities—cultural, economic, social—that make cities what they are.” Like Healy and Cordeiro, de Souza thinks a lot about the challenges emerging artists face today, particularly after many years of practice. She also continues to find ongoing access to long-term studio space difficult. “To have a studio space is a total luxury. Many artists just make do with what they can but it’s a massive issue. I know so many people who have left the city for affordability reasons,” says de Souza.

Tian Zhang is a curator, writer and director of Pari, an artist-run initiative in Parramatta. After two years of undertaking residencies and subletting from friends she’s grateful to have a permanent home. “Psychologically it helps ground me. I prefer to live on Dharug Country but I didn’t have any control over where I was going before; it was always whatever was available.” In 2019-2020, she was awarded a City of Sydney live-work space in Waterloo.

“When COVID hit and the Council waived our rent I felt this stress just leave my body. I hadn’t ever considered the physical impact of financial stress until I had that year rent-free.”

Zhang’s formative experiences of share houses in Brisbane came back to her in 2022, when she spent fifty days with Pari living in a dormitory in Kassel’s Museum Fridericianum alongside Indonesian collective Gudskul and 40 others as part of documenta fifteen. “The dormitory was out of necessity, but I think Gudskul were able to think creatively about how to use space. And maybe we don’t think that creatively here. Or we don’t want to.” The program, Sekolah Temujalar, connected different collectives who then ate, slept, lived and worked together exploring ideas of collectivity. In 2023, Pari brought this idea home with Lumbung in Western Sydney. “The lumbung concept is of the rice barn where everyone can pool their resources—their rice—so that anyone in the community can be fed,” explains Zhang.

“It’s a beautiful concept but you’ll find this strong sense of collectivity in many cultures; this idea that everyone deserves to be fed. I think here though, a lot of those practices have been erased through colonisation and capitalism.” In sharing lumbung with their wider community, Pari wanted to introduce a framework where the community can provide for itself. “This idea that we can pool our resources and come together if we’re all struggling.”

While housing continues to be seen as an investment and not a basic human right, a radical rethinking of resources and how we might foster communities and collectivise security feels morally and creatively critical. As Zhang notes, “insecurity can also lead to conservatism and a climate where people don’t want to rock the boat about bigger issues because they’re worried about their next paycheck.”

“It does come back to that sense of security,” she says. “If you don’t know that you’re going to be fed or that you will be housed, it’s so hard to create or to think about anything else. There’s no room to dream of a better world because you’re just surviving day to day.”

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Windows to the World: A Conversation with Glen O’Malley

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Barnaby Smith

Queenslander Glen O’Malley stands as a key figure among a generation of photographers who depicted the domestic lives of Australians in the 1970s and 1980s. O’Malley was one of six established photographic artists to exhibit in the landmark 1988 show Journeys North at Queensland Art Gallery.

As the exhibition’s title suggests, the photographers’ work came from exploratory journeys to various far-flung corners of the state—O’Malley visited Far North Queensland, ventured as far west as the Northern Territory border, and spent time in suburban Brisbane and the Gold Coast.

The idea was simply to document the lives of Queenslanders across a spectrum of demographics, and O’Malley’s work emerged from time spent actually living with his subjects. Among his contributions to Journeys North were notable works such as Good Friday 1987, Kelvin Grove, Brisbane – Gerard and his girlfriend hung out his washing, 1987, and 14 March 1987, Red Hill, Brisbane – The O’Malleys were invited to lunch at the Pooles, 1987.

The other photographers were Graham Burstow, Lin Martin, Robert Mercer, Charles Page and Max Pam. Four of O’Malley’s images from Journeys North are now part of Suburban Sublime: Australian Photography, an exhibition at QAGOMA that aims to celebrate the minutiae—and hidden moments of beauty—of everyday lives. Here he discusses how Journeys North unfolded, and where it fits in the context of his long and storied career.

BA R NA BY SM I T H

How you did you initially develop a photographic interest in domesticity and suburbia, and what visual aspects of suburban life were interesting to you?

GLEN O’ M A LLE Y

Glen O’Malley, 14 March 1987, Red Hill, Brisbane - The O'Malleys were invited to lunch at the Pooles, from Journeys North portfolio, 1987, gelatin silver photograph on paper, 42.5 x 55.2 cm. purchased 1987 with the financial assistance of the austr alian bicentennial authority to commemor ate austr alia's bicentenary in 1988 / collection: queensland art gallery | gallery of modern art / © glenn o’malley.

The book Suburbia (1973) by [American photographer] Bill Owens was important. I had it before I set out on the Journeys North trip, and even though his was a very different society—and Bill photographed in the suburb in which he lived [Livermore, California]—the book made me look at how interesting the ordinariness of suburbia was.

There’s also Robert Frank and Lee Friedlander, who very much dealt with suburbia—I think they influenced my whole generation.

Going back earlier, I grew up with a father who encouraged me to paint. But I was eventually given a Werra viewfinder camera that I used to solve painting composition problems, and then got completely hooked on photography as image-making in itself.

And like many of my peers, we just started to photograph things around us. We were all, to an extent, influenced by people like Cartier-Bresson and some American photographers doing similar things, but I think our Australian stuff had a character of its own.

That then involved me photographing such accessible things as circuses and beer gardens, and I think suburban backyards just crept into it along the way.

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“I always go looking for the wacky, the strange, surreal. In Good Friday 1987 for example, I think I find the sculptural qualities of the washing on the line against the old house, plus the little dance that Gerard’s doing, plus the girlfriend’s feet, plus the banana trees. All add together to make that weirdness.”

— GLEN O’ M A LLE Y

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BS

How did Journeys North come together as an exhibition?

G OM

The photographers were given the brief to go out and take photos of Queensland life. I knew four of the others—Max Pam I’d never met—and we all more or less did it separately. We were all selected by the curator Sue Smith.

I’m Queensland’s longest exhibiting photographer now—I first exhibited in 1975. So I had a few years of stuff under my belt before Journeys North, including an exhibition called Four and Half Months in the North, 1979.

BS

You actually lived in the houses of the people you photographed for Journeys North. How did that come about, and what was the thinking behind it?

G OM

A lot of planning went into it. Some of the people who I stayed with were people who I had encountered during the trip for Four and a Half Months in the North; the Queensland Arts Council gave me some contacts; and I had some recommendations from people.

It blew me away that people welcomed me into their homes. I was shooting on a beautiful Rollei camera with a standard lens, with 16 shots on a roll for each house. All I did was turn up, chatted, had a cup of tea or a beer, and waited until they were ready and relaxed, and then went about what they were doing.

I stayed in each house for one night. If I had just arrived and said, “I want to photograph you for the next half an hour”, there’d have been more self-conscious posing. As it was, you’re accepted as a guest or a member of the family for the time being.

I had no idea really when I got to a place what I was going to photograph.

All in all, I was photographing for three months— probably 90 days and 90 different places. I took up the offer of anyone who would let me photograph.

I was looking for domestic interiors, backyards and verandahs, but if it went a different way, that’s fine. Jun’ichirō Tanizaki wrote an essay about 90 years ago called ‘In Praise of Shadows’, and he said, “Beauty always arises from the realities of daily life.”

BS

Alongside depicting domestic life, you are known for your interest in surrealism. How was that expressed in the Journeys North images?

G OM

I’ve always been very excited by surrealism in the world, that’s very important to me. I always go looking for the wacky, the strange, surreal. In Good Friday 1987 for example, I think I find the sculptural qualities of the washing on the line against the old house, plus the little dance that Gerard’s doing, plus the girlfriend’s feet, plus the banana trees. All add together to make that weirdness.

I don’t think for something to be surreal it’s got to knock you over the back of the neck—it can be a very subtle thing. People like Lee Miller made it subtle. I’m very proud of the fact that Antony Penrose [Miller’s son], who is arguably the world authority on surrealist photography, had said that my work is in the true spirit of the original surrealist photography.

BS

Your use of black and white is inherent to your style. I assume there was never any question of the images for Journeys North being otherwise?

G OM

Film used to be expensive! I basically always shot in black and white because that’s what I could afford. I think that’s why 1970s and 1980s photography is so heavily black and white, because that applied to many of us.

BS

What lessons about Queenslanders, or Australians, did you take from the Journeys North project?

G OM

I think everyone’s got their nice side when you get to know them. I think there was, and still is, a lot of fear out there about what people don’t know about other people. People were certainly very kind to me without knowing me, were very receptive to me, and very tolerant. In various trips I witnessed things we would pretty obviously call racism, but also witnessed a lot of inter-race respect.

BS

Finally, Suburban Sublime and Journeys North might position you as an artist preoccupied with domesticity and suburbia, but that’s far from the case. Your 2019 retrospective, What Is a Dream? showed your range of subjects and styles.

G OM

Glen O’Malley, Good Friday 1987, Kelvin Grove, Brisbane - Gerard and his girlfriend hung out his washing, Journeys North, 1987, gelatin silver photograph on paper, 42 x 55.5 cm. purchased 1987 with the financial assistance of the austr alian bicentennial authority to commemor ate austr alia’s bicentenary in 1988 / collection: queensland art gallery | gallery of modern art / © glenn o’malley.

I think most people see the breadth of what I do. I think people see me as a surrealist, as someone who has a love affair with Japan, as someone who enjoys collaborating with other artists. It’s just the context of this exhibition that has me ‘type-cast’ with suburbia, and that’s understandable.

Suburban Sublime: Australian Photography

Queensland Art Gallery | Gallery of Modern Art (Brisbane/Meanjin QLD) On now—17 August

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Sandra Black Studio

Sandra Black doesn’t adhere to a singular style of making. For more than 50 years, the master ceramicist has explored a vast territory of techniques and subjects—what she calls “taking the side roads”—from carving and piercing, to colouring with stains and glazing, to wheel throwing and slip casting, to the use of decals, and varied imagery inspired by nature, travel and love.

Working from her light-filled Fremantle studio since 1988, Black is best known for her distinctive carved and pierced porcelain vessels, which are held in collections from the US, to Japan and the Netherlands. Delicate and ethereal, they exude a soft, translucent quality, like fine lace.

Black’s expansive practice is currently celebrated in Holding Light at the Art Gallery of Western Australia, her first comprehensive career survey.

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AS TOLD TO

Rosamund Brennan

PHOTOGR A PH Y BY

Duncan Wright

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“I’m not a person who likes to go on a journey from point A to point B in a straight line. I always take the side roads, the diversions and things that catch my interest.”

— S A N DR A BL ACK

P L AC E

S A N D R A B L AC K : I bought this house in South

Fremantle in 1986. I’d just finished a residency at the Canberra School of Art, and then did some teaching in Bendigo because I needed some money so I could afford to drive back over the Nullabor. In 1988, I converted my garage into a studio and I’ve been working here ever since. We had to do a lot of work on it. We re-roofed it, poured new concrete floors and put in new windows and doors. I also had really heavy-duty work benches made up, one by my father and another by a friend. I had a lot of people who were sort of handy around me, who could do things at a good price, or in exchange for a pot. The most important things, obviously, are my three kilns: two electric and one gas. I don’t spend as much time here anymore. I used to be in the studio seven days a week because I loved it so much, but as I’ve gotten older, the pressure isn’t quite so much. I spend a lot more time on the computer these days—responding to galleries and clients and prepping stuff for my students, as I still teach. But I love that this is my space.

Nobody else comes in here [but] my husband, an actor. He has his own little studio to do his reading and voicework, and painting, which he’s taken up as a hobby. So, we just enjoy having our own quiet, creative spaces to work in. It’s just my special place.

PROCE SS

S A N D R A B L AC K : One of the things that people have

criticised about my practice is the many different styles I work across. But it’s the nature of my interest and the way I work. I’m not a person who likes to go on a journey from point A to point B in a straight line.

I always take the side roads, the diversions and things that catch my interest. Much of my work is inspired by nature, and that comes from my childhood growing up on a farm in East Gippsland, Victoria. I was fascinated by all living things, particularly small and minute things. So there’s all sorts of things that come into my pots. But I suppose the most consistent techniques are my carving and piercing. Initially, I started out with pins and little drill bits and needles to drag through the clay. And then we tried the pendant drill that jewellers use, and finally I found the Dremel drill, with the help of a dentist friend who gave me some fine drill bits. I do love throwing, too. There’s a very sensuous quality to the porcelain, it’s soft and silky. These days I probably do more slip casting, which is an easier sort of process in some ways, but it’s just another way of making. And when you open the kiln door and the pots are perfect, that’s a special, magic moment. It doesn’t always work out, but I have my coping mechanisms: I get out the hammer, smash them and drop them on the floor. Quality control!

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PROJ EC TS

S A N D R A B L AC K : My exhibition [Holding Light at the

Art Gallery of Western Australia] came as a bit of a surprise. People were saying to me, “When are you having your retrospective?”. But I hadn’t heard anything about it. And this went on for months, everyone knew except me! Then one day I got the email. I was a bit shocked because there are many brilliant artists out there working in my field, but I suppose I was chosen because I was one of the first to work mostly in porcelain and in a way that was different to other people. Somebody told me many years ago to keep samples of all your work, which has really come in handy for the exhibition because it features pretty much every style of work I’ve ever done. I’ve even got some Raku birds I created in a workshop back in the early 70s. Those works are special to me as the workshop was run by Joan

Campbell, who became a very important mentor and teacher. I called her my ‘clay mum’. She was a beautiful soul. All my pots have been tucked away in cupboards for years, so seeing them all set up so beautifully was just incredible. It’s been lovely but it’s still a bit surreal.

Next up, I’ll be working towards my solo exhibition at Art Collective WA in late 2025. I’m thinking I might do a road trip starting from Albany and travelling up the coast to the Pilbara and absorbing the landscapes for inspiration. So that’s just an idea I’m playing with at the moment. Other than that, I don’t have any plans.

Sandra Black: Holding Light Art Gallery of Western Australia (Perth/Boorloo WA) On now—16 February

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Altered States The Future & Other Fictions, a landmark exhibition at ACMI, reflects both the cultural forces that determine our reality and the power of imagining our world anew.

The future: unknown, uncertain, very scary!

So pick your fighter, or in this case pick your medium.

Painting, sculpting, filmmaking, or one that combines it all: worldbuilding. The future and how we create it is the premise of ACMI’s latest exhibition, The Future & Other Fictions, which uncovers the process of creative worldbuilding and its ability to navigate the turbulent topography of the realities we inhabit.

A heavy dose of dystopian dread feels ingrained into our popular culture diet and extends into the world we live in, as all too often the warnings it holds come to pass. One of the curators and contributing artists, futurist and filmmaker Liam Young, acknowledges that while these cautionary tales can have a paralysing effect, they can also be “productive dystopias” which represent a time capsule of contemporary fears. For example, the state of mass surveillance George Orwell predicted in 1984 was actually about 1948 and the totalitarian trends he saw unfolding across Europe then. These imaginary visions can become crucial roadmaps and blueprints for the future. Co-curated with ACMI’s Amanda Haskard (Gunai/Kurnai) and Chelsey O’ Brien, the exhibition also draws on perspectives of Indigenous futurism, addressing the apocalyptic doom long tied to colonialism, environmental destruction and cultural erasure and the importance of storytelling as a way to reclaim and decolonise the future. Moving from Western canonical science-fiction screen narratives to the voices of Afrofuturism, East Asian, and Pacific and First Nations people, the exhibition highlights

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Michelle Wang

the power of speculative storytelling as a tool of resistance and self-determination.

With over 180 works on display that span sets, props, film clips, costumes and original design materials, the show reflects the richness of imagined worlds and the power of curatorial collaboration.

The exhibition acknowledges classics such as the 1985 film Back to the Future before presenting alternative visions of the future such as Björk’s 2017 music video ,The Gate, directed by Andrew Thomas Huang, featuring a custom outfit by James Merry and Valentino designer Alessandro Michele, on display. Haskard hopes that these elements, which also include behind-the-scenes footage and concept work, “show the creative process and allow audiences to connect with this in a tangible way.” Further, the bold surrealism and high-tech natural forms of The Gate powerfully reflect Björk’s environmentalism and its emphasis on sustainability and emotional healing.

Björk’s work is one among many pieces that present speculative fiction as a tool of activism and resistance in hope of a better future.

“We are paralysed by these visions of the future that we’ve been exposed to for a long time, particularly on screen,” states Haskard. Curating the show was about “reimagining dystopia, championing and showcasing stories and cultures from underrepresented communities and First Nations communities.

If you can see yourself and your stories in the future, that’s a spark, a tangible moment.”

Björk, The Gate, album artwork. courtesy andrew thomas huang.

“It is possible for worldbuilding to incite both wonder and fear, melancholy and anxiety alongside excitement and joy. Storytelling naturally holds the tools to track stress and entropy to the other side, exemplified in Freytag’s Pyramid: exposition, rising action, climax, falling action, resolution.” — M ICH EL L E WA NG

The Afrofuturist work of Olalekan Jeyifous reimagines dystopias as rewilded landscapes through Shanty Megastructures, 2015, an architectural intervention which revolves around resourceful characters and communities that flip perceptions of the impoverished on their head. Dalit and Tamil artist Osheen Siva imagines decolonised dreamscapes strongly influenced by South Indian motifs, mythologies and Tamilian architecture—liberated utopian futures filled with mutants and monsters basking in queer feminist power. Elsewhere, NEOMAD, a comic series created by over 40 First Nations young people in the Ieramugadu community together with illustrator Stu Campbell, depicts a group of young, tech-savvy heroes who adventure through the Pilbara. The latter exemplifies the power of cross-disciplinary and cross-cultural collaboration as a way to repair exploitative histories as opposed to burdening underrepresented groups with added labour for pains they have already suffered.

“The show is a rally cry to say that we desperately need hopeful futures and here are the various ways that people have constructed futures across time in film, games, animation, music videos,” Young says.

“We need to be creating and telling multiple stories about our future and we need to be empowering the public to tell their own stories about the futures that they want.” By showcasing alternative futures that do not normally appear in the canon of science fiction, the exhibition seeks to challenge the audience’s fear of what lies ahead. It also inspires more radical,

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polyvocal approaches to creating the world that we want to live in.

Birth of Dawn (2024), is a new film by Queensland-based artist and DJ Hannah Brontë working with dancers on Country. It is rooted in an exploration of nature and femininity as the ultimate forms of science fiction. In the work, a pregnant woman appears alongside nature, a revered carrier of ancient knowledge and technology.

Liam Young and Ngarrindjeri, Narungga, Kaurna and Noongar actress Natasha Wanganeen (The Rabbit Proof Fence) proffer a radically hopeful post-fossil fuel Australia in After the End (2024).

The nation is reborn without its historic extraction of oil, gas and minerals. Instead, the colonised landscape is rehabilitated and filled with wildflowers and an Indigenous space industry has created an orbital system of ancestral knowledge in place of the current tech ecosystem.

Yet, does the pendulum of future storytelling swing only to extremes of apocalyptic dread or radical optimism? Just as the overconsumption of bleak dystopias may be paralysing and lead to a sense of individual helplessness, is the counter to that not dangerously full of empty promises? Additionally, the push to platform marginalised voices forces them to take on the labour of solving the very problems they have long suffered from.

Olalekan Jeyifous, Anarchonauts / Circuit Weaver.

Björk, Ancestress, Alopex Mask by James Merry.

Osheen Siva, Tamil Futures.

The tendency of screen culture to flatten human experience persists, millennia of human motivations and its outcomes condensed into palatable cultural tokens.

Although many aspects of contemporary screen culture and onscreen storytelling generate apathy and passivity, the exhibition’s focus on the process and possibilities of storytelling hopes to pave the way for more nuanced worldmaking. “Any viable future is a complex one that is troubling and full of compromise and difficulty,” Young says. “It is hard decisions, sacrifices. I want to hold that in this world in parallel to the wonder.” It is possible for worldbuilding to incite both wonder and fear, melancholy and anxiety alongside excitement and joy. Storytelling naturally holds the tools to track stress and entropy to the other side, exemplified in Freytag’s Pyramid: exposition, rising action, climax, falling action, resolution. The worlds that we create ought to be vast and complex enough to reflect the state of our realities.

“Every story we tell shines a light into the dark and shadowy territory of the future,” Young adds.

“The more stories we tell, both positive and negative, the more of this landscape gets eliminated and the easier it is to start to understand the possibilities that are ahead of us, to make strategic and informed choices around the next steps to get to where our destination might be.” The curators invite audiences to embark on a journey of worldbuilding, embracing both discomfort and delight in the process of imagining, creating, and sharing the worlds they dare to imagine.

The Future & Other Fictions ACMI (Melbourne/Naarm VIC) On now—27 April

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Life in Technicolour Tongan legends and pop culture heroes face off in the work of Telly Tuita, an artist whose freewheeling visual language articulates the light and shade of experience and the multiple selves we contain.

In Telly Tuita’s self-styled “Tongpop”, time and space are circuitous, like the traditional Tongan manulua pattern he often incorporates into his art based on two birds circling one another.

Dressing as divas and deities in dyed raffia and leis for “performative self-portraits”, Tuita accessorises himself, his acrylic and spray paintings and installations with “crazy colours and materials”. These shiny plastics and ribbons represent his fascination with the “maximalist” approach of pop art, he says.

They first inspired him to become an artist after he came to Australia as a boy 35 years ago.

Seated, now, in the boardroom of Sydney Festival, where he is artist-in-residence, Tuita, 44, is readying to dress up a 1927 steam ship in Tongpop raffia regalia, with designs inspired by kiekie girdles along the hull. When festival director Olivia Ansell suggested he “rebirth” the SS John Oxley, he thought: “Hell, yeah.” One of his middle names is Toutai-I-Moana, handed down from a Samoan ancestor who was a sea navigator.

Near the anchored ship in Walsh Bay, Tuita is also dressing six large hardwood poles as totems in dyed raffia and ribbons of singular, bold colours, each connected to his emotions. One, for instance, will be orange, for “ignorant courage”; another, blue, for “calming coldness”.

The bearded artist, who laughs often, explains that his outgoing personality and bravado masks a great deal.

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Steve Dow

“Whatever I am, there is always that shadow dark side of me,” he says. “There’s always the colour, but then there’s always what’s going on inside.”

The fantasy world of Tongpop was born in part from Tuita’s wrestle with identity and self-doubt.

Born in 1980 in Tonga, his parents soon deserted him, and he was passed around three villages among relatives on his maternal side. He says he got his almond-shaped eyes from his Tongan mother, a Mormon who relocated to Salt Lake City in Utah on a mission without him.

One night his grandfather turned up in a van and drove him away from the last of these villages.

Then, in 1989, he sent him on a plane alone at age nine to live in Australia with his Tongan father whom he’d never met and his Australian stepmother with whom there was immediate friction. He arrived speaking not a word of English.

Tuita could converse in Tongan with his father, but his stepmother forbade them from speaking the language she could not understand. Gradually, he lost his Tongan tongue, feeling shame whenever Tongan relatives tried to speak with him. At 14, his stepmother kicked him out of their Brisbane home.

At 16, he was adopted by his father’s older brother and his Australian wife, whom he now calls mum and dad, in Western Sydney and earned his HSC at the Campbelltown Performing Arts High School.

Telly Tuita, Tongpop’s Great Expectations, installation view, Campbelltown Arts Centre. photogr aph: jodie barker.

Telly Tuita, SS John Oxley concept render.

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Telly Tuita, TēvoloDiva, 2023, in collaboration with WorkGroup.

“Near the anchored ship in Walsh Bay, Tuita is also dressing six large hardwood poles as totems in dyed raffia and ribbons of singular, bold colours, each connected to his emotions.”

— S T E V E D OW

Tuita completed a bachelor of arts at the University of Western Sydney before going on to study at Sydney’s College of Fine Arts.

Becoming a teacher in 2005 was an important means to financially support himself. “I could live independently in the city,” he recalls. “I came out as gay quite early, so the suburbs life was not going to be for me.” In 2011, after earning a master’s degree in special education, he launched a second teaching career with children with behavioural issues, autism and intellectual disability.

Meeting his now-partner, a New Zealand diplomat, took him to a new home in Wellington in 2017. Unable to gain full-time teaching work there, he decided to make the leap and become a full-time artist in 2018. “I had to hustle,” he says. “I’d always made art, even when I was teaching. It was just that itch. So, I approached little shops and galleries, ‘How can I have my work here?’ One little shop in Wellington said, ‘Bring in your stuff’.”

We turn to discuss Tuita’s 2023 TēvoloDiva series, commissioned by Campbelltown Arts Centre, which staged Tongpop’s Great Expectations, his first Australian solo show, in 2024. The show was grouped as dawn, day and dusk; the way the artist conceptualises the three fates in Greek mythology.

Tēvolo means ghost.

“Are your eyeballs ready to hurt?’ Tuita laughs, flipping open his laptop now to show me the videos and photographs of himself shot in his Wellington backyard.

In this series, he plays aspects of himself in costume. He dances as the characters Norma, Carmen and Lucia—all relating to the darker side of his personality—to arias sung by opera soprano Maria Callas.

Elsewhere, the Tongan goddess Hikule’o, whose mythology is evidence of the ancient Tongans’ belief in the gods, features in Tuita’s work. She provides him with a “metaphysical” link to his ancestors.

Conservative Tonga’s majority religion holds no power for Tuita, an atheist. “Greek mythology made more sense to me than Christianity,” he laughs.

“Also, the Disney characters, the sci-fi movies, and the Marvel superheroes—they had much more relevance to the way that I am.”

Telly Tuita: The Tā and Vā (Time and Space) of Tongpop

The Thirsty Mile, Walsh Bay, as part of Sydney Festival (Sydney/Eora NSW) 4—26 January

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WAY S OF SEEING 68

BY

Kyle Archie Knight Amos Gebhardt Isabella Melody Moore

In an era that is saturated with visual information, photographs that change the way we see the world can feel increasingly elusive. As viewers, we are often seeking our reflection.

But, often, the images that stand to transform society are those that unearth hidden histories, find a new language to articulate old problems or draw attention to the ethics of looking.

We invited three acclaimed photographers to choose an image that challenges our assumptions about politics and culture during this historical moment—opening up new paths for their own work in the process.

Kyle Archie Knight on Tace Stevens’ They Will Never Erase Us

The importance of truth-telling has never been more critical than it is now, when we are facing our increasingly precarious future. Given the constant rise of AI and misinformation in the media, I’ve found that—despite its flaws—photography has become a refuge to be able to speak your truth. I first saw We Were Just Little Boys, a 2023 photographic series by the Noongar and Spinifex visual storyteller Tace Stevens at the Centre for Contemporary Photography in March 2024. Stevens worked with survivors of the Kinchela Boys Home, a government institution that, between 1924 and 1970, removed hundreds of Indigenous boys from their families.

An image from the series, They Will Never Erase Us, portrays two shadows that appear to be looking back on their past. The gloomy clouds are reminiscent of Australia’s dark history, reminding me that our future cannot exist without our past and that this is what we must learn from. The golden hour that lights the photograph shows the sun will shine even in the darkest of times, and the truth will come to light.

Stevens’ work stuck with me long after I witnessed it.

I’m inspired by the courage shown by the Indigenous men who stand strong in the face of such adversity.

As an Indigenous person, people will still look into your eyes and tell you that you “need to move on”, despite Australia’s mournful history. Maintaining the strength to push back against this colonial and racist narrative is as crucial as ever. Photographers like Tace Stevens show us a clear way forward.

Tace Stevens, They Will Never Erase Us from the series We Were Just Little Boys, 2023, photograph. © tace stevens for magnum foundation/world monuments fund.

K Y L E A R C H I E K N I G H T ’ S de-centre re-centre shows at Perth Festival, 15 February—3 May. His debut photobook Cruising for a Bruising is available from M.33, Perimeter Books, NGV Design Store and The Library Project.

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Amos Gebhardt on Taysir Batniji’s Disruptions

Taysir Batniji’s 2024 series Disruptions features 86 screenshots made during a series of WhatsApp video conversations with the artist’s family in Gaza. Each image is marked heavily by digital distortion, fragmenting and tearing at the faces of Batniji’s loved ones. The screenshots, however, are not just disrupted by technical failure—they reflect connections shattered by Israeli forces of occupation, annihilation, and the constant surveillance that suffuse daily life.

Batniji transforms digital interference into a symbol of communication loss, where digital spaces—intended to bridge distances—become sites of rupture and absence. The image is flooded with radioactive greens and jagged blocks of blood-red.

A portion of a ceiling can barely be made out in the top left corner of the photograph, a tiny but recognisable fragment. Perhaps a face is hidden behind a digital obfuscation, or a bedroom half-visible, offering an eerie trace of domestic life. The connection to love and home becomes fugitive. Batniji’s intentional use of low-quality resolution materialises the power of violence and separation to distort, infiltrate and deteriorate the last sites of intimacy during times of genocide and displacement.

In contrast with graphic images of bloodshed, Batniji underscores the role of abstract photographic representation, in contexts of violence and loss. Disruptions, which won Photobook of the Year at the 2024 Paris-Photo Aperture Awards, compels viewers to become sensitive to grief, and in doing so, more accountable for the injuries they see.

A M O S G E B H A R D T ’ S Mångata shows at the Museum

of Australian Photography until February 16.

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Taysir Batniji, Disruption #5, Line 1: 24/04/2015, Line 2: 04/08/2016, Line 3: 06/08/2016, Line 4: 17/08/2016, Line 5: 04/09/2016, Line 6: 05/10/2016, 39 screen shots, laser print, 16 x 24 cm each. © courtesy galerie eric dupont, paris.

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Hoda Afshar, Untitled #9, from the In Turn series, 2023, archival pigment print. image courtesy the artist and milani gallery, meanjin, brisbane.

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Isabella Melody Moore on Hoda Afshar’s In Turn

I chose an image from Hoda Afshar’s 2023 series In Turn. These images, which portray women braiding each other’s hair while doves take flight, refer to both Kurdish female fighters’ pre-battle rituals and tributes to fallen protesters. Rather than centering depictions of violence, they demonstrate how resistance can be captured through grace.

In her 2010 book The Cruel Radiance, writer Susie Linfield reflects on seeing a picture of Memuna Mansarah, a little girl whose right arm was hacked off just above the elbow by her compatriots in the so-called Revolutionary United Front (RUF) during the Sierra Leone Civil War. She speaks of her rage turning into pity and her pity, “so predictable and so useless”, turned into self-pity, meaning “Memuna herself began to recede”.

Unlike photographs of atrocity that can reduce viewers to helpless self-pity, Afshar communicates resistance through moments of vulnerability and reflection. She connects us to what Hannah Arendt places above pity—solidarity. To Arendt, this is not merely a feeling, but a principle for action.

Afshar made In Turn following the death of Mahsa Jina Amini, a 22-year-old Iranian woman whose death sparked the global “Women, Life, Freedom” movement. In doing so, she shows how staged photography can carry profound political weight through intimate gestures. When I look at the women’s closeness—their leaning heads, their gentle touch—I see the spaces between my own female familial relationships, and how colonial trauma might have fractured them. This year will see a possible first exhibition of my current body of work, which draws on performance and selfportraiture to investigate inherited trauma and its contemporary manifestations.

I S A B E L L A M E L O DY M O O R E is an award-winning photojournalist.

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Maternal Inheritance Carol Jerrems’ intimate and revealing portraits of women are a touchstone for a generation of writers and photographers. For Josephine Mead, they also galvanise the power—and limits—of feminist legacy five decades on.

Reflecting on Carol Jerrems’s work has me thinking of matrilineal lines of artistic enquiry, mentors, and the complex relationship between portraits and truth-telling. My research led me to the Rare Book Room at the State Library of Victoria for A Book About Australian Women; to a discussion with the director of the National Portrait Gallery, Isobel Parker Philip, about the impetus behind Carol Jerrems: Portraits, to conversations with contemporary photographers Anu Kumar, Ying Ang and Katrin Koenning; to considerations of the triumphs and gaps in feminist thinking of the 1970s. In a landscape where we are continually redefining the needs, structures and permutations of feminism (and of writing and photography), we must consistently challenge our understandings by both looking at the past and considering the needs of the future. This intention exemplifies Jerrems’s legacy—a practice that continues to spark current photographic discourse.

Carol Jerrems: Portraits celebrates Jerrems’s oeuvre, one that charts 1970s social change through feminism, First Nations activism, youth subcultures, and art. The exhibition was inspired by and coincides with the 50th anniversary of A Book About Australian Women by Jerrems and Virginia Fraser, originally published by Outback Press. Parker sees the book as a “chronicle of the era’s cultural moments and reflection of the profound intimacy, care and tenderness of Jerrems’s work—encapsulated in the soft glances between subject and photographer”.

The book showcases Jerrems’s portraits of diverse Australian women, coupled with texts edited by Fraser. In Parker’s words, “[Jerrems and Fraser’s] contributions operate on different planes, but they are pushing at the same approach—this is not meant to be comprehensive.” They speak to the plurality and multiplicity of female experience. We know writing

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Josephine Mead

and photography cannot be comprehensive—it’s this openness that allows them to be apt vehicles for the in-flux challenges of feminism. Recognising that a continuum of feminist voice is important for action, Jerrems looked to her peers as experienced mentors and agents of progress. We look to Jerrems, and the writers that travelled aside her, to ascertain where to go next.

A key photograph in the book is the portrait of writer Anne Summers, taken as she was finishing her 1975 classic Damned Whores and God’s Police.

It imagines the anxiety accompanying the final stages of writing. Summers reflects, “I was afraid I was not up to the task […] which was nothing less than to rewrite our history.” This book is an important tome towards the progression of Australian feminism. It sought to dismantle the prominence of the ‘nuclear family’, acknowledge the realities of domestic violence, and spoke of the economic disparities between men and women. It also reflects the gaps in feminist thinking of the time. There is a complete lack of awareness of the need for space for non-binary / gender-fluid individuals under the umbrella of feminism, and a lack of the acknowledgement of different racial experiences of feminism. We know that issues faced

by First Nations and POC women at the hands of the patriarchy are usually coupled with additional discriminations than that experienced by white women. The book provides a snapshot of Summers’s experience that led others to challenge normative thought. Summers’s snapshot has been built upon, as more diverse voices have been welcomed and as our vocabularies have expanded. Reflecting on the importance of intergenerational exchange, I decided to read the most recent printing of the book non-chronologically—I flicked forward and read the initial book of 1974, before returning to the beginning

Carol Jerrems, Jane Oehr, “Womenvision”, Filmmaker’s Co Op, 1973. national gallery of austr alia, canberr a, gift of mrs joy jerrems 1981. © the estate of carol jerrems.

top lef t Carol Jerrems, School's out, 1975. national gallery of austr alia, canberr a, gift of mrs joy jerrems 1981. © the estate of carol jerrems. bot tom lef t Carol Jerrems, Butterfly behind glass, 1975. national gallery of austr alia, canberr a, gift of mrs joy jerrems 1981. © the estate of carol jerrem.

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top r ight Carol Jerrems, Self portrait with Esben Storm, c. 1975. national gallery of austr alia, canberr a, gift of mrs joy jerrems 1981. © the estate of carol jerrems. bot tom r ight Carol Jerrems, Bobbi Sykes, Black Moratorium, Sydney, ‘72, 1972. national gallery of austr alia, canberr a, gift of mrs joy jerrems 1981. © the estate of carol jerrems.

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“Recognising that a continuum of feminist voice is important for action, Jerrems looked to her peers as experienced mentors and agents of progress. We look to Jerrems, and the writers who travelled beside her, to ascertain where to go next.” — JO SE PH I N E M E A D

to read successive introductions written for reprints published in 1994, 1995, 2002 and 2016. I finished with the initial introduction from 1974.

Through Jerrems’s photographs we look to the past to understand the present. Summers recounts, “in order to start devising serious strategies for liberation in our own time, a more precise understanding of that place and time was necessary. […] Because our history was rarely written, or failed to be absorbed into the mainstream […] each new wave of activities has almost always had to begin all over again.”

Summers writes with self-transparency– something many of her literary predecessors couldn’t do, often needing to conceal their gender to be published. With each move towards transparent understandings of our progress, failures and challenges, we become individually more acquainted with our true selves.

Jerrems’s magic lies in her ability to create a comfort and trust with her subjects. Parker notes, “her work is candid, not set in a studio […] but there is always an element of choreography. She is attentive to how images can be gestures of honest storytelling.”

Jerrems’s oeuvre provides reflections of diverse women, presented without hierarchy—predecessors to the force of Australian women since, that have contributed to feminism on their own terms.

It’s no coincidence that NPG has staged a concurrent exhibition, if only we could take the time: contemporary Australian photography, featuring three current female photographers: Ying Ang, Katrin Koenning and Anu Kumar. As Parker explains, “when you see their work, you appreciate how Jerrems’s legacy is still present and informing how we think about photography.” They echo Jerrems’s feminist underpinnings as they speak to their own experiences, while gesturing to legacies from the past.

When speaking of the relationship between feminism

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and practice, Koenning acknowledges, “a good mentor can be like a compass” and wonders, “if any creative act performed by a woman is inherently an act of resistance?” Ang understands that mentors, “show us possible ways forward, by illuminating the ways forged through the past” and sees her work as “feminist practice by virtue of the black hole of female-led stories and experiences in art history.” It was Indian photographer Dayanita Singh who encouraged Kumar to “continue to tell the story” of her Indian heritage. Meeting the same challenge faced by Jerrems, Kumar notes, “my aim is to be able to take a portrait.

It’s a very complex art, to be able to truly capture someone in an image. My grandmother never got the opportunity to work. My mother became a doctor, but didn’t have the opportunity to pursue art. I—the third generation—have the privilege of pursuing a career as an artist. I don’t take this lightly—it is a feminist act to be making work.”

As I end my research with the initial 1974 introduction Summers wrote for Damned Whores and God’s Police, I find her reflection on the portrait that led me to this book: “in 1974 Carol Jerrems photographed me. She was just starting to make her mark […] and I was struggling to finish this book. Six years later, Carol died aged just 30. Most of her portfolio was portraits of women, young and old, most of them not well known, many of them, like me, just starting out. Carol caught something in me that day. I look ruminative, brooding, slightly sceptical. It’s as if I am wondering where this whole women thing is going to end up. I still am…”

Carol Jerrems: Portraits

National Portrait Gallery (Canberra/Ngambri ACT) On now—2 March

Different Strokes The paintings of Ethel Carrick—whose legacy is being celebrated via a new exhibition at the National Gallery of Australia—offer distinctive and poignant lessons in seeing the world.

W R ITER

Sally Gearon

Ethel Carrick, Christmas Day on Manly Beach, 1913, also known as Manly Beach—summer is here, Manly. manly art gallery & museum collection.

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Ethel Carrick, The market, 1919. mor an family collection courtesy smith & singer fine art.

Australian galleries have a long love affair with impressionism and post-impressionism. At the National Gallery of Victoria (NGV) alone, roughly half of its annual Winter Masterpieces exhibitions over the last decade or so have featured impressionists and post-impressionists—from Pierre Bonnard, Edgar Degas, and Claude Monet to Vincent van Gogh.

Not to mention the French Impressionism exhibition, which is returning to the NGV for the 2025 season after closing early in 2021 due to pandemic restrictions. The National Gallery of Australia (NGA) just finished a controversial deep dive into Paul Gauguin’s work and legacy, and in May will launch Cézanne to Giacometti. In between these heavyweights of post-impressionism, they have Ethel Carrick.

Ethel Carrick is part of the NGA’s Know My Name initiative, a project that aims to shed light on the women artists who so often get left out of the canonical narrative of art history. Carrick (1872–1952), an English artist who painted and exhibited widely throughout her life, is often considered in the shadow of her husband, Australian impressionist Emanuel Phillips Fox. This is despite his career being drastically shorter than hers, due to his untimely passing in 1915. He was her introduction to Australia, where

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she exhibited widely, splitting time between here and Paris and travelling extensively in between.

The spectrum of Carrick’s career is broad, spanning almost fifty years, multiple continents, and a progression of styles. She began as an impressionist plein air painter before adopting a more distinctive post-impressionist style, with forays into fauvism as well. “Ethel Carrick was on the cusp of impressionism,” says Dr Deborah Hart, head curator at the NGA. “I think one of the most interesting things is that she actually introduced a post-impressionist way of working to Australia. In the exhibition we have one of the very first post-impressionist works to be created and exhibited in Australia.”

And yet, this is the first Ethel Carrick retrospective shown in Australia since 1979, despite her work existing in many collections here. Like so many other women who, as the Know My Name project declares, ‘have been shaping culture for time immemorial’, her place in history was largely forgotten. Despite exhibiting at the Salon d’Automne in Paris alongside Pierre Bonnard and Édouard Vuillard, much of her work has been lying dormant in private collections.

“This current retrospective is an opportunity to document her work more fully and show the breadth

“It’s striking that Carrick’s work seems almost devoid of this gaze. Is it because women move through the world differently? Or perhaps just that she seems to position herself within a scene, part of the crowd rather than its overseer.”

— S A LLY GE A RON

and depth of her artistic career,” says Hart. “A lot of works either have never been seen in this country or haven’t been seen for many years.” So, what—now that we are given the opportunity to fully re-examine Carrick’s oeuvre and consider its place in the canon— can be revealed?

Carrick spent much of her life travelling, documenting all her destinations in paint. The retrospective will include her works made throughout travels in Europe, India and North Africa, and she also spent time in the South Pacific. There has been a lot of discourse in recent years about the fetishising gaze of artists from this period on the cultures they depict in their travels—Gauguin is a notable example.

It’s striking that Carrick’s work seems almost devoid of this gaze. Is it because women move through the world differently? Or perhaps just that she seems to position herself within a scene, part of the crowd rather than its overseer.

“She was quite radical for her time, in the way that she painted the public domain out of doors. Obviously, people had been painting landscapes and portraits, but she was interested in crowds of people,” says Hart.

“She would go and set up in the Luxembourg Gardens, or when she came to Australia in the Sydney Botanic Gardens, often on these little wooden panels and paint these expressive scenes of crowds in flux. It was something that she really loved and felt was part of what made her vision distinctive.”

Carrick herself said, “It’s people who attract me. Crowds are to me what a magnet is to a needle.

I love the colour, life, movement, and individuality of a crowd.” There could be a level of voyeurism to her penchant for bustling market scenes, parks, and gardens, but with a lack of objectification, works like A market in Kairouan and Untitled (North African Marketplace) (both circa 1911) feel more like a celebration than anything else. Hart agrees, “What I find when I look at them together, is that they’re all done in a very respectful way. She’s interested in just showing the everyday life of people in these places, without judgement or inference.”

Carrick would often exhibit her paintings outside the country she painted them in, showing her Parisian paintings in Australia and bringing her Melbourne parks and Sydney beaches to the European salons.

Hart describes it as a “kind of cross-continental sharing of works in different contexts”. Australian audiences obviously already have a taste for European vistas, but perhaps what will stick out here are the more familiar locations—Manly Beach, Summer is Here (1913)—shown together, they create a rich tapestry of a life well-travelled.

Ethel Carrick

National Gallery of Australia (Canberra/Ngambri ACT) On now—27 April

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Image courtesy Howard Sooley

Billy D ESIGNE D BY A DA M G OODRUM FOR TAIT FIND OUT MORE

From a time when billy carts ruled suburban streets and modernist tubular forms were woven into above-ground pool ladders across Australia – indulge your nostalgia with the Billy Collection, featuring a Chair, Lounger, Sunlounge, Dining Table, Easy Dining Table, Stool and Bar Cart.

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

7–9 February 2025 Linden New Art FREE ENTRY

edition.1 MELBOURNE ART PRINT FAIR

The Melbourne Art Print Fair presents three days of great prints and engaging talks in celebration of the collective creativity of the art and printmaking community.

Linden New Art 26 Acland Street St Kilda EXHIBITORS Auckland Print Studio, Baldessin Press, Kaleidoscope Editions, Negative Press, Print Council of Australia, Spacecraft, Sunshine Editions, Viridian Press.

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Deep Time Real Time.

Exhibition opens at 11am, Tuesday 25 February 2025, 21st Century, 3rd Millennium, Meghalayan sub-epoch, Holocene epoch, Quaternary period, Cenozoic era.

Deep Time Real Time The 2025 Alastair Swayn Legacy Exhibition

RMIT Design Hub Gallery Tuesday 25 February to Saturday 12 April

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Exhibition opening Thursday 27 February 2025 6pm

Image: Archie Moore Archie in Ice Breaker 2005 (detail). Courtesy The Commercial, Gadigal/Sydney.

Archie Moore Comic Paintings

18 January— 29 March 2025

Institute of Modern Art 420 Brunswick Street Fortitude Valley QLD 4006 Meanjin/Brisbane, Australia → ima.org.au Supported by

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Cara-Ann Simpson Furari Flores (Stealing Flowers)

31 January - 1 March 2025

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

Cara-Ann Simpson, stultitia repetita replicationem II (the folly of repetitive replication II), 2020, pigment print on Canson baryta photographique rag, 2AP + Edition of 10, 76.2 x 76.2cm.

Image: Courtesy of the artist and Onespace.

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ART GALLERY OF SO ON KAURNA YARTA. UTH AUSTRALIA BOOK NOW

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PRINC IPAL DONO R

DESIG N PARTN ER

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Nasha Gallery

Simone Griffin Sky Garden 6 December 2024 – 28 January, 2025

Gum leaves whirl, 2024 acrylic on linen 140 x 110 cm; 55 ⅛ x 43 ⅓ in

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L1 215 Thomas Street Haymarket, Sydney

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info@nasha.com.au

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ARE YOU THE NEXT AUSTRALIAN GEOGRAPHIC NATURE PHOTOGRAPHER OF THE YEAR? ENTRIES NOW OPEN Scan the QR code or visit naturephotographeroftheyear.com.au to upload your entry.

Entries close on 6 February 2025.

Yan Zhang, Dawn of Tasman Lake (detail) Finalist in the 2024 Landscape category.

samuseum.sa.gov.au/c/npoty

1–30 March 2025

Lucy Allinson, Darcey Bella Arnold, Matthew Bird and Charity Edwards, Richard Collopy, Nicholas Currie, DarkQuiet, Naomi Eller, Carly Fischer, James Geurts, Natasha Johns-Messenger, Anne-Marie May, John Meade, Kerrie Poliness, Studio Forrest, Jen Valender, Chaohui Xie, Yusi Zang Curated by Simon Lawrie

This project has been assisted by the Australian Government through the Festivals Australia program, Regional Arts Fund, and Surf Coast Events.

Lorne Sculpture Biennale exhibits on Gadubanud Country and respectfully acknowledges the Traditional Custodians, their Elders past and present.

www.lornesculpture.com

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Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805

8 December 2024 – 9 March 2025 Free Entry

PACIFIC SISTERS

FROCKAWHANAUNGATANGA M ay o u r F r o c k , g r e e t y o u r F r o c k

Presented by Bunjil Place in association with Asia TOPA, Arts Centre Melbourne.

Curated by the Pacific Sisters and Jade Hadfield.

Image: Pacific Sisters: He Toa Tāera | Fashion Activists, 2019, Photo: Auckland Art Gallery.

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Image: Annika Romeyn, ‘Endurance 9’, 2021, watercolour monotype on paper, 250 x 190 cm, image courtesy of the artist and Flinders Lane Gallery.

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

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TOWN HALL GALLERY 5 FEB TO 26 APR 2025 MAT T ARBUCKLE WONA BAE & CHARLIE LAWLER TAMARA DEAN BRIAN ROBINSON ANNIKA ROMEYN HIROMI TANGO JAMES TYLOR

Adventure, Elves & Gumnuts: Australian Children’s Book Illustrators of the early 20th Century 7 December 2024 – 23 February 2025 A whimsical journey through the story of the ‘golden age’ of Australian children’s book illustration. Featuring original works

by Ida Rentoul Outhwaite, May Gibbs, Norman Lindsay and others.

Ida Rentoul Outhwaite Dignity and Impudence (detail), c.1910s–1920s Watercolour, pen and ink and pencil on paper, 47.5 × 37.7cm Collection National Gallery of Victoria Gift of Andrée Fay Harkness through the Australian Government’s Cultural Gifts Program, 2020 © The estate of the artist

GOVERNMENT PARTNERS

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

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

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KATE BALLIS BEYOND TIME

40 Porter Street Prahran Victoria 3181 | 03 9008 4592

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17 NOVEMBER 2024 – 30 MARCH 2025 mhm.org.au/underground mhm.org.au/underground

10am–4pm daily

HOTA GALLERY

WHERE ART, ENTERTAINMENT, CULTURE & LIFESTYLE MEET.

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FIND OUT MORE H O TA . CO M . A U EGC-AC-HOTA-ArtGuideAd-170x240mm.indd 1

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28/11/2024 11:35 am

2025

CALL FOR ENTRIES CLOSE 21 FEB 2025

JUDGES:

EXHIBITION DATES 9 MAY–22 JUNE 2025

Melissa Keys Senior Curator Heide Museum of Modern Art

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

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

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Dr Vincent Alessi Director + CEO Linden New Art

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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

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Big Things for a Big Country Road Trip Collagism

Take a journey to Australia’s iconic “Big Things” using AI. This poetic road trip blends the surreal with the hyperreal. It’s a playful adventure through the Australian landscape, offering a joyous experience for the whole family!

14 December 2024 – 16 March 2025

Arthouse, RACV Goldfields Resort, 1500 Midland Hwy, Creswick VIC 3363 For more information visit racv.com.au/art Image credit: Collagism, Punks of the sky 2024, digital artwork, courtesy of the artist.

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PRICK! Needlework Now 20 February - 10 May 2025

Maggie Baxter Aaron Billings Jayeeta Chatterjee Carly Takari Dodd Melinda Harper Michelle Hamer Talitha Kennedy Octora Louise Rippert Gurjeet Singh Louise Saxton Mien Thao Tran Kasia Tons Lisa Walker Curated by Helen Rayment

Open Tuesday to Saturday. Free entry.

Kasia Tons, Tarpaulin diary, 2018. Courtesy of MARS and the artist.

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Djambu Barra Barra, Devil Devils, 2002. More, More, More - Works from the Artbank Collection, Artbank Melbourne, December, 2023. Photograph by Christian Capurro for Artbank. Background artworks, Nick Selenitsch, Felt (2), (6), (7), 2011. Riley Payne, Sunny side, Repent dinner, Well done, 2010. Emily Floyd, Child and Adult Sculpture No.2, 2009. Les Dorahy, Some interest has been expressed in planning ways to avert future encounters between asteroids and earth, 1997.

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GO BEHIND THE SCENES TO SEE MELBOURNE’S HIDDEN TREASURES. EXPLORE OUR ART AND HERITAGE COLLECTION. Book a free guided tour today scan the QR code.

Visit the collection at Melbourne Town Hall 90-130 Swanston Street, Melbourne VIC 3000 Explore the collection online citycollection.melbourne.vic.gov.au citycollection.melbourne.vic.gov.au

LAUNCH / SATURDAY

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JANUARY / 4 to 6 PM 18 JAN / 23 FEB

MADELEINE MINACK a thing that holds something else

STOCKROOM

98 Piper St, Kyneton 03 5422 3215 info@stockroom.space www.stockroom.space

sparkly thing found between another thing on the floor, 2024 plasticine, glass and wire, 5 x 3cm stockroom.space

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Bringing Art To Life

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ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION 4 Russell Street, Toowoomba QLD Gallery Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art gallery@featherandlawry.com.au

GALLERY EXHIBITIONS KENDALL 28 October - 5 December 2024

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to Many Years in the Making Celebrating 50 years of Tamworth’s textile exhibitions and over 100 years of the Gallery’s collection.

TAMWORTH

regional

Tamworth Regional Gallery 466 Peel St Tamworth 2340 Free Admission 30 November 2024 - 26 January 2025 Official Opening 5 December 6pm

Image: Jeanette Stok, Inherited Borders (detail), 2017, Galvanised wire, wire mesh, 1800mm x 440mm, Purchased by the Tamworth Regional Gallery Friends

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7/11/2024 11:44 am

A selection of summer reads curated by the Art Guide Bookstore

shop online

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Dual/Duel: Brook Andrew/Trent Walter Cut & Pinned Louise Saxton

Rene Magritte: The Fifth Season

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Screenic Philip Brophy

Jon Campbell (Uplands)

9am—5pm Tuesday & Friday (Saturday from 8 February)

Roy Jackson: Hands On

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A–Z Exhibitions

Victoria

JANUARY/FEBRUARY 2025

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ACAE Gallery

Ararat Gallery TAMA

acaearts.com.au

araratgallerytama.com.au

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

See our website for latest information.

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

ACAE Gallery is a cultural venture presenting artworks and exhibitions by contemporary Australian and Asian artists.

Our bilingual service, delivered in English and Mandarin, offers access to a range of artworks and public programs.

Tomislav Nikolic, Love, 2007-08 from the series YOU …, synthetic polymer paint and marble dust on paper. Artbank Collection, purchased 2008.

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

See our website for latest information.

Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.

Jane Théau, Conflagration, Regeneration (detail), 2023. Photograph: Amy Piddington/ Australian Design Centre.

Until 16 February Weaving matter: material experimentation

Art Gallery of Ballarat artgalleryofballarat.com.au 40 Lydiard Street North, Wathaurong Country, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm.

See our website for latest information.

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

See our website for latest information.

explore the tonal range of a singular colour and the impact colour has in shaping our perception. Inspired by Tomsilav Nikolic’s Love, a bright yellow monochromatic work on paper that is part of a series of works, each titled according to the artists ‘individual and subjective approach to colour’s effect’. This work both introduces and summarises the exhibition and the relationship between art and the viewer and our own personal observation, based on colour.

Lucas Grogan, The Universe Quilt, 2013, embroidery, cotton thread on black laminated cotton, 200 x 175 cm.

Purchased with the assistance of the Robert Salzer Foundation, 2013. © The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: Andrew Curtis.

To 9 March Works from the TAMA Collection

Artbank Melbourne artbank.gov.au Kathy Temin, Woven: Green, 2024, syn­t het­i c fur, syn­t het­i c fill­i ng and wood 120 x 120 x 20 cm. Photo: Christian Capurro.

February—March Woven Kathy Temin February—March IN HOUSE

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

20 February—24 April Love, yellow Love, yellow presents a selection of works from the Artbank Collection which

Joan Jett. Photograph: Tony Mott.

2 October 2024—2 February Medieval to Metal: The Art and Evolution of the Guitar For those who rock, we salute you! Medieval to Metal: The Art & Evolution of the Guitar tours to Ballarat, Victoria this October. Exclusive to the Art Gallery of Ballarat, the exhibition features 40 iconic guitars on loan from the National

VICTORIA Until 26 January Encounters Morganna Magee

Guitar Museum (USA) alongside an awe-inspiring assemblage of photographs, paintings, drawings, illustrative designs, and objects. Medieval to Metal encompasses the journey of the guitar through creativity, innovation, and cultural catalysts. From medieval beginnings through to the guitar’s pivotal role in pop culture, the exhibition will include a collection of music-inspired masterpieces from Australian institutions and newly acquired works in the Art Gallery of Ballarat collection, representing almost two centuries of music symbolism in culture and art.

Medieval to Metal: The Art & Evolution of the Guitar is exclusive to the Art Gallery of Ballarat.

Honey Long & Prue Stent, Lip dip, 2024, archival pigment print, edition of 5 + 3 A/P, 87 x 58 cm.

13 November 2024–1 February Body Heat Honey Long and Prue Stent

This exhibition brings together recent bodies of work by celebrated Australian artist Morganna Magee: extraordinary experiences (2020-ongoing), Beware of people who dislike cats (2023) and The Paddocks (2024-ongoing). These series respond to the notion of encounters and connections between humans, animals and the natural world. For Magee, these connections are based on a deep care and respect for the people, animals and places she photographs. Many of Magee’s photographs are taken on journeys in nature, where subjects reveal themselves to her.

She intuitively responds with her camera.

Magee never uses a long lens and instead the photographs are based on physical closeness. The results are tender, intimate and considered studies of her surroundings that portray Magee’s ability to form a shared trust with her subjects. Through her practice, Magee reflects on the nature and power of photography, a medium which allows for fleeting encounters to be captured, contained and remembered.

Curated by Catlin Langford.

5 February—1 March Summer Group Exhibition

ArtSpace at Realm and Maroondah Federation Estate Gallery artsinmaroondah.com.au

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji),Forever I Live, 2015, digitalprint on aluminium. Private Collection, Narrm.

26 October 2024—2 February JXSH MVIR: Forever I Live JXSH MVIR: Forever I Live is the biggest retrospective of works by the late Josh Muir (1991–2022). Josh was a Gunditjmara, Yorta Yorta and Barkindji artist, born in Ballarat who passed away suddenly at the young age of 30 in 2022.

The works in the exhibition reflect Josh’s ongoing artistic legacy, emphasising Josh’s love of family and community, drawing on a range of themes including cultural identity, the impacts and legacies of colonisation, mental health, addiction, personal loss and grief. Presented by the Koorie Heritage Trust and Art Gallery of Ballarat.

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.

Until 24 January Mutualism: a place called Bungalook Gomathi Suresh-Jayaseelan Drawing on the history of antimony mining in the Maroondah region during the nineteenth century, this exhibition explores a symbolic link between its industrial past and a critically endangered species of the present: the Kilsyth South Spider-orchid, of which only three plants are known to survive in the wild. The circular symbiotic dance of the orchid, the wasp and the fungus in the fragile ecology of Bungalook Conservation Reserve is the central theme of Mutualism. The exhibition invites a deep and embodied interrogation of our present-day urban lives, as a way to re-imagine our future.

Until 24 January Revealing the Line Studio 4 Artists

ARC ONE Gallery arcone.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm.

Gomathi Suresh, Precarity, 2024, porcelain, stoneware, found wood.

Morganna Magee, Untitled, 2024, from the series The paddocks, giclée print.

Revealing the Line brings into public view rarely seen or exhibited artworks produced by Studio 4 Artists in their regular fortnightly life drawing sessions held at Maroondah Federation Estate in Ringwood. The exhibition invites viewers in to see the workings and processes and behind a life drawing session. Life drawing is a discipline, both in its own right, and as a foundation for wider art 123

ar t g ui d e .c o m . au Artspace at Realm continued... practices. The exhibition features diverse works from multiple sessions reflecting the output of timed poses: from fast works that are crisp and raw and sing with their freshness to more developed works that exemplify complex individual expression.

Revealing the Line underscores the importance of life drawing to Studio 4 artists and aims to inspire other community members to participate.

Artpuff 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.

See our website for latest information.

27 February—16 March Crossing a River Tony Scott Opening celebration Friday 28 February, 5pm–7pm.

Arts Project Australia 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.

Australian Centre for Contemporary Art (ACCA) 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.

ACCA plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural conversation and setting the agenda for contemporary art.

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

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

Izabela Pluta, Ocean Current 1, 2019, (detail). Courtesy the artist and Gallery Sally Dan Cuthbert, Sydney.

Angus Cameron, Ground I, mono print collagraph on Hahnemuhle, 51 x 78 cm, (unframed).

7 December—16 March 2025 The Charge That Binds Zheng Bo, Climate Aware Creative Practices Research Network, Jack Green, Alicia Frankovich, Francis Carmody, Mel O’Callaghan, Tita Salina and Irwan Ahmett, Megan Cope and Brooke Wandin, Brett Graham, Izabela Pluta, Emilija Škarnulytė, Sorawit Songsataya.

Curator, Shelley McSpedden .

6 February—23 February Ground Angus Cameron Opening celebration Friday 7 February, 5pm–7pm.

6 February—23 February Breathing Jarrah Storey Opening celebration Friday 7 February, 5pm–7pm.

Paul Quick, Untitled, 2024. Ink on paper.

1 February–8 March Devoted to You Featuring works by Elvis tragic Dionne Canzano, Katy Perry fangirl Sammi Jo Matta, Beatlemaniac Valerio Ciccone and many others.

Devoted To You celebrates the musical icons that have captured the imaginations of artists at Arts Project Australia. Music has always been a vital part of the studio, with artists driving the studio’s playlist with special requests and well-loved tunes spanning all genres and decades.

From record obsessives to dedicated superfans, impersonators and everything in between, Devoted To You explores the devout and passionate world of music fandom in all its feverish glory.

Tony Scott, A dialogue with JMW Turner The Seat of William Moffat, 2024, collage, oil on canvas board, 20 x 15 cm.

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Curated by Jamie Dawes, Carolyn Hawkins and Danielle Hakim.

The Charge That Binds celebrates the dynamism, vitality and power of natural phenomena and the more-than human world, reminding us of what is at stake at a time of ecological emergency.

Infused with both grief and optimism, the exhibition draws together works that celebrate a world composed of multifaceted, multispecies relations and pulses – foregrounding and reimaging modes of relationality and connection beyond the devastating, extractive logic of capital. The exhibition is accompanied by a series of experimental workshops, discussions, performances and pedagogical investigations addressing the role of artists and art institutions in fostering collaboration, collective action and new imaginaries in response to our planetary emergency. The Climate Aware Creative Practice Research Network will host the Relational Ecologies Laboratory throughout the course of the exhibition, culminating in an intensive 2-day program of talks, discussions and workshops in late February 2025.

The Charge That Binds adopts a collective curatorial model, with oversight from a curatorial advisory group including Dr Michelle Antoinette,

VICTORIA academic and lecturer in Modern and Contemporary Asian Art, Monash University; Professor Brian Martin, artist and Director of Wominjeka Djeembana Indigenous Research Lab; Professor Peta Rake, Director of University of Queensland Art Museum; and Professor Naomi Stead, Director of the Design and Creative Practice Enabling Capability Platform, RMIT University.

Australian Tapestry Workshop (ATW) 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.

Morgan Blue.

13 December 2024—2 February Featherbed Morgan Blue

and sculpture. The joy of the exhibition lies in the notion that art is for all and celebrates artists diverse skills and imaginations. See website for artwork sales.

The Australian Tapestry Workshop (ATW) is an international leader in contemporary tapestry, collaborating with a diverse range of international and Australian artists to produce exceptional handwoven works of art. Established in 1976, we have created over 500 tapestries in creative collaborations for nearly 50 years, promoting innovation and excellence in tapestry weaving and textile art. Located in Melbourne, Australia, our open studio space, bespoke dye lab and galleries are a creative hub for engagement with tapestry, textiles and contemporary art.

Matt Blue.

7 February—7 March Return of the Time Bandit Matt Blue

Untitled, designed by Rollin Schlict, 1978, woven by Cheryl Thornton, Alan Holland and Kathy Hope, wool and cotton, 1.38 x 1.93 m.

31 October 2024—25 January Tapestry Treasures: ATW Stock Collection Exhibition Step into the world of tapestry at the Australian Tapestry Workshop as we unveil treasures from our stock collection for sale. Artists include Brook Andrew, Mike Brown, John Cattapan, John Coburn, Lesley Dumbrell, Troy Emery, Belinda Fox, Roger Kemp, Julian Martin, Arlene Textaqueen, Guan Wei and John Young amongst others.

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

Robyn Doherty, Australia, 2023, posca markers on canvas, 45 x 45 cm. Courtesy of the artist and Bayley Arts.

Bayley Arts bayleyarts.com.au Bunurong Country, 1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Sat by appointment.

Closed public holidays.

Gallery closed 25 December until 12 January.

See our website for latest information.

Noni Drew, Its not existential crises unless it happened in the Existential region of France, otherwise its just sparking anxiety, 2024, acrylic on board, 92 x 92 cm. Courtesy the artist.

1 February—28 February Seven Creatives Presenting works by seven local artists, Gregory Alexander, Magdalena Dmowska, Noni Drew, Michael Hawkins, Kristy Hussey, Sean McDowell and Steffie Wallace. The exhibition highlights the creative practices of each artist and coincides with Bayside Creatives month, a celebration of makers in the Bayside neighbourhood.

Bayside Gallery bayside.vic.gov.au/gallery

Art is an important part of the lives of many of the people we support. We are committed to breaking down professional barriers for artists with disability. Our goal is to elevate emerging artists, providing them with recognition, a platform to showcase and sell their work and to promote professional opportunities.

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.

16 December 2024—17 January Bayley Arts Gala Show

Bayside Gallery will be closed from 21 October 2024 to 9 May due to building works. We look forward to welcoming you back to Bayside Gallery in May for the Bayside Painting Prize.

The exhibition celebrates the work produced by Bayley Artists during the year.

Works include prints, paintings, textiles

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Beechworth Contemporary Artspace 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.

Juan Ford, The Supplicant, 2015, oil on linen, 137 x 152 cm. to speak with his audience about concerns which have always interested him.

1 December 2024—28 February Fulli Andrinopoulos: Ethereal Portals Benalla Art Gallery and Arts Project Australia proudly present Ethereal Portals — a Summer Gallery Shop exhibition by Fulli Andrinopoulos.

Fulli Andrinopoulos is an established artist whose work is characterised by soft, floating circular forms and saturated colours that exude an intensity through the build-up of dense layers of rich pigment.

An independent commercial gallery primarily representing country based artists. Offering a dynamic programme of group and solo exhibitions carefully curated by owner/artist and Beechworth local Nina Machielse Hunt. BCAS exhibits an exciting and eclectic variety of Art and Design created in the heritage village of Beechworth, border towns of Albury, Wodonga and the surrounding regions of rural Victoria. Established in September 2021, during COVID lockdown number 9 for Regional Victoria, this unique art space has quickly become the place to visit when in the area. The gallery attracts audiences travelling between Sydney, Melbourne and Canberra and nurtures local regional collectors.

benallaartgallery.com.au Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 Wed to Mon 10am–5pm, closed Tue. 8 November 2024—26 January Juan Ford: A Survey This survey exhibition presents 20 years of Ford’s practice, revealing the key conceptual questions with which he has engaged and which over time have manifested in more complex, refined and mature ways. It is an exhibition that reveals the trajectory of Ford’s thinking, technical virtuosity and visual language. It reveals the new ways Ford has developed 126

reveal the idiosyncrasies and absurdities of contemporary Australian urban life with colour, whimsy and humour in equal measure.

Ron Robertson-Swann, Atlantis, 1973, painted steel, 22.8 x 78.8 x 68.8 cm.

13 December 2024—16 February Ron Robertson-Swann: Illusion and Gravity Drawn directly from the artist’s collection, Illusion and Gravity provides a rare insight into the early painting and sculptural output of one of Australia’s most significant and enduring abstractionists, Ron Robertson-Swann.

Bendigo Art Gallery Benalla Art Gallery

Rob McHaffie, Single Mums at the Res, 2024, oil on linen. Courtesy of the artist.

bendigoartgallery.com.au 42 View Street, Djadjawurung Country, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm.

We are one of the oldest and largest regional galleries in Australia. Audiences come from around Australia to our innovative international exhibitions, public programs and events.

10 August 2024–27 January Rob McHaffie: We are family From super cool hipsters to art world afficionados, street artists, mums and dads, commuters, dog walkers and lackadaisical youth, McHaffie’s keen observations of his everyday surroundings

James Clayden, Man in Hat with Woman flying past below, 2022, pastel, charcoal and ink on paper. Image courtesy the artist. Paul Guest Drawing Prize 2022 winner.

10 August 2024—27 January Paul Guest Drawing Prize 2024 finalist exhibition

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

See our website for latest information.

VICTORIA 5 January—18 January Opening event, Friday 10 January, 6pm–9pm.

Small Works Art Prize Group exhibition

Early days Joshua de Gruchy Show Me Your Drawers Leslie Duffin Bone-Houses, Limbs and Other Parts Katinka Samuel Island Petrina Griffin and Susan Earl Disassembling the Image Mary Sullivan Stolen Flowers Caroline Kennedy

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

9 November 2024—19 January Three Echoes – Western Desert Art

Emma Lyn Winkler, Target Practice, 2023, oil and acrylic paint on unstretched canvas, 200 x 150 cm.

25 January—9 February Opening event, Saturday 25 January, 6pm–8pm.

O UT: Emerge Group exhibition Demon Rhythm Micah Rustichelli

Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA, Three Echoes - Western Desert Art showcases works by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory. The exhibition of paintings, prints and batiks communicates important stories of tjukurrpa (Dreaming) and Country, and explores the poetic notion of echoes.

Conversations with Echoes Harriet Links

22 March—23 March, 10am to 5pm 29 March—30 March, 10am to 5pm Open Studios 2025 Immerse yourself in the vibrant art scene of the Dandenong Ranges during Open Studios weekends. Step inside the creative sanctuaries of over 50 talented artists and witness the magic of art-making through workshops, demonstrations, and special events. Explore the picturesque landscapes and charming mountain villages while discovering one-of-a-kind artworks available for purchase directly from the creators. Be sure to visit the Open Studios Group Exhibition, Chrysalis, at Burrinja Gallery from 21 March to 27 April, 2025 (Wed to Sun 10am-4pm) and celebrate the transformative beauty of art in all its forms.

Bundoora Homestead Art Centre arts.darebin.vic.gov.au/ bundoorahomestead

Very Queer Eddy Burger

Woiwurung Country, 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm.

Last Gasp Emma Winkler Acid Goth Georgie Stokol

Housed in a heritage mansion that has served as a family home, a repatriation mental hospital, and a site for internationally significant medical discoveries.

Amber-rose Hulme, Resilience, 2023, acrylic and pencil on wood panel, 70 x 65 cm. Image courtesy of FLG and Amber-rose Hulme.

1 February—9 March Women Painting Women

Joshua de Gruchy, On Sorolla, 2024, synthetic polymer paint on board, 40 x 40 cm.

13 February—2 March Opening event, Friday 14 February, 6pm–8pm.

Double Down Patrick Eddy

Women Painting Women is a major exhibition that celebrates realist portraiture painting. This fourth instalment features award-winning female painters from Victoria, New South Wales and Western Australia, including Alanah Ellen Brand, Amber-rose Hulme, Dagmar Cyrulla, Emma Jennings, Jac Grantford, Janne Kearney, Liz Gridley, Lee Machelak, Sarah Anthony, and Vicki Sullivan, as well as Kathrin Longhurst, Kelly Maree, Yvonne East, and Desiree Crossing. Exhibition launch, Sunday 2 February.

Home to a verdant garden, a sanctuary for magnificent birdlife. A contemporary art gallery, a place to make and learn, a community space.

Ara Dolatian, Humbaba, 2024, glazed ceramics. Courtesy the artist and James Makin Gallery.

30 November 2024—22 February At The First Flood of Daylight Ara Dolatian 127

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Cyrus Tang, Eclipsed Presence, (detail) 2024, video, steel mesh and knitted wool sculpture. Photograph by Mohammed Aghbouchi.

30 November 2024—22 February Eclipsed Presence Cyrus Tang 30 November 2024—22 February Selling Sunset Natalie Thomas with Erica McGilchrist

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

commissions, publishing and learning initiatives connects contemporary art to new audiences, and demonstrates the transformative potential of creative thinking and art-led exchanges of ideas in an educational context.

Tony Clark, Jasperware (Landscape), 1993, acrylic on canvas. The University of Melbourne Art Collection. The Michael Buxton Collection.

1 November—1 June 2025 Tony Clark: Unsculpted Curated by Jacqueline Doughty.

Unsculpted presents a multifaceted overview of one of Australia’s most respected artists. For over four decades, Tony Clark has explored the capacity of painting to test the boundaries between genres and creative disciplines.

Claire Humphrys-Hunt, Eye am Hiding in a Rosebud, fabric and thread.

Clark’s paintings reinterpret motifs from the histories of art, architecture and the decorative arts in ongoing bodies of work that repeat and reconfigure familiar themes, building an iterative visual language that is distinctively his own.

Caelene Nee Glen Art Advisory and Gallery caeleneneeglen.com

Pacific Sisters, Te Pu o Te Wheke, SCAPE, Ōtautahi, 2023. Photograph: Pati Tyrell.

8 December 2024—9 March FROCK A WHANAUNGATANGA May our Frock, greet your Frock Pacific Sisters Immerse yourself in Pacific kinship, ritual, and activism with the Pacific Sisters through vibrant art and workshops.

Experience a Pasifika catwalk and lounge honouring Moana Peoples arts practice, showcasing intricate handmade garments, treasured cultural items from the collection of Museums Victoria and a series of public adornment workshops, sure to leave you feeling fierce and fabulous! Nau mai haere mai! All welcome.

Buxton Contemporary buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information.

Buxton Contemporary’s dynamic program of solo and thematic exhibitions, artist 128

Bunurong Country, 143 Martin Street, Brighton, VIC 3186 0437 776 903 Tue to Fri 10am–5pm, Sat 9am–12pm, Sun 11am–2pm.

See our website for latest information.

Art collection services for individuals, businesses and corporate spaces.

Beautiful Brighton gallery space available to hire, with catering and beverage packages: suit corporate presentations, acoustic recitals, small weddings and private social events. Applications are now open for the 2025/26 exhibition program, for details and applications see caeleneneeglen.com.au/apply.

30 January—16 February Elemental | earth Artists respond to curator’s theme | curator’s installation responds to artists’ voices. Opening celebration Thursday 30 January, 6pm–8pm. All are welcome.

19 February—9 March Threaded Claire Humphrys-Hunt, Joanna Thomas.

Three feminal artists speaking to the point in fabric & thread. Opening celebration Thursday 20 March, 6pm–8pm.

All are welcome.

Ellie Young, La Jardiniere (Court Fool), handcrafted four colour carbon transfer photograph.

11 March—30 March Harlequinade Solo show by Ellie Young Opening celebration Thursday 13 March, 6pm–8pm. All are welcome.

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

Open public holidays and by appointment.

1 December 2024—26 January Cascade Summer Season Exhibition Cascade Summer Season Exhibition includes the introduction of painters Rick Matear, Gabrielle Martin, Judy Holding and sculptor, George Lianos. Alongside, Dean Bowen, David Moore, Liz Sullivan, Chris Delpratt, Jeff Gardner, David Frazer, Craig Gough, Sam Varian. The calibre of artists represented at Cascade is reputable.

Visitors to the gallery are often inspired by the professional quality, beauty and

VICTORIA

Craig Gough, From The Verandah (Study No2), 2019, acrylic on canvas, 40.5 x 51 cm. extraordinary skill level associated with the artists represented. Free entry.

All welcome.

Image courtesy of City Gallery.

Until 14 February 2025 The Museum of Falling Curated by Patrick Pound.

The Museum of Falling unpacks the material history of civic space and the all-too-human experience of navigating it. Presenting a tragi-comic parade of falling images and objects, the exhibition-cum-installation reanimates the city collection in amusing and telling ways.

City of Melbourne Art and Heritage Collection Store citycollection.melbourne.vic.gov.au

Julie Andrews, Follow the Half-Light, 2024, oil on linen, 187 x 145 cm.

30 January—2 March Following the Half-Light Julie Andrews In this body of work Julie Andrews explores mornings and evenings in her central Victorian environs with an eye for the transient effects of light on the landscape. The art works venture into the twilight, blurring the line between the recognisable and the imagined, an amalgam of reconstructed fictions, dreams, memories, feelings and experiences.

The locations explored are situated somewhere between the poetic and nostalgic, folded gently together to allow a glimpse of the awesome and sublime in our everyday landscape.

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

Free admission.

See our website for latest information.

Wurundjeri Woi-wurrung Country, Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 [Map 2] Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm.

Bookings essential.

In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collection​are now available to the public on Tuesdays, Thursdays and Fridays.

Book online: whatson.melbourne.vic. gov.au/things-to-do/art-and-heritagecollection-tour.

Convent Gallery, Daylesford conventgallery.com.au Djadjawurung Country, 7 Daly Street, Daylesford, VIC 3460 [Map 1] 03 5348 3211 Thu to Mon, 10am–4pm.

5 December 2024—3 February Bu Badral Badral graduated from the Institute of Fine Arts, University of Art and Culture,

Bu Badral, oil on canvas.

Ulaanbaatar, Mongolia. He had many solo & group exhibitions in Mongolia before moving to Australia. This year Badral will be having his first solo exhibition at The Convent Daylesford after being a part of the Mongolian Artists Group Exhibition in 2023. He centres his art around women, exploring their pain, loneliness, social rejection, and untold stories as a common thread that connects them. Badral is not interested in the outward appearance of his subjects, instead, he wants to portray their inner world with its suffering, hidden desires and inexpressible thoughts.

5 December 2024—3 February Liadaan “My main media is oil, however I also enjoy pastels, gouache and drawing media. My plein air work is a regular activity and I draw and paint from the model. I consider myself a contemplative painter and I work in the tonal method. The light, atmosphere, mood and poetry of the subject is what I aim for. I favour late afternoon, misty and crepuscular subjects in my landscapes and contemplative poses in my figure paintings.” Liadaan has exhibited in many solo and group exhibitions in Australia and overseas including Italy, Austria, Germany, Spain, France, Morocco, Scotland and the U.S. Her work is in private and public collections in Australia and Europe Liadaan has won many awards for her painting, including the Botticelli Prize in Florence, Italy.

5 December 2024—3 February Angela Anderson Anderson is excited by the interplay of colour, light and texture. She is best known for her textural, acrylic work in a style that conveys a contemporary take on coastal view, colours and the energy of the changing tides. She uses the natural forces of flow, wind and heat to create paintings of nature. “Unsurpassed shorelines, meandering creeks, the iconic Cable Beach, rugged pindan rocky cliffs, these elements all combine to set the stage for the main feature, the Kimberley coast. It’s from the breathtaking coastal vistas that I draw my artist inspiration and it’s an idyllic palette for my studio.”

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BURKE GALLERY

FREE ENTRY

Tuesdays | Thursdays, 10am - 4pm

100 Royal Pde Parkville VIC 3052 trinity.unimelb.edu.au trinity.unimelb.edu.au

VICTORIA Convent Gallery, Daylesford continued...

6 February—31 March Angeline Bartholomeusz Angeline is a self-taught artist. After a successful career as a scientist, Angeline took up art in 2012. Artwork for Angeline is painting snapshots of memories and trying to evoke memories and emotion in others. From the start, Angeline chose to paint on a dark burnt umber background, which becomes an integral part of the painting and a distinctive colour palette for her artwork.

correspondences is a place for creation and connection, a gathering point for resident creatives, patrons, and communities to mingle, meet and be in one intimate, welcoming space. We focus on creative projects that bring together socially engaged practices by people from different cultures, disciplines and generations to create enduring social connections.

Our multipurpose creative space in Bulleke-bek (Brunswick) focuses on its annual creative residency program and related events alongside retail, hospitality and library services that help the organisation create and sustain community connections while funding its activities.

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

See our website for latest information.

In February, we invite you to explore our books offered for sale by writers of fiction, non-fiction and poetry. You can also join us for a refreshment. A series of special events and activities are also planned.

For further information, visit our website.

For artwork sales inquiries, please email info@correspondences.work.

Craft Victoria Brian Nash, acrylic on canvas.

6 February—31 March Brian Nash Beloved local artist is back at The Convent after sell-out shows in 2022 and 2024.

Brian Nash, born in Melbourne, is a self-taught artist. He has been painting professionally since the early 70’s. Since moving to Daylesford in 2000 Brian has found much inspiration in many subjects of the region including such icons as: The Convent gallery, The Boathouse, Lake Daylesford, Jubilee Lake and many other buildings of note. The beautiful landscapes, filled with that very special light, also regularly appear in his works.

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

See our website for latest information.

Timothy Cook, born 1958, Tiwi, Kulama, 2024, natural earth pigments on linen, 200 x 150 cm.

28 February–11 April Japarra amintiya Japalinga (Moon and Stars) Timothy Cook This exhibition will showcase historic and recent works by Tiwi artist, Timothy Cook, including significant works on canvas, tutuni poles and paintings on bark, across two sites: Melbourne Art Fair, 20–23 February and D’Lan Contemporary Melbourne, 28 February–11 April.

correspondences

D’Lan Contemporary is thrilled to collaborate with Jilamara Arts on this latest exhibition of Timothy Cook’s work, and to commence representation of the artist as he continues to develop his contemporary practice.

correspondences.work Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Wed, Thu, Fri & Sat 10am–5pm Mon/Tues by appoint. Open late one Friday each month until 8.30 pm.

Closed public holidays.

Deakin University Art Gallery deakin.edu.au/art-collection

Simone Haag. Photograph: Sarah Forgie.

14 November 2024—25 January Fables & Folklore Curated by Simone Haag

Installation view, correspondences book display. Photograph: Annika Kafcaloudis.

1 February–1 March correspondences Books

Internationally renowned Australian decorator Simone Haag curates Fables & Folklore, Craft’s final main gallery exhibition for the year. Making her curatorial debut, Haag presents a group exhibition featuring works by more than 30 Australian artists.

Wurundjeri Country Melbourne Burwood Library, Building V, 221 Burwood Hwy, Burwood, VIC 3125 [Map 4] Visit deakin.edu.au/library for library opening times. Visit deakin.be/artgallery for latest information.

9 November 2024—9 February Andrew Rogers: Campus Collection In 2023, Andrew Rogers generously gifted 31 sculptures, valued at $6.1 million, to the Deakin University Art Collection.

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traditional techniques, including cordage, coiling, traditional and contemporary weaving, and the storing and dyeing of plant fibres, to create unique fibre art pieces. The exhibition features an array of woven objects, recycled materials, possum skins, baskets, and wall hangings.

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

East Gippsland Art Gallery Installation image of Andrew Rogers: Campus Collection at the Deakin University Library at Burwood from 9 November 2024 to 9 February 2025.

Photograph: Fiona Hamilton.

This generous donation is the largest philanthropic gift to the University Art Collection and is an historically significant contribution to the University. Using this exhibition as a starting point, read about the significance of the sculptures as you start your self guided tour through the works on display at the Melbourne Burwood campus.

Djaa Djuwima – First Nations Gallery

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.

East Gippsland Art Gallery is the centre for visual arts in East Gippsland celebrating the diverse artistic spirit of the region through a vibrant and dynamic program of art and cultural experiences for the whole family.

EGAG WRAP 2024 Small Artwork Prize.

6 December 2024—25 January EGAG WRAP 2024 Small Artwork Prize With over 300 artworks from across the country and all under 30x30cm, there is something here for everyone. Artworks are sold off-the-wall and can be taken at time of purchase, perfect for Christmas gifts and for discerning travellers.

6 December 2024—25 January Luna Janet Howard Janet K. Howard has a deep fascination with the moon. Living on a hill with expansive views to the east, north, and west, she finds herself continually captivated by the moon in its many phases—rising, setting, and everything in between.

5 September 2024—20 March Fibre Fibre showcases the diverse artistic expressions of First Nations artists from the City of Greater Bendigo region.

These artists blend traditional and non132

e.g.etal Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 150 Little Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 5111 Mon to Sat, 10am–5pm.

Bendigo Visitor Centre, 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–4.30pm, except Christmas Day. See our website for latest information.

Fibre exhibition installation.

exhibition celebrates a diverse range of works that explore and push the boundaries of the textile medium. Special opening event 5.30 pm Friday 31 January.

All welcome. Free.

egetal.com.au

djaadjuwima.com.au

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.

Pip Hoy, Abandon: As in to indulge, (detail).

Pearl Ring #8 in 18ct Yellow Gold featuring a baroque, one-of-a-kind South Sea Pearl by Laura Eyles. e.g.etal is a Melbourne gallery that represents and supports Australia’s thriving contemporary jewellery design movement. Celebrating 25 years as a Victorian icon, e.g.etal maintains a passionate commitment to contemporary jewellery, bringing world-class jewellery design to collectors worldwide. At e.g.etal each piece is unique, but each is alike: carefully conceived, beautifully crafted and sincerely passed on.”

31 January—15 March Third International Art Textile Biennale

Everywhen Art

Fibre Arts Australia proudly presents the Third International Art Textile Biennale, showcasing innovative practices within contemporary textile art and highlighting the finest examples of modern art textiles, featuring submissions from both Australian and international artists. This

Bunurong Country, Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318

everywhenart.com.au

VICTORIA

Open daily until 12 January, Fri to Sun, 11am–4pm from 13 January.

See our website for latest information.

of the late East Kimberley painter Janet Dreamer (1959-2021).

In sizzling hues, Dreamer’s unique works bring to life the flora, wildlife and water life of her birthplace - Old Flora Valley Station; the lush oasis of nearby Palm Springs and the plants and wildlife she observed on the many journeys she called ‘walkabout’.

Opening drinks, Saturday 8 February, 2pm.To be opened by Kevin Kelly, former art centre manager of Waringarri Arts and Yarliyil Art Centre.

Federation University Post Office Gallery federation.edu.au/pogallery

Patrick Mung Mung, Ngarrgooroon Country (Texas Downs), 2024, natural ochres on canvas, 100 x 90 cm. Courtesy the artist and Warmun Art Centre.

Until 2 February The Summer Collectors Show 2025

Wadawurrung and Dja Dja Wurrung Country, Federation University Australia, Library, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tue by appointment.

See our website for latest information.

Fiona and Sidney Myer Gallery 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.

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

Outstanding First Nations art from the Central and Western Deserts, the Kimberley, Utopia, Ampilatwatja, Tiwi Islands, the APY Lands & Arnhem Land.

Including Bugai Whyoulter, Carlene Thompson, Billy Thomas, Freddie Timms, Janice Stanley, Nyapanyapa Yunupingu, Pepai Jangala Carroll, Rover Thomas, Tiger Palpatja, Timothy Cook, Wawariya Burton. Plus, Charles Blackman works from the Blackman Family Collections.

With feature showing: Ngarrgaroon (Texas Downs) in partnership with Warmun Art Centre. Churchill Cann, Patrick Mung Mung, Mark Nodea, April Nulgut and Sevanna Carrington.

Deborah Klein, Red Gown, 2003, oil pastel on paper, 90 x 74.5 cm.

Courtesy of the artist. Collection: Federation University.

30 November 2024–7 February Reveal: Works from the Permanent Collection Federation University’s Cultural Collection includes the Historical Collection, alongside Art Collection of over 2000 high-quality works of art featuring many renowned Australian artists, as well as the work of staff and students associated with Federation University and its predecessor institutions.

Janet Dreamer, Walkabout, 2019, acrylic on canvas, 120 x 90 cm. Courtesy estate of the artist and Yarliyil Art Centre.

8 February–2 March The paradisical world of Janet Dreamer In partnership with Yarliyil Art Centre Launch exhibition of a national exhibition programme of works from the estate

Featuring Deborah Klein, Robert Jacks, Leslie Dumbrell, Lyn Onus, Dean Bowen, Wendy Stavrianos and others, this exhibition celebrates significant Australian artists work that traces unseen relationships and draws on diverse lived experiences while responding to a myriad subjects and ideas.

Lachlan Stonehouse, Confetti, 2024, oil on linen adhered to artist board in Australian hardwood frame, 56 x 76 cm.

20 February–23 February Melbourne Art Fair | Booth L2 For Five Walls Gallery’s second participation at the Melbourne Art Fair, we are delighted to present a suite of new paintings by Lachlan Stonehouse.

Lachlan Stonehouse (b. 1999, Scottsdale, Tasmania) is a Naarm/Melbourne-based emerging artist whose practice is distinguished by an innovative engagement with painting, drawing, and collage.

Renowned for his considered approach to contemporary abstraction, Stonehouse adeptly synthesises the formal rigour of Modernist abstract painting with a refined attention to the hand-woven construction of his intricate canvas supports.

7 February–1 March Minimal / West Curated by Aaron Martin and Misuzu (Missy) Ueda. Minimal / West is a group exhibition presenting contemporary artists from Australia, Thailand, and 133

latrobe.edu.au/art-institute

Fusing influences of the art world with the poetics of fine jewellery making.

Established 2007. blackfinch.com.au | @blackfinch_jewellery

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VICTORIA Five Walls Gallery continued...

Karlee Rawkins, Dingo in the Dunes, 2024, acrylic and charcoal on canvas, 137 x 210 cm.

11 February—1 March True Blue Karlee Rawkins PJ Hickman, Coarse, 2022, acrylic on reverse of black primed canvas, 122 x 122 cm.

Japan, who explore reductive and minimalist art practices. This exhibition forms part of a broader series of Minimal exhibitions scheduled for 2025 at the Justin Art House Museum and Charles Nodrum Gallery, connecting diverse interpretations of minimalism across multiple venues.

7 February–1 March Matter David Wallage 7 February–1 March Samuel Woodman (2024 Five Walls VCA Graduate Award recipient)

Flinders Lane Gallery flg.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition.

11 February—1 March Edited Realities Amber-rose Hulme

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

See our website for latest information.

A unique multi-arts venue and cultural incubator, fortyfivedownstairs has a twenty-year history of supporting the development of independent artists across the visual and performing arts.

21 January—1 February Divergent archetypes for old ideas Brent Leideritz what lies in the underneath Ned Brook

Rick Eckersley, Series 3, Study I, 2024, acrylic, oil stick, collage on canvas, 106 x 104 cm.

18 February—1 March Beyond Flinders Rick Eckersley

Footscray Community Arts footscrayarts.com Woiwurung Country, 45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm.

Footscray Community Arts is a 50-year strong independent arts precinct dedicated to sharing stories. Our vision is that all communities are valued as makers of culture.

1 October 2024—25 January Rhythm in Ruby Shoes Emily Dober

Hyun Joo Kim, illusion, 2024, canvas, thread, sewing, gouache, 40 x 50 cm.

4 February—15 February ROOM-ED Hyun Joo Kim Theo (Faye) Nangala Husdon, Fire Country Dreaming, 2024, acrylic on canvas, 183 x 152 cm.

21 January—8 February Warlukurlangu Summer Showcase

Seven X Five Chris Pelchen

Courtesy Sim Chi Yin and Zilberman, Berlin/Istanbul/Miami.

18 February—1 March why do birds suddenly appear Adam Sime

4 February—22 March Chronotopia Sim Chi Yin 135

138 Cowper Street, Footscray @theartroom.au the-art-room.com.au

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VICTORIA

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

Please check website for current information on access and exhibition dates prior to your visit.

Melbourne photographer Lainey Foster unveils an unconventional story of Outback Australia. Witness the magic when gratitude intertwines with an open mind on the open road.

Fox Galleries foxgalleries.com.au Woiwurung Country, 63 Wellington Street, Collingwood, 3066 [Map 3] 1300 278 829 Mon to Sun 10am–6pm.

Zinnia Lo, Restless Pegasus, Archival Inkjet Print on fine art paper, 2023.

Limited Edition of 5, 84.1 x 59.4 cm. photography exhibition, Flux and Restless Pegasus, by award-winning Sydney-based fine art photographers Francis Cai and Zinnia Lo. The exhibition invites art lovers to immerse themselves in two parallel yet distinct visual narratives, offering a dream-like space to explore themes of self-discovery, memory, and the fluidity of time through urban landscapes.

Exhibited in a space managed by the City of Melbourne.

Geelong Gallery geelonggallery.org.au

Brendan Kelly, The Chromazoic, 2024, acrylic on plywood panel, 122 x 122 cm.

Julian Kingma, 2007, Steven Heathcote, type C photograph on paper. © Julian Kingma.

20 February—16 March The Chromazoic Brendan Kelly

7 February—26 April DANCER A National Portrait Gallery touring exhibition.

30 January—16 February Call and Response Works from the stockroom

From letting loose in the lounge room to enthralling audiences on stage, this exhibition captures the experience of lives lived through dance. Drawn from the National Portrait Gallery collection and incorporating the work of contemporary photographers, DANCER reflects the freedom and joy of dance and its power to connect. Launch event, Friday 14 February, 5.30pm–7.30pm. Register online at thefac.com.au or 03 9784 1060.

Gallery at City Library

7 February—26 Aprill Sea Lion Sisters Bronwyn Kidd

melbourne.vic.gov.au/librarygallery-exhibitions Wurundjeri Woi-wurrung Country, Level 1, 253 Flinders Lane, Melbourne, VIC 3000 [Map 2] 1800 695 427 Mon to Fri 9am–6pm, Sat 10am–4pm, Sun 12noon–4pm.

A collaboration with choreographer Carol Brown which delves into essential womanhood to bring to the surface those profound strands of connection and interdependence between women, particularly sisters, as expressed through corporeal delight.

14 November 2024—1 February Australian Portraits: In the Limelight and in the Shadows Vicki Sullivan Contemporary classical realist painter Vicki Sullivan merges the timeless aesthetics of the old masters with a modern sensibility.

The Extraordinarily Ordinary: A Celebration of Serendipity in the Outback Lainey Foster

Wadawurrung Country, 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith.

Open daily 10am–5pm.

Jasper Johns, Gemini G.E.L., Bent ‘Blue’; from Fragments – according to what, 1971. National Gallery of Australia, Kamberri/Canberra, Purchased 1973, © Jasper Johns, VAGA/Copyright Agency, 2024.

Until 9 February Rauschenberg & Johns— Significant Others

Francis Cai, See What, Archival Inkjet Print on Fine Art Paper, 2024. Limited Edition of 5, 84.1 x 59.4 cm.

11 December 2024—2 February Flux and Restless Pegasus Francis Cai and Zinnia Lo Gallery at City Library will showcase a remarkable double-feature fine art

Robert Rauschenberg and Jasper Johns are considered two of the most significant artists of the twentieth century. While their work is credited with changing the course of American art history, their individual artistic styles are the result of a private creative dialogue that began when they were young artists in a relationship.

Deliberately moving against the grain of Abstract Expressionism, the dominant art movement of the time, became the crucible for both their lifelong practices.

A National Gallery Touring Exhibition supported by Visions of Australia.

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QDOS BLUE CHIP Dec 22 - Jan 11 ALEXANDRA COPELAND Feb 2 - Feb 22

SISCA VERWOERT

Jan 12 - Feb 1

RIMONA KEDEM

Jan 5 - Jan 25

RICHARD J MANNING Feb 16 - Mar 8

GARY RANCE QDOS FINE ARTS

est 1989

qdosarts.com

Jan 26 - Feb 15

www.qdosarts.com

VICTORIA Geelong Gallery continued...

Gallery Elysium

Gallerysmith

galleryelysium.com.au

gallerysmith.com.au

440-444 Burwood Road, Hawthorn, VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm.

Mon & Tue by appointment only.

See our website for latest information.

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

See our website for latest information.

We are a commercial art gallery specialising in original large format contemporary paintings and sculptures for the home or commercial spaces/Foyers and Boardrooms.

Our expansive curated, state-of-the art gallery features work from established and upcoming artists and offers creative spaces for lectures, seminars and presentations.

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

Emily Floyd, Field Libraries #20, 2015, screenprint, unique state. Geelong Gallery, Gift of Anthony Scott through the Australian Government’s Cultural Gifts Program, 2023, © the artist and Anna Schwartz Gallery.

Until 9 February Social Studies Artists have long recognised printmaking as a democratic, inexpensive, and graphically striking way to communicate social and political messages, often referencing or incorporating historical printed matter for effect. This exhibition presents the work of Brook Andrew, Emily Floyd and David McDiarmid, who employ printmaking as part of their multi-disciplinary practices to explore a range of contemporary issues. A Geelong Gallery exhibition.

Until 9 February The Sweet Spot—Between Art & Design This diverse selection of works comprising recent acquisitions to Geelong Gallery’s collection test the nexus between art and design and reflect the Gallery’s evolving strategy and growing commitment to exhibit and collect the works of key practitioners working at the tantalising and experimental intersection of art and design. A Geelong Gallery exhibition.

Until 11 March A People’s Press—Noel Counihan Melbourne-born artist Noel Counihan (1913–1986) maintained a personal and artistic commitment to political and social justice throughout a lifetime punctuated by some of the most challenging and defining events of the twentieth century including the Great Depression, World War II and the Vietnam War. This exhibition looks at Counihan’s collective approach to printmaking. A Geelong Gallery exhibition.

Elio Sanciolo, Ephemeral Moment, oil on canvas, 90 x 190 cm.

1 January—31 February Summer Stockroom Exhibition Various gallery artists including: Camillo De Luca, Hani Isac, Ted May, Elio Sanciolo, Mike Nicholls, Bart Sanciolo, Antonio Muratore and more.

Gertrude gertrude.org.au

Kate Ballis, Dyga, 2023, archival pigment print on cotton rag, 153 x 103 cm.

30 January—22 February Beyond Time Kate Ballis 27 February—22 March River Bound Catherine Nelson

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

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

See our website for latest information.

8 February—30 March Gertrude Contemporary: A Fictional Retrospective: Gertrude Contemporary 1985-1995 Curated by Sue Cramer and Emma Nixon.

31 January—1 March Gertrude Glasshouse: Glasshouse/Stonehouse: Michelle Ussher & Alex Pittendrigh

Kate Nielsen, Table Setting with Patio Doors, oil on linen, 120 x 100 cm.

7 March—12 April Gertrude Glasshouse: Georgia Morgan

27 February—22 March Abundant Kate Nielsen 139

EARLY DAYS JOSHUA DE GRUCHY 13 FEB–2 MAR 2025

OPENING EVENT: FRI 14 FEB 6–8PM Brunswick Street Gallery Gallery, Stockroom & Advisory Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au brunswickstreetgallery.com.au

VICTORIA

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

See our website for latest information.

Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm.

Gallery closed for maintenance from 13 January to 12 February.

See our website for latest information.

Until 12 January Look. Contemporary Australian Portraiture Yvette Coppersmith, Julie Dowling, Graeme Drendel, Prudence Flint, Julia Gutman, Lewis Miller, Michael Vale, Peter Wegner and Marcus Wills.

Curator: Diane Soumilas Until 12 January The Way Forward is Back Daniel A’Vard 13 February—9 March International Baccalaureate Visual Arts exhibition

Hamilton Gallery Jan Learmonth, Travelling Before The Wind, 2010.

hamiltongallery.org

7 December 2024—23 February Jan Learmonth: Passage—A Survey

107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

See our website for latest information.

Accompanied by a new text by Francesca Zappia.

An exhibition of new work stemming from a project the artist began in 2001, involving the ongoing collecting of dust from museums and galleries around the world from which the artist cultures bacteria. The studious longevity of the artists accumulation of dust over nearly 25 years now contains samples from hundreds of institutions. For this new exhibition, the artist has focussed on dust collected in Room 18 at the British Museum, the current resting place of The Parthenon Marbles, alongside other new work.

Heide Museum of Modern Art 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.

Hamilton Gallery has been the heart of visual arts in the Southern Grampians for over 60 years. Our internationally significant collection was seeded by a generous bequest of 981 objects, now numbering over 9000 with unique strengths in Decorative Arts, European, Australian and Asian Art.

Haydens haydens.gallery

Ida Rentoul Outhwaite, Fairy beside sundial, undated, watercolour on paper, 32.5 x 26 cm. Collection Benalla Art Gallery, Ledger Gift, 1988. © The estate of the artist.

1/10-12 Moreland Road, Brunswick East, Naarm, VIC 3057 [Map 3] Fri & Sat 12noon–5pm.

See our website for latest information.

7 December 2024—23 February Adventure, Elves & Fairies: Australian Children’s book illustrators of the early 20th Century

26 October 2024—23 March Molto Bello: Icons of Modern Italian Design Curators: Kendrah Morgan and Laura Lantieri

7 December 2024—23 February Alison Lester: Are We There Yet? Permanent and ongoing Borun & Tuk Gallery Permanent and ongoing The Art of Annemieke Mein

Glen Eira City Council Gallery gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402

Ettore Sottsass for Memphis Milan, Carlton Room Divider, 1981, wood, thermosetting laminate, metal, plastic, 196 x 189.7 x 40.2 cm (overall), National Gallery of Victoria, Melbourne Purchased with the assistance of the National Gallery Women’s Association 1985 © Estate of Ettore Sottsass.

Dane Mitchel, Dust Archive, Whitney Museum of American Art, 2001 – ongoing, archival digital print, 80 x 80 cm.

31 January—3 March The Archive of Dust Dane Mitchell

Molto Bello showcases some of the most significant achievements in the history of twentieth-century Italian design spanning the sixty year period from the first Milan Design Triennale in the 1930s to the Memphis Group of the 1980s. The exhibition tells the remarkable story of how, through the marriage of Italy’s rich craft tradition, technological and industrial advances and a capacity for creativity, experimentation and invention, Italian design became admired throughout the world.

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Horsham Regional Art Gallery

community of Wodonga, as well as visitors to the city, can encounter, discover and connect with ideas, skills and knowledge.

horshamtownhall.com.au

18 October 2024—2 February The World on the Inside Therese Shanley

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.

Anthony Breslin, The Coming of Odious, 2022, (detail), mixed media on canvas.

30 November 2024—23 February Mélange Anthony Breslin Melissa Powell, Salt lake 1, from the series, Flooded 2011, 2011, inkjet print on cotton rag paper, 50.5 x 76 cm. Gift of the artist, 2011.

2 November 2024—2 February MIRROR: artists reflect the collection.

Anthony Pelchen, Melissa Powell, Vernon Sultan, Belinda Eckermann A unique collaboration with four local artists, Belinda Eckermann, Anthony Pelchen, Melissa Powell and Vernon Sultan, MIRROR: Artists reflect the collection presents an overview of these artists’ accomplished careers alongside additional works from the Horsham Regional Art Gallery collection selected by the artists. MIRROR acknowledges the skills and creative output of Wimmera-based artists and simultaneously recognises our nationally significant collection as a rich source of stimulus, influence and pleasure for local artists, community members and visitors alike. Our collection is a cultural asset of significant import and comprises of over 2,500 works. Established in 1967, the collection highlights the rich tapestry of artistic expression within Australian art history. Over the summer, we invite you to explore the works of four accomplished locals and view our collection through the lens of these artists.

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

See our website for latest information.

Our exciting new community venue is dedicated to the presentation of experiences that nurture creativity, connection and curiosity in an accessible and inspiring environment. It is a place where the

Incinerator Gallery 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.

that the interior of the body reflects the exterior of the world, Olivia uses painting as a medium to document her experiences of place and identity.

Dinithi Devendra, Escapism, (detail), Winner of Fireworks Award 2023.

Photograph: Mischa Wang.

7 December 2024—19 January Fireworks 2024 A compelling exhibition spotlighting the achievements of Years 11 and 12 art and design students from Moonee Valley. In its twelfth year, Fireworks is more than an exhibition, it is a dynamic reflection of our students’ perspectives on the multifaceted tapestry of life.

13 September 2024—19 January The Pyramid Postcards: Following the Policeman Ezz Monem This iteration of Ezz Monem’s photographic series is displayed as three large-scale billboards at Incinerator Gallery, exploring authority, surveillance, and tourism through the juxtaposition of the Egyptian Pyramids and the figure of an anonymous local policeman.

Ivanhoe Library & Cultural Hub banyule.vic.gov.au/ILCH

Laetitia Olivier-Gargano, Planting a garden in my head, 2024.

7 December 2024—19 January Planting a garden in my head Laetitia Olivier-Gargano This exhibition presents a suite of new hyper-surreal sculptures exploring the meditative qualities of suburban reality. Inspired by Japanese suiseki or scholar’s rocks that are valued for their aesthetic qualities, Laetitia creates compositions of organic matter in the form of rocks and food that can also be meditated on for their pleasing aesthetic qualities.

7 December 2024—19 January Body Field Olivia Chin In this exhibition, artist Olivia Chin delves into themes of rest, chronic illness, and the interplay between the human body and the natural world. Grounded in the premise

Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Ivanhoe Library and Cultural Hub celebrates our role in coming together with the community in the spirit of cultural expression and exchange. This is an inclusive place where people are inspired to think, study, create and enjoy an enriching program of cultural and learning experiences.

18 January—9 February Manic pixie clownboy Mira Oosterweghel Manic pixie clownboy is a video and mixed-media installation exploring themes of queerness, archetypes and pop-culture. The work takes inspiration from cowboys, folk horror, 90s kids show Round the Twist and Commedia dell’Arte.

(In collaboration with Ella Sowinska videographer). This project is proudly supported by a Banyule Arts & Culture 143

SCULPTURE CASTING | INSTALLATION | WORKSHOPS | CONSERVATION

8 Spring Street Fitzroy VIC 3065

meridiansculpture.com info@meridiansculpture.com

meridiansculpture.com

(03) 9417 6218 @meridiansculpture

VICTORIA To hear about Open Studios and meet the artists events visit kingstonarts.com.au/ magnifyartists.

Ivanhoe Library continued...

Project Grant. Opening event, Saturday 18 January, 2pm–4pm. Artist talk, Saturday 1 February, 2pm–3pm.

Cobie Orger and Alice Cummins, terra, film still.

Danielle Brustman, Dora, 2024. Image courtesy of the Jewish Museum of Australia.

20 February—3 March terra (installation) Cobie Orger with Alice Cummins

31 August 2024—2 March I Could Have Danced All Night Danielle Brustman

terra is a 3-channel video installation inspired by the live work of the same name by influential choreographer/performer, Alice Cummins. This immersive screen work weaves sound, sculpture and dance into a choreographed sequence of topographic and physical landscapes that express our relationship with, and concern for, Country. Opening event, Thursday 20 February, 6pm–7.30pm. Artist conversation & Q&A, Saturday 22 February 3pm–4.30pm.

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

Closed on Jewish & public holidays.

Kingston Arts kingstonarts.com.au Boonwurrung Country, G1 and G2, Kingston Arts Centre, 979-985 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 03 9556 4440 Mon to Fri 10am–4:30pm, Sat 11am–4pm. Free admission.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale, VIC 3195 Wed to Sat 11am–4pm, Sat 12pm–5pm.

The City of Kingston boasts a vibrant arts and cultural scene, hosting a variety of arts spaces, arts and cultural organisations and services, professional and non-professional artists, creative industries and arts workers. Kingston Arts aims to build on these strengths, increase the profile and support of creative industries within the community and foster more opportunities for creative engagement and cultural tourism.

Artz Blitz.

7 March—19 April Artz Blitz 2025 Submit visual art, poetry or creative writing for a chance to win great prizes.

Artz Blitz is back for 2025!

This fun competition is a race against the clock: you’ll have 24 hours to make and submit a creative work based on a secret theme. Entries are open to all ages and skill levels, with fantastic prizes up for grabs across categories including visual art, craft and writing. Plus, your work will be judged by a panel of arts industry professionals, with winners announced at a vibrant awards ceremony and exhibition opening event.

Keep an eye on our website and socials to spy this year’s theme.

Register at kingstonarts.com.au/ ArtzBlitz2025 Theme reveal: Friday 14 February Artwork drop off: Saturday 15 February, 12noon–5pm. Award ceremony and exhibition opening: Thursday 6 March.

Lander—Se landerse.au Boonwurrung Country, 585 Dunns Creek Road, Red Hill, VIC 3937 [Map 4] Open weekends 11am–4pm or by appointment.

Merel May Tieland, Kingston Arts Centre.

Photograph: Yanni Creative.

October 2024—July Magnify: Artists in Residence George Dreyfus playing the bassoon, c1980, Melbourne. Reproduced with permission of the Jewish Museum of Australia. © George Dreyfus.

31 October 2024—16 March A Secret Chord JMA Collection and various artists

Kingston Arts is delighted to welcome another six brilliant artists to the program in Moorabbin and Parkdale. Throughout their residencies, these artists will experiment with new approaches to their practices, collaborating and creating a nexus of artistic innovation and cultural exchange.

Hannah Nowlan, Spirits through gum trees, 2024, exhibited at Lander—Se, Red Hill.

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VICTORIA Lander–Se continued...

28 December 2024—26 January Artist Residency, Red Hill Lander—Se presents a ‘Summer Residency’ program with founding artist and curator, Hannah Nowlan at our rural sanctuary in Red Hill. Visit Lander—Se this summer to deep dive into the mythological landscapes of Hannah Nowlan’s abstract painting practice. Inspired by local landscapes on the Mornington Peninsula, Nowlan will be exhibiting current work, archive collections and works in progress.

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

Creative Workshops Get creative this summer and explore our artist-led workshop program exploring mixed media, earth paints, weaving and much more. Visit our website to book your ticket.

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

Alex Martinis Roe and Gladys Kalichini, Mnemonic Rituals, 2024, 4K video, 15:03.

19 February–11 May Storytelling Liberation Alex Martinis Roe in collaboration with Katerina Teaiwa, ASKI Contemporary Social History Archives, Gladys Kalichini, Alexandra Juhasz, Andre Ortega and Diana Betanzos.

Supported by curator Amelia Wallin.

Renee Cosgrave and Merryn Lloyd, Merryn Then Renee, 2011. Photo: Adam John Cullen.

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

Kent Morris, Barkindji people, kartakartaka (pink cockatoo) #2, 2023, Mutawintji, Traditional Owners Country and Melbourne, Yalukit Willam Country, inkjet print on Moab Somerset Museum Rag paper, 100 x 150 cm, Courtesy the artist and Vivien Anderson Gallery.

19 October 2024—16 February ngaratya (together, us group, all in it together) Barkandji/Barkindji artists share travels together on Country. ngaratya (together, us group, all in it together) brings together six Barkandji/Barkindji artists: Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrianne Semmens, and Raymond Zada. Several trips together on Country provided a rich foundation for the collective to create newly commissioned works that explore and illuminate their Ancestral connection and homelands. The artists spent time travelling together, engaging with cultural landscapes, their Elders, community, and each other, resulting in an immersive installation that comes collectively from their hearts. Featuring soundscape, moving image, screendance, carving, weaving, printmaking, and photography, ngaratya offers a warm invitation into Barkandji/Barkindji Country and belonging. ngaratya (together, us group, all in it together) is a Bunjil Place Gallery exhibition, curated by Nici Cumpston and Zena Cumpston, touring with NETS Victoria.

Artwork by Chelsoe Leinberger of Life Skils Victoria.

6 December 2024—23 March Art for All Exhibition

International Day of People with Disability is celebrated on 3 December each year.

To help celebrate this event, Latrobe Regional Gallery is holding the Art for All Exhibition to highlight and celebrate the diverse talents of people with disability and Creative Venues are holding the interactive workshop. This exhibition is part of Latrobe Regional Gallery’s community art exhibitions, showcasing the work of artists in our community and beyond at LRG. The exhibition will showcase 2-dimensional artworks, such as drawings, paintings, photography, screen prints and poetry and sculptural objects like ceramics, glass or mixed media designs. Latrobe City recognises the importance of celebrating art and culture as it enriches lives and communities and encourages social inclusion.

Lauraine Diggins Fine Art 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.

See our website for latest information.

Closed January until 4 February.

Walter Withers, Figure on a Beach, c.1891, oil on wooden panel, 15 x 22.5 cm.

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

Lennox St. Gallery 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.

See our website for latest information.

Lennox St. Gallery is committed to exhibiting contemporary Australian and International art by established, midcareer, and emerging artists. Through a program of regular cultural events, artist’s talks, and guided exhibition tours, Lennox St. Gallery continues providing education opportunities in a variety of areas in art and the art market for the gallery’s clients and general public alike.

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ar t g ui d e .c o m . au Lennox Street Gallery continued...

16 January—16 February Day Maryanne Coutts

Housemuseum Galleries. A regular series of public programs, including artists talks, workshops and interactive forums are presented across the two museum venues.

1 May 2024–May 2025 Works From The Lyon Collection This exhibition, presented in the Housemuseum Galleries, features selected works from the Lyon Collection including works by artists John Gollings, Shaun Gladwell, Patricia Piccinini, Howard Arkley, and a newly acquired painting by Stephen Bram.

Linden Postcard Show 2023-24, installation view. Photograph: Simon Strong.

7 December 2024–2 February Linden Postcard Show 2024-25

Lyon Housemuseum Image courtesy of the gallery.

14 January—2 February Doorways Represented artists

lyonhousemuseum.com.au 217-219 Cotham Road, Kew, VIC 3101 [Map 6] 03 9817 2300 Galleries: Wed to Sun 12pm–4pm.

Housemuseum: pre-booked guided tours. See our website for latest information.

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

Ai Baud tonar: Harvest season time, 2023, palight plastic, enamel spray paint, feathers, shells, wood, raffia, toys 8 parts: each 180 x 350 x 40 cm.

Collection of the artist.

7 December 2024—23 February Current: Brian Robinson

Image courtesy of the gallery.

5 February—2 March Wildflower David Laity

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

See our website for latest information.

Shaun Gladwell, Approach to Mundi Mundi, 2007. Lyon Collection.

The Lyon Housemuseum is a contemporary art museum presenting works from the Lyon Collection of Australian Contemporary Art. Spanning over three decades, the collection includes paintings, sculpture, large scale installations, photography and video works by many of Australia’s most celebrated contemporary artists. The museum comprises two interconnected buildings – the original Housemuseum, the former home and private museum of patrons Corbett and Yueji Lyon, and the

The prevalence of explorers and voyages of ‘discovery,’ and their juxtaposition with Robinson’s intricate Zenadth Kes and Pacific designs and beautifully observed renderings of flora and fauna is revealing. At the heart of Robinson’s work are questions about the authority and empiricism of enlightenment and its ideals. His work encourages open-minded inquiry of Western narratives. Drawing upon his unbroken connection with one of the oldest living cultures in the world, his late-twentieth century childhood and hobbies, and boundless creative capacity, Robinson offers audiences an enriching understanding of Indigenous knowledge systems with a unique worldview. The exhibition will feature ambitious linocuts, vinyl prints and bring together several new sculptures.

Manningham Art Gallery manningham.vic.gov.au/gallery

Maryanne Coutts, Days, 2024, installation view at DRAW SPACE. Courtesy of the artist.

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John Gollings, Kay St Housing with Kangaroos, 1983. Lyon Collection.

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

VICTORIA

Mildura Arts Centre → Filomena Coppola, The Journey (earth), 2022, coloured pencil on paper.

Melbourne Holocaust Museum mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tue to Thu 2pm–6pm, Sun 10am–6pm.

See our website for latest information.

the viewer the harrowing but ultimately successful attempt to write the story of the Holocaust from the perspective of its victims. The exhibition will also present testimony and artefacts from Melbournebased survivors to explore the personal experiences of those who survived Europe’s largest ghetto and immigrated to Australia after the war.

Underground: The Hidden Archive of the Warsaw Ghetto is presented in partnership with the Jewish Historical Institute, Poland and the Munich Documentation Center for the History of National Socialism, Germany.

Bookings: mhm.org.au/underground

Mildura Arts Centre milduraartscentre.com.au

Unearthing the first part of the Ringelblum Archive. L-R: Michał Borwicz & Hersz Wasser. PAP/Władysław Forbert.

17 November 2024—30 March Underground: The Hidden Archive of the Warsaw Ghetto Melbourne Holocaust Museum (MHM) presents a special exhibition Underground: The Hidden Archive of the Warsaw Ghetto.

On display for the first time outside of Europe, Underground exhibits rare artefacts from the hidden archive of the Warsaw Ghetto. Led by historian Emanuel Ringelblum, a collective of academics, writers, and activists worked secretly inside the Warsaw ghetto to document the German-initiated mass murder of European Jews as it was happening. The exhibition brings home to

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

13 December 2024—16 February An insatiable appetite for pictorial adventure William Blamire Young Known as the master of Australian watercolour, Blamire Young was critically acclaimed, loved by the public and venerated by contemporaries such as Julian Rossi Ashton and Norman Lindsay.

Mildura Arts Centre commemorates the 90th anniversary of Young’s death in 2025, with the exhibition, An insatiable appetite for pictorial adventure, guest curator Stephen Marshall has selected works which highlight Blamire Young’s preoccupation with nineteenth-century

William Blamire Young (1862-1935), The Flight into Egypt, c.1913-14, watercolour on paper. Mildura Arts Centre Collection. Senator R.D Elliott Bequest, presented to the City of Mildura, by Mrs Hilda Elliott, 1956. culture and deep love of the Australian and British landscape.

16 November 2024—19 January five letters cinque lettere Filomena Coppola five letters cinque lettere is a contemporary interpretation of the experience of the post WW2 migration from Italy within the Mildura community as told by artist Filomena Coppola, a child of migrants and the first generation born in Australia. The works celebrate migration experiences, explores cultural loss, and expresses what it is to live between the culture she was born into and the one that her parents left behind.

The exhibition is not only a personal story, Filomena worked within the local community to make video and sound works which include three generations of immigration to the area.

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Originals and prints.

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Mornington Peninsula Regional Gallery

3 October 2024—16 April MECCA x NGV Women in Design Commission 2024: Christien Meindertsma

mprg.mornpen.vic.gov.au

15 December 2024—21 April Kusama for Kids Yayoi Kusama

Bunurong Country Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm.

See our website for latest information.

Rosemary Laing, where to from here #1, 2019, archival pigment print , 83 x 143 cm. courtesy of the Rosemary Laing estate and Tolarno Galleries.

8 December 2024—16 March The Ecologies Project: How Climate Changes Culture The Ecologies Project looks at the effects climate change has had on deep time of human culture. With First Nations voices and time-old stories of the need for sustainability, this show asks: how does a changing ecology change our culture? With over 60 works, including photographs, painting, prints, installation, video, and sound work, the exhibition features artists such as Joseph Beuys, Jacobus Capone, Megan Cope, Sue Ford, Rosemary Laing, Nicholas Mangan, Jill Orr and Linda Tegg.

Museum of Australian Photography (MAPh) 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.

Petrina Hicks, Memento mori II, 2024, courtesy of the artist and Michael Reid (Sydney). with photographic portraits lit entirely by moonlight. Participants include Aileen Moreton-Robinson, Alexis Wright, Anjali Sharma, Aseel Tayah, Debbie Kilroy, Leah Manaema Avene and Nevo Zisin.

23 November 2024—16 February 500 strong Ponch Hawkes In celebration of the diversity of older women’s bodies, Ponch Hawkes has photographed 500 Victorian women, nude, over the age of 50. This exhibition presents all 500 portraits, celebrating the many contributions that have brought the project to its culmination.

National Gallery of Victoria— NGV International 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.

Installation view of the 2024 NGV Architecture Commission: Home Truth

by Breathe on display from 13 November 2024 until April 2025 at NGV International, Melbourne. Photograph: Derek Swalwell.

13 November 2024—April 2024 NGV Architecture Commission: Home Truth by Breathe

National Gallery of Victoria—The Ian Potter Centre: NGV Australia ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm.

Now showing Wurrdha Marra Now showing Bark Salon 23 August 2024—2 February Reimagining Birrarung: Design Concepts for 2070 ASPECT Studios, Bush Projects, McGregor Coxall, Office, Openwork, Realm Studios, SBLA, TCL.

23 November 2024—16 February Snakes and mirrors Petrina Hicks Petrina Hicks’s large-scale photographs draw from mythology, fables and art history to reframe the contemporary female experience. Snakes and mirrors brings animals and females together, alluding to the complexity of female identity and the sentience of animals.

23 November 2024—16 February Mångata Amos Gebhardt Drawing on the Moon as a symbol of illumination, Amos Gebhardt’s Mångata weaves sound and moving image

Yayoi Kusama’s, Dancing Pumpkin, 2020, now on display for the Yayoi Kusama exhibition at NGV International, Melbourne until 21 April 2025. © YAYOI KUSAMA. Photography: Sean Fennessy.

15 December 2024—21 April Yayoi Kusama

Installation view of REKOSPECTIVE: The Art of Reko Rennie, on display at The Ian Potter Centre: NGV Australia from 11 October 2024 to 27 January 2025.

Photograph: Kate Shanasy 11 October 2024—27 January REKOSPECTIVE: The Art of Reko Rennie Reko Rennie

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NADIA HERNÁNDEZ

8 FEBRUARY – 8 MARCH 2025 STATION I MELBOURNE

— GADIGAL / SYDNEY 91 CAMPBELL STREET SURRY HILLS NEW SOUTH WALES 2010 AUSTRALIA P: +61 2 9055 4688 NAARM / MELBOURNE 9 ELLIS STREET SOUTH YARRA VICTORIA 3141 AUSTRALIA P: +61 3 9826 2470 — POST@STATIONGALLERY.COM STATIONGALLERY.COM Image: Nadia Hernández, el sembrador detrás de los cerros y los montes a lo lejos...(el sembrador) me abrió el camino (the sower) behind the hills and mountains in the distance...(the sower) cleared my path, 2024, pencil and oil on linen, 198 x 170 cm. Photo: Courtesy the artist

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VICTORIA NGV – The Ian Potter Centre continued...

13 February–23 February Wendy Joy Morrissey: Photographs Melbourne underground photographer Morrissey exhibits selected works from the decadence of St Kilda to the brutal abandoned interiors of Pentridge prison’s notorious H-division.

27 February–2 March SUPERNICE Exhibition and event as part of Melbourne Fashion Week. High-quality, innovative design with sustainable, ethical production.

Installation view of Cats & Dogs on display at The Ian Potter Centre: NGV Australia from 1 November 2024 to 20 July 2025. Photography: Tom Ross.

1 November 2024—20 July Cats & Dogs

Niagara Galleries niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment.

See our website for latest information.

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

See our website for latest information.

Parallel Projects the-art-room.com.au/ parallel-projects 138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.

See our website for latest information.

Parallel Projects is a dedicated and unique platform that values artistic exploration, quality, and commitment to art practice.

We offer a supportive environment where artists can confidently experiment with new ideas and take risks, all while engaging with an attentive audience.

One Star Gallery

Tom Civil, Between You and Me, 2 plate sugarlift and aquatint copper etching on cotton rag fine art paper, edition of 16, 30 x 45 cm.

Featured Artist January Tom Civil

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

See our instagram for latest information.

Tom Civil is an artist, muralist, community art facilitator and printmaker. Tom has been making art in the streets of Melbourne for over 18 years, and has painted over 30 murals across town in the last ten years. Tom is a self-taught and studio trained printmaker. Tom is a member of Everfresh Studio in Collingwood, Melbourne.

“My Stick Folk characters have meant different things to me at different times and places. They have grown and evolved – and stayed the same – along with me.

I like the idea of them encapsulating the many layers of a person. And also whether that person is now in the present, or from another time. I feel the multilayered meaning of these characters is their strength – whether representing an ancestral spirit or a powerful presence

Mariota Spens, Drawing.

30 January–9 February Sleeping Through Mariota Spens Works on paper, of social and political satire, by a Scottish-Australian artist.

Erika Gofton. Photograph: Clare Rae. 28 January—28 February One to Another

Wendy Joy Morrissey, Lisa Gerrard.

A group exhibition featuring The Art Room tutors, each of whom has invited a peer who has influenced their practice to exhibit alongside them.

Clive Dickson, Art Appreciation, acrylic on canvas, 609 x 508 cm.

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VICTORIA PG Gallery continued...

Project8 Gallery

of our times – these images in this show feel to me to build a bridge between these worlds. The images talk to the anger, confusion and outrage of our times from people all over the world about social injustice, environmental catastrophe and personal struggle as well as the hope and camaraderie of people working together in their communities to make the world a better place.”

project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.

11 February—22 February Ambient Melbourne Clive Dickson

ptleoestate.com.au

A personal response to the Street Art of Melbourne.

Platform Arts 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 9am–5pm.

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

Pt. Leo Estate Boonwurrung / Bunurung Country, 3649 Frankston-Flinders Road, Merricks, VIC 3916 [Map 1] 03 5989 9011 Open daily, 11am–5pm (last entry 4.30pm).

The Sculpture Park is an outdoor gallery within 330 acres of landscaped grounds that offer a gentle promenade as opposed to a strenuous trek around the network of winding paths that lead visitors past some 70 works mostly but not exclusively of large-scale.

QDOS Fine Arts qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–6pm or by appointment.

A curated art space representing a small collection of fine artists chosen for their artistic virtuosity and sheer mastery of practice. Qdos Fine Arts presents 10 solo exhibitions annually, our artists launch a new body of work biennially albeit offer a small but exclusive range of their work which is available for stockroom viewing.

Sisca Verwoert, Sunflowers III, 2024, oil on canvas, 160 x 160 cm.

12 January–1 February Sisca Verwoert 26 January–15 February Gary Rance 2 Febuary–22 February Alexandra Copeland 16 Febuary–8 March Richard J Manning 23 Febuary–15 March Ben Storch

RACV Goldfields Resort racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

See our website for latest information.

15 December 2024–4 January Lucy McEachern Honey Fingers in collaboration with Boris Portnoy, Bee Bread, 2018, sourdough starter inoculated inside beehive. Photograpth: Tess Maunder.

22 December 2024–11 January Qdos Blue Chip Whiteley, Williams, Coburn, Olsen, Boyd, Kingston, Shead, Knight, Twigg and more.

22 February—18 April Sympoiesis The Honey Fingers Collective Through the alchemy of fermenting, art, and collaboration, the Honey Fingers collective will explore poetry, food-stuffs, performance, and visual art as responses to the notion of fermenting. The project will foster a temporal setting in Geelong that amplifies awareness of honeybee communities in a hyperlocal context to the Greater Geelong region. A wide range of audiences will be invited to respond, culminating in an exhibition and installation project at the intersection of interdisciplinary practice, food waste, environmentalism, and visual arts outcomes. For more information visit: www.platformarts.org.au @platformartsgeelong

Sam Leach, Digital Dreams, Analog Echoes, Installation view, RACV Healesville Country Club and Resort October 2024.

11 December 2024—2 March Digital Dreams, Analog Echoes Tom Blachford, Collagism and Sam Leach

Rimona Kedem, Fashion, 2024, oil on canvas, 60 x 60 cm.

5 January–25 January Rimona Kedem

Digital Dreams, Analog Echoes harnesses nostalgia in the digital age, where memory and innovation coexist in a delicate balance. This outdoor exhibition is an exploration of how AI can be used, from concept, to creation, to writing exhibition text – ChatGPT even suggested this title.

Tom Blachford, Collagism (Holly-Anne Buck), and Sam Leach demonstrate the transformative power of AI, crafting works that resonate with the echoes of the past while dreaming of the possibilities of the future. Explore the surrounds of the Resort to find these artworks.

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melbourne.vic.gov.au/facility/city-library-gallery

$40,000 Acquisitive Award

ENTRIES OPEN Until 7 March 2025 (5pm /AEDT) for more information

wangarattaartgallery.com.au

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VICTORIA RACV Goldfields continued...

Gurjeet Singh, Louise Saxton, Octaro, Kasia Tons and Lisa Walker.

PRICK! Needlework Now brings together artworks by Australian and international artists who use stitching as a fundamental part of their art making.

RMIT First Site Gallery rmit.edu.au/about/culture/ first-site-gallery

Collagism, Punks of the sky 2024, digital artwork, courtesy of the artist.

14 December 2024—16 March Big Things for a Big Country Road Trip Collagism Collagism (Holly-Anne Buck) takes us on a reimagined journey through Australia’s iconic “Big Things” using AI. This poetic road trip blends the surreal with the hyperreal, combining technology and nostalgia to create a visual narrative that triggers both cultural memory and digital exploration.

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.

First Site Gallery is a gallery space which provides RMIT students a conduit for their creative practice. It is independent from the University’s teaching programs and is a space for students to collaborate, experiment, take risks and learn about presenting works publicly.

RMIT Gallery rmitgallery.com

25 February—12 April 2025 Alastair Swayn Legacy Exhibition Deep Time / Real Time Features creative works and research from Fayen D’Evie, Stuart Geddes and Ziga Testen, Alicia Frankovich, Emma Jackson, Farzin Lofti-Jam, Nicholas Mangan, Joel Sherwood Spring and Simulaa.

The 2025 Alastair Swayn Legacy Exhibition: Deep Time / Real Time explores design’s relationship to planetary systems through two opposing time scales – ‘deep time’ and ‘real-time’. The exhibition features an interactive structure containing geological and material samples, alongside time–based creative works curated through the lens of ecology, energy, and technology.

Shepparton Art Museum sheppartonartmuseum.com.au Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Weekdays 10am–4pm, Weekends 10am–4pm, closed Tue. See our website for latest information.

Shepparton Art Museum (SAM), located on Yorta Yorta Country, is one of Australia’s outstanding regional art museums, showcasing our exhibitions and collections in new and exciting ways and creating a welcoming, inclusive and engaging space for all audiences. Artists are central to our work. Our programming is designed to be locally relevant and engage with global contemporary ideas.

Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 5] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

Image courtesy of the artist.

25 February—21 March Sweet Enough On-Site with Rose Agnew Sweet Enough looks at sugar from a feminist perspective, examining the complex history, uses and roles of the medium, while celebrating the artists layered relationship with the sweet stuff.

RMIT Design Hub Gallery designhub.rmit.edu.au

Kasia Tons, Tarpaulin diary, 2018, cotton, synthetic tarp, paint, hand embroidery, 77.5cm x 45cm (framed). Courtesy of MARS and the artist.

20 February—10 May PRICK! Needlework Now Maggie Baxter, Aaron Billings, Jayeeta Chatterjee, Carly Takari Dodd, Melinda Harper, Michelle Hamer, Louise Rippert,

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. to 11am–5pm 12pm–4pm.

Free admission.

See our website for latest information.

Julia Gorman, Reflection on reflection, Shepparton Art Museum, 2024.

Until February Julia Gorman: Reflection on reflection Until February Big Ceramic Energy SAM Collection 18 May 2024—17 February Kenny Pittock: Can You Peel The Love Tonight Until March Ceramics in Focus: Sanné Mestrom Until March Ceramics in Focus: Brendan Huntley Ongoing Face in the Frame SAM Collection

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WH ERE PICTURE FR AMIN G IS AN ART 158

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VICTORIA

TarraWarra Museum of Art

Shepparton Art Museum continued...

twma.com.au 313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

Closed Christmas Day and Boxing Day. Open Australia Day.

Madeleine Minack, sparkly thing found between another thing on the floor, 2024, plasticine, glass and wire, 5 x 3 cm.

John Longstaff, Miss Ethel Grey in Riding Habit, (detail), 1898, Shepparton Art Museum Collection. Photograph: Leon Schoots.

Ongoing Stories from the SAM Collection SAM Collection

Stockroom Kyneton stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm. Closed Tue & Wed See our website for latest information.

18 January—23 February a thing that holds something else Madeleine Minack 18 January—23 February Remnants Steph Wallace

Anthony Romagnano, 13 Cakes, 2021.

Courtesy of the artist and Arts Project Australia.

Ceramic Space.

30 November 2024—10 March Intimate Imaginaries Fulli Andrinopoulos, Samraing Chea, Alan Constable, Wendy Dawson, Bronwyn Hack, Julian Martin, Chris O’Brien, Lisa Reid, Anthony Romagnano, Mark Smith, Cathy Staughton, Georgia Szmerling and Terry Williams.

Sullivan+Strumpf Naarm/Melbourne sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

The Torch Gallery

Stockroom Kyneton is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s butter factory across 1000sq metres.

Located in Kyneton’s thriving style precinct of Piper Street.

thetorch.org.au Wurundjeri Woi-wurrung Country, 146 Elgin Street, Carlton, VIC 3056 [Map 5] Open by appointment.

Lynda Draper, Apparition, 2024, glazed ceramic and blown glass, 53 x 47 x 33 cm.

Anthea Kemp, holding to go back, 2024, oil on canvas, 40 x 30 cm.

18 January—23 February Fieldwork Anthea Kemp

Showing in the Yarra Valley, the exhibition features ingenious, irreverent, poignant and joyful works by artists from Arts Project Australia. Presented in partnership with Arts Project Australia. Curated by Anthony Fitzpatrick.

6 February—8 March Free Form Abstraction Yvette Coppersmith, Daniel Crooks, Lynda Draper, Kanchana Gupta, Lara Merrett, Dawn Ng Gemma Smith.

Robby Wirramanda, Walpa # 5, 2023, acrylic on linen, 167 x 208 cm. Courtesy the artist.

20 February—23 February The Torch at Victorian First People’s Art and Design Fair The Torch is a First Nations-led arts organisation providing art, cultural and 159

&SAP25 Sorrento Art Prize

$125,000 1st Prize

Judge: Smooth Nzewi - MoMA Exhibition Dates: 28 June - 31 August 2025 Sixty Shortlisted Artists from Across Australia Artist Submissions close 31 Jan www.andgalleryaustralia.net Join our Family of Supporters

David & Myf Kegele People’s Choice Award

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VICTORIA The Torch Gallery continued...

a curated group exhibition celebrating the creativity and diversity of the Boroondara community.

arts industry support for First Nations people who have been incarcerated. In 2025, The Torch will participate in the Victorian First Peoples Art and Design Fair, featuring artists Jeffrey Jackson (Mutti Mutti people), Robby Wirramanda (Wergaia/Wotjobaluk peoples) and Alfred Carter (Gunaikurnai people).

20 November 2024—1 February A Message from our Sponsor - the Works of Eric Thake Experience the wit and whimsy of Australian artist Eric Thake in an exhibition of engravings, linocuts, and photographs from the Town Hall Gallery Collection.

The event aims to shine a light on the diverse and rich creative practices and culture of First Peoples throughout Victoria, enabling artists and designers to share their art and culture, expand their business practices, platform new ideas and bold new works, and strengthen the First Peoples creative industries.

Showing at Melbourne Convention and Exhibition Centre, 10am–5pm.

THIS IS NO FANTASY thisisnofantasy.com 108-110 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7172 Tue to Fri 11am–5pm, Sat 12noon–5pm.

6 February—8 March THIS IS NO FANTASY: Now Group Show

Hannah Gartside, #27, 2024, found leather gloves, wire, cotton and wool fabric, weighted curtain cord, thread, 13 x 9 x 7 cm.

20 February—23 February Melbourne Art Fair 2025 Hannah Gartside

Town Hall Gallery boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

Annika Romeyn, Endurance 9, 2021, watercolour monotype on paper, 250 x 190 cm. Image courtesy of the artist and Flinders Lane Gallery.

5 February—26 April Seasonal Shifts Matt Arbuckle, Wona Bae & Charlie Lawler, Tamara Dean, Brian Robinson, Annika Romeyn, Hiromi Tango and James Tylor Seasonal Shifts is a group exhibition presenting artists whose works trace the rhythms of time, memory, identity and human influence on our natural surroundings.

VAS Gallery I Victorian Artists Society vasgallery.org.au Jonathan World Peace Bush, No Justice, 36-24, 200 x 180 cm.

27 February—18 March Walking In Two Worlds Johnathon World Peace Bush Frieze No.9 Cork Street, London.

Sydney Ball, Canto No 7, 1965, acrylic on canvas, 183 x 176 cm, image courtesy of the Sydney Ball Estate.

Tolarno Galleries

6 November 2024—18 January Aspects of Abstraction: Charles Nodrum Collection

tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

15 February—15 March Ben Quilty

Featuring key abstract artworks from the 1950s to the 1990s, this major exhibition at Town Hall Gallery showcases the evolution and diversity of Australian abstraction and is curated from Charles Nodrum’s private collection.

13 November 2024—18 January Boroondara Summer Salon Town Hall Gallery is delighted to present the annual Boroondara Summer Salon,

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.

20 December 2024—26 January Frater Galleries: The VAS Hansen Little Coterie Showcase Genevieve Gadd-Carolan, Liz Gridley, Michael Smith, Natasha Ber, Rhi Edwards In 2024, the Hansen Little Foundation supported five early to mid-career artists to actively participate in a variety of VAS programs and cultivate their own artistic journey. This exhibition celebrates the technical proficiency and creative expression cultivated by these emerging artists.

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Exhibit With Us Applications now open for 2025/26

138 Cowper Street, Footscray @parallelprojects.au the-art-room.com.au/parallel-projects

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VICTORIA VAS Gallery continued...

20 December 2024—26 January McCubbin & Hammond Galleries: VAS Art Studio Exhibition This exhibition showcases the range of artistic practices and mediums that are taught at the VAS Studio. Encompassing oil, watercolour, drawing, acrylic, and sculpture, both students and teachers works on show will reveal the diversity and creativity within the school. Also on display are artworks that have been created during our weekly Portrait and Life Group sessions with life models.

8 January—19 January Cato Gallery: City Views: Streetscapes of Melbourne An exhibition featuring diverse artistic interpretations of our city.

29 January—9 February Hammond McCubbin & Frater Galleries: VAS Summer Exhibition The Victorian Artist Society’s first member exhibition of the year showcasing the submissions of our exhibiting artists.

This exhibition is inspired by the plight of the world’s glaciers, which are retreating at an unprecedented and devasting rate.

A key aim of the mixed media works presented in this exhibited is to draw attention to the threat the Anthropocene poses to the world’s glaciers with a particular focus on New Zealand’s beautiful glaciers 12 February—23 February Hammond, McCubbin & Frater Galleries: VAS George Hicks Foundation Contemporary Exhibition Sponsored by the George Hicks Foundation, this exhibition explores the best VAS artists have to offer in contemporary styles.

19 February—2 March Cato Gallery: Lucy Maddox – Bonne Vivante A show celebrating the pleasures of life, inspired by a summer in the Loire Valley in France.

26 February—9 March Frater Gallery: Mark Bagally – A Year in Paint A solo exhibition based on a year-long project where the artist completed one oil painting in a dedicated time frame each day.

Azza Zein (Lebanon-Syria), Abhijit Pal (India), Alison Wheeldon (Australia), Art by TDR (India), Asad Ali (Pakistan), Fathiah Raihan (Singapore), Poppy Cook (Australia), Tina Saba (Palestine), Tashabok Collaborative Sculpture (detail), mixed media, 2024. sessions, and conversations with artists and participants. The ongoing project since 2020 proposes a countergeography of displaced objects and alternative mapping of migrant materials based on playful drawing, and storytelling.

So far, the collaborative drawing sessions took place in Mbantua/ Alice Springs, O’ghe P’oghe/Santa Fe (U.S.A)Narrm/ Melbourne and Walker Street Gallery and Arts Centre (City of Greater Dandenong).

26 February—30 March Mackley Members Room: Clive Sinclair – Solo Exhibition

Vivien Anderson Gallery vivienandersongallery.com Ray Hewitt, Melbourne Dock.

29 January—24 February Mackley Members Room: Ray Hewitt – Solo Exhibition

Boon Wurrung Country, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm.

Walker Street Gallery and Arts Centre greaterdandenong.vic.gov.au/arts Bunurong Country, Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 8571 5320 [Map 4] Tue to Fri 12pm–4pm.

10 December 2024—28 February Tashabok Azza Zein

Megan Jane Johnstone, Glacial Ablation 1, acrylic and gouache on paper.

5 February—16 February Cato Gallery: Megan Jane Johnstone – Wake-up call… Lessons from nature’s sculptured landscapes

Azza Zein’s Tashabok is a poignant and evolving exhibition that invites audiences to explore the complex stories of displacement, migration, and the unseen connections between objects, bodies, and labour. The exhibition draws from Zein’s group drawing sessions and conversations with artists and participants, revealing the hidden journeys of displaced objects.

Tashabok presents ficto-critical videos, inspired by collaborative drawing

Image courtesy of the gallery.

15 February—30 May 9 by 5 Group Exhibition Celebrating its 17th year in 2025, 9 by 5 commemorates the original exhibition held in Melbourne in 1889. This featured artists Tom Roberts, Charles Conder, Arthur Streeton and Frederick McCubbin who produced uniform artwork on nine by five-inch cigar box lids.

Arts in Greater Dandenong’s adaptation has now become a nationally recognised exhibition that celebrates diversity within the arts community, showcasing artists at all stages of their career, proving that small things can have a big impact.

Join us for the opening on Saturday 15 February at The Drum Theatre.

Wangaratta Art Gallery wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

16 November 2024—16 February Counterparts: Expanded Textile Practices Hannah Gartside and Britt Salt 163

UNEARTHED CERAMICS

www.unearthedceramics.com.au @unearthedceramics handcraed Australian ceramics since 2014

unearthedceramics.com.au

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artelia.com.au

VICTORIA Wangarrata Art Gallery continued...

Counterparts: Expanded Textile Practices features new work by both artists in conversation, alongside formative work held in the Wangaratta Art Gallery Collection and the extension of previous bodies of work. Using these earlier ideas as a foreground to later practice, large scale textile installations transform the gallery space, and trace the development of each artist’s practice, their similarities and deviations and their shared influence.

15 February—6 April Barra Juanita McLauchlan Barra, meaning thread in the Gamilaraay language of Juanita McLauchlan’s grandmother’s country in northern New South Wales, connects two distinct, yet interrelated areas of the artist’s practice – textiles and printmaking.

As a thread connects and secures together, McLauchlan’s work speaks to her sense of continuity with family and culture, through generations past, present and future.

Warrnambool Art Gallery thewag.com.au

Jan Osmotherly, Snake in the grass (detail), 2019, digital photograph.

6 December 2024—12 March Awe Jan Osmotherly Jan Osmotherly’s photographs capture the majesty and wonder of the Warby Ranges. Looking beyond their benign appearance there are many awe-inspiring wonders to behold, as the Traditional Owners have always known. The Warby Ovens National Park is now listed with the International Union for Conservation of Nature as a site of significance due to its diverse range of threatened species and communities, such as the Grey Grass Tree, temperate woodland bird community, and Carpet Python.

Elizabeth Willing, Moviprep (detail), 2022, sherbet straws, 800 x 500 cm. Courtesy Elizabeth Willing and Tolarno Galleries, Melbourne. Photograph: Andrew Curtis.

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.

16 November 2024—16 March CLAW MONEY WORLD Taking you to the heart of New York’s graffiti scene through the eyes of pioneering and ground-breaking artist Claudia Gold (aka Claw Money). This world-first, Australian exclusive exhibition presents an intimate look into Gold’s global impact upon graffiti, fashion and design spanning 1990s to present day.

In this world-premiere, and on show for the first time at the Warrnambool Art Gallery this exhibition presents a suite of Gold’s key collaborations from Nike to NASCAR, alongside signature garments and accessories from her label, set amongst a vibrant installation of murals painted by the artist in-situ.

CLAW MONEY WORLD is proudly supported by the Victorian State Government through Visit Victoria and the Regional Events Fund, Creative Victoria, Warrnambool City Council, and Montana Paints. The Gallery is grateful for the contributions of the Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, The A L Lane Foundation, and The William and Lindsay Brodie Foundation.

Colloquially identified as ‘Aboriginalia’, these mass-produced, commercial objects range from souvenir tea towels and pennant flags to children’s dolls and ceramic figurines.

Primarily created from the 1950s through to the 1980s for consumption by nonIndigenous tourists, they depict culturally insensitive and racially stereotyped imagery, designs and motifs.

Kait James: Red Flags is a Warrnambool Art Gallery exhibition, curated by Aaron Bradbrook and touring nationally with NETS Victoria. This project has been supported by the Australian Government through Creative Australia and the Visions of Australia program as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

National Exhibitions Touring Support (NETS) Victoria is supported by the Victorian Government through Creative Victoria, by the Australian Government through the Creative Australia, its arts funding and advisory body, and through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. NETS Victoria also receives significant in-kind support from the National Gallery of Victoria.

5 October 2024—19 October Strong Spirit Merindah-Gunya Strong Spirit is an exhibition by MerindahGunya, a Peek Whurrung, Kirrae Whurrung, and Djab Whurrung woman, celebrating the resilience and vitality of Aboriginal culture. Through a diverse range of colours, Merindah-Gunya explores the deep connections between land, identity, and spirituality central to being an Aboriginal woman. This exhibition is proudly supported by the Australian Government through the Regional Arts Fund.

West Space westspace.org.au Wurundjeri Country, Level 1 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

22 February—18 May Crystalline: Elizabeth Willing Crystalline brings together existing and new bodies of work by acclaimed Brisbane based artist Elizabeth Willing that explore the interconnected qualities of alcohol and sugar. Chemically connected through fermentation and production, neither sugar nor alcohol are essential for survival, yet are ubiquitous in our contemporary diet, associated with ritual, celebration, luxury and also disease. In Crystalline, Willing responds directly to the unique particularities of North East Victoria’s agricultural and viticultural context and its familial and historical developments.

Image courtesy of the gallery.

12 October 2024—23 February Red Flags Kait James Red Flags is Wadawurrung artist Kait James’ most ambitious solo exhibition to date. Since 2018, James has been carving out a unique visual language based in the reappropriation of racialised products.

Akil Ahamat, Extinguishing Hope, installation view.

16 November 2024—18 January Akil Ahamat: Extinguishing Hope West Space is proud to present the first major solo presentation of Akil Ahamat’s 165

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VICTORIA

Whitehorse Artspace → Cheng Kang, The Beauty. Copyright the artist.

West Space continued...

Whitehorse Artspace

filmic installation practice as part of the West Space Commission series. Extinguishing Hope sees Ahamat exploring a fraught, fictional and interspecies relationship with a snail – a recurring character in his works that embodies broader ideas of truth, navigation, and escape. At the core of Extinguishing Hope is the question, ‘how do we find our way in the dark?’

creativewhitehorse.vic.gov.au/ venues/artspace

16 November 2024—18 January Joy Zhou: we sit comfortably together in space we sit comfortably in silence together forms part of Joy’s ongoing series of process-driven works grounded in active listening in public space. This work stems from Joy’s experience as an emerging artist and a weekly visitor to West Space as a volunteer (2022-present). Activated by spatial and sonic intervention, recorded on site over many months, Joy looks to subvert the assumed authority of the organisation, subtly transforming West Space from a place that presents to us, to an object itself, for us to perceive.

1 February—29 March The place we do not know is the place we are looking for West Space is proud to partner with Liquid Architecture (Naarm) to present

Priyanka Chhabra, Iqraar-naama (The Agreement), 2022. the culmination of their multi-year collaboration with Sarai (Delhi), The place we do not know is the place we are looking for. In this exhibition and accompanying set of programs, the artists interrogate modernity’s relation with calculability and causality, drawing attention to the excesses that cannot be explained by the laws and tools of scientific measurement and technological systems. Curated

by Laura McLean and Suvani Suri and featuring Aasma Tulika, Joel Spring, Shareeka Helalludin, Thomas Smith, Uzma Falak, Katherine Gledhill-Tucker, Rahee Punyashloka, Aarti Sundar, Hayden Ryan, Aarti Jadu & Claire de Carteret, Merve Ertufan, Priyanka Chhabra with more to be announced.

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.

We are a thoughtfully designed, contemporary gallery space used to display a diverse program of exhibitors as well as thoughtful curations of our significant collection. This collection includes remarkable works from early Australian impressionist pieces through to modern and contemporary works of all mediums.

29 January–22 February Celebration The Australian Vision Photography Club create new works of art responding to the theme ‘Celebration.’ Images capture enthusiasm and cultural diversity across Melbourne. Many club members reside in Whitehorse or are culturally connected to Box Hill and so they are positioned to speak the visual language of the community. Lunar New Year celebrations in Box Hill hang like moving images alongside the exhibition in February.

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A–Z Exhibitions

New South Wales

JANUA RY/FEBRUARY 2025

NEW S OUTH WALES

Annandale Galleries annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

See our website for latest information.

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.

Artbank Sydney artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment.

See our website for latest information.

Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Art Gallery of New South Wales

Art Leven (formerly Cooee Art)

artgallery.nsw.gov.au

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

The Art Gallery of New South Wales is one of Australia’s flagship art museums and the state’s leading visual arts institution.

As the state art museum, we’re here to champion artists and to serve the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas.

Until 9 February Magritte Magritte is an in-depth retrospective featuring more than 100 works, most of which have never before been seen in Australia.

It journeys from the artist’s first avantgarde explorations and commercial works in the 1920s, to his groundbreaking contributions to surrealism, his surprising provocations of the 1940s, and the renowned paintings of his final years, before his death in 1967.

Buku-Larrnggay Mulka Centre.

11 December 2024—11 January Gathul’puy - Belonging to the Mangroves An exhibition of works by Munhala Dhamarrandji & Muluymuluy Wirrpanda.

Until 13 April My City is Yours 曹斐: 欢迎登陆 Cao Fei In the largest exhibition of her work ever seen in Australia, Cao Fei (pronounced tsow fay) 曹 斐 brings the energy of the contemporary metropolis into the Art Gallery of New South Wales with a retrospective that includes two new commissions.

Jude Rae, Still Life 146, 2004. Artbank Collection.

7 November 2024—7 February (De)Nature Morte: Still Life from the Artbank Collection Historically, still life has sought to depict that which is ephemeral – flowers, fruit, vegetables, game, feasts – and alluded to natural cycles of life and decay which further reveal prescient ideas of life and death, abundance and sustenance. Here these universal symbols are trafficked for subject matter that will outlive humanity.

Butane canisters, oil jugs, Tupperware ® and punctured rock’n’roll drums become a new iconography of contemporaneity.

Curated by Artbank’s Senior Curator Dr Oliver Watts and Artbank Art Consultant Martin Tokarczyck, (De) Nature Morte: Still Life from the Artbank Collection interrogates the significance of this persistent genre and its standing in a post-digital / post-human age.

Nusra Latif Qureshi, On the edges of darkness II, 2016, Art Gallery of New South Wales. © Nusra Latif Qureshi.

Until June Birds in Far Pavilions Nusra Latif Qureshi Reflect on history within the beguiling depths in the first major solo exhibition of Melbourne-based artist of Nusra Latif Qureshi, who is best known for her finely crafted contemporary miniature paintings.

Warlayirti artists.

18 January—8 February Now and Then A showcase or artworks spanning over twenty years.

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Art Space on The Concourse willoughby.nsw.gov.au/arts Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm.

See our website for latest information.

cosmic cycles, the interior of the body and the natural world. Variations of these elements appear in the cultural heritages from across the globe, including Japanese “Godai”, Hinduism and Greek Mythology.

Infrangible Matter; Tracing the Elements explores five elements from a crosscultural perspective. Artists in the exhibition draw from a variety of cultural roots to offer conceptual and poetic interpretations of the elements and how they can reflect deeper themes.

Fire, Water, Air, Metal and Earth become agents to address current reflections on colonisation, the environment, migration, personal ritual and more.

27 February—23 March Smart Expressions 2025 Willoughby City Council presents an exhibition of student artworks selected from the 2024 NSW HSC practical examination in Visual Arts. The exhibition demonstrates the interests and passions of a new generation of young artists.

Celebrating the artistic talents and achievements of young people, the exhibition features a selection of artworks from students who attended six local North Shore-based high schools within Willoughby City.

underpinned by the Aboriginal worldview of oneness and interconnections. cb.city/ BankstownBiennale.

8 February—22 March Sciography Kien Situ Sciography is a site-specific solo exhibition at Bankstown Arts Centre, tracing the intersections of matter, time, and form as active forces in space. Through the fusion of Chinese ink, incense ash, and concrete, Situ engages materiality as a state of flux - between transformation and permanence, emergence and erosion, solidity and ruin.

Bathurst Regional Art Gallery bathurstart.com.au Wiradyuri Country, 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, weekends and public holidays 10am–2pm, closed Mon.

Australian Galleries australiangalleries.com.au Tym Yee, My Father’s Father’s Memoir, 2024, oil on board.

8 January—18 January Suva to Sydney Tym Yee and Kevin Yee A duo exhibition by Tym and Kevin Yee exploring the Yee clan’s immigration story to Australia. From humble beginnings in rural Guangzhou, China, to entrepreneurial migrants in Suva, Fiji, and finally to settled citizens in Sydney, the exhibition is deeply personal, yet also representative of an archetypal passage to a better life in Australia.

15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm.

Bankstown Arts Centre cbcity.nsw.gov.au/arts-centre Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

23 November 2024—1 February Same Same/Different – 3rd Bankstown Biennale

Thomas C. Chung, As Far As I Could See (i), 2023, video still.

23 January—23 February Infrangible Matter; Tracing the Elements Min-Woo Bang, Cindy Yuen-Zhe Chen, Frankie Chow, Thomas C. Chung, Charlotte Foster, Ganbold Lundaa, Pamela See and Hirofumi Uchino.

More artists to be announced.

The exhibition, Infrangible Matter; Tracing the Elements is inspired by the five elements or agents within traditional Chinese, Vietnamese and Korean cultures. The elements inform 170

Karla Dickens, Jamie Eastwood, Maddison Gibbs, Edwina Green, Morgan Hogg, Gillian Kayrooz, Wona Bae and Charlie Lawler, Gary Lee, Ruth Ju-Shih Li, Jazz Money, Claudia Nicholson, Joan Ross, Salllvage, Kien Situ, James Tylor, Dung-Chuan Wen, Jason Wing The 3rd Bankstown Biennale continues in January and is part of Sydney Festival 2025. It features a curated month of Biennale programs including Art Up Late series. Helmed by a First Nations led curatorium with Coby Edgar (Larrakia, Jingli, Wardaman, Filipino, Chinese and Scottish) and Jason Wing (Biripi and Chinese-Chinese) , joined by Bankstown Arts Centre Director Rachael Kiang, Same Same/Different focuses on common ground and respectful co-existence

Wynne Prize, 2024, finalist, Zaachariaha Fielding, Paralpi. © the artist.

15 February—6 April Wynne Prize 2024 Bathurst Regional Art Gallery (BRAG) presents the Wynne Prize 2024, touring from the Art Gallery of New South Wales.

The $50,000 Wynne Prize is judged by the trustees of the Art Gallery of New South Wales and is awarded to the best landscape painting of Australian scenery or the best example of figure sculpture by an Australian artist. The Wynne Prize is Australia’s oldest art prize. It was established following a bequest by Richard Wynne and was first awarded in 1897 to mark the official opening of the Art Gallery of New South Wales at its present site.

The Wynne Prize reflects the diversity of figurative sculptural practice, while

NEW S OUTH WALES the paintings are a dynamic reflection of Australian artists’ response to the land, reflecting contemporary aesthetics, environmental and stewardship concerns, and conceptions of Country.

Following exhibition at the Art Gallery of New South Wales in Sydney, the Wynne Prize is touring regional NSW and BRAG is pleased to bring this celebrated showcase of Australian art to the Bathurst community. Wynne Prize 2024 is an Art Gallery of New South Wales touring exhibition.

This project is proudly supported by the NSW Government through Create NSW’s Blockbusters Funding initiative.

Blacktown Arts 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.

and Shaun Kemp, honouring their deep connection to Barkindji heritage, land, and kinship. Featuring diverse works rooted in shared history and identity, inspired by the quail (Wampa-waru) as a symbol of resilience and unity.

Blue Mountains City Art Gallery Charlotte Haywood, COEXISTENCE - A Multispecies Opera of the Senses, 2024.

1 November 2024—2 February Charlotte Haywood: COEXISTENCE - A Multispecies Opera of the Senses Renowned for her experimental, interdisciplinary practice, Charlotte Haywood presents COEXISTENCE, a multispecies opera inspired by the Zebra finches of Fowlers Gap and ecological research

by Simon Griffith. Haywood explores the complex relationships between sound, movement, and coexistence, drawing from her extensive experience in eco aesthetics and biodiversity. A master weaver, Haywood blends the tactile with the digital, working across textiles, sculpture, installation, and performance.

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 10am–4pm. Admission fees apply.

Katy B Plummer, The Cailleach Still Knows You, After All, 2023, 4K digital video, 5.00 minute, painted calico, cotton velvet, painted stools. Production still.

Image courtesy of Kuba Dorabialski.

30 November 2024—9 February Cunning Revived Cunning Revived observes nine artists engaging in ritual and ceremony as an act of empowerment. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.

Leanne Jones, The Darug story of the 3 sisters song lines, 2023, photography by Jennifer Leahy, Silversalt Photography.

11 January—28 March 2025 Blacktown City Art Prize and Blacktown City Young Artist Prize The Blacktown City Art Prize exhibition returns to The Leo Kelly Blacktown Arts Centre for 2025! Emerging and established artists across western Sydney and Australia will showcase a diverse range of mediums through this year’s exhibition.

Visit from 11 January to see the winners and vote for your favourite in the People’s Choice Award Prize. Alongside will be the Blacktown City Young Artist Prize with artworks by local kids aged 3 to 14 years, responding to the theme ‘Sharing our Skies’. All artworks in the exhibition will be available for purchase at The Leo Kelly Blacktown Arts Centre Entry is free and all are welcome.

Venessa Possum, Gulumun, linen with Buran and Mundowi bush dye (Stringybark and Swamp Mahogany), 30 x 45 x 70 cm.

30 November 2024—9 February Venessa Possum: Gulumun Exhibition by Dharug-Muringong artist Venessa Possum.

Broken Hill City Art Gallery

15 February—13 April Blue Mountains Portraits 2025 Blue Mountains Portraits is the Cultural Centre’s annual celebration of the local community and its diverse members.

bhartgallery.com.au Wilyakali Country, 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm.

See our website for latest information.

David Doyle, Flourish, watercolour on cold pressed cotton paper, 2024.

1 November 2024—2 February Wampa-waru A family-led exhibition by Barbara Quayle, Tannya Quayle, Jade Cicak, David Doyle,

15 February—13 April forage: symbiotic (trans)formations The exhibition brings together eight east coast, metro and regional female artists for whom foraging natural materials is at the core of their artistic practices.

Curated by Nicole Wallace.

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Bundanon bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm.

2 November 2024—9 February bagan bariwariganyan: echoes of country Aunty Julie Freeman, Aunty Cheryl Davison, Jonathan Jones & Mickey of Ulladulla.

A body of works by renowned Gweagal/ Wandiwandian storyteller and artist Aunty Julie Freeman, leading Walbunja/Ngarigo artist Aunty Cheryl

Santiago’s practice weaves together personal faith, cultural traditions, and the diasporic experience of her Filipino-Australian family, creating a space for reflection on displacement, survival, and the evolving nature of identity.

Casula Powerhouse Arts Centre casulapowerhouse.com Dharawal Country, 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm.

See our website for latest information.

Aunty Cheryl Davison, Ngaral, 2024, screenprint (detail).

Campbelltown Arts Centre (CAC)

January–February 2025 Triennial Acquisition Sculpture Prize entries now open Krishna Heffernan, Jacqueline King, Gay Landeta, Nola Sindel, Elisabeth Muller, Yvoonne Cooper and Michael Hardman Submissions are now open for Ceramic Break Sculpture Parks 3rd Triennial $12,000 Acquisition Sculpture Prize.

Davison, and Wiradyuri/Kamilaroi artist Jonathan Jones.

The season upholds and maintains Aboriginal values and kinships, featuring an immersive gunyah (home) installation including drawings by the significant Yuin artist Mickey of Ulladulla, a solo exhibition of paintings by Aunty Julie sharing grandmother stories of local plants, animals and weather patterns, and a new installation by Aunty Cheryl, representing the importance of Burrawang seeds, a key traditional food source.

Image courtesy of the gallery.

Applications close 20 July, 2025.

To enter: form.jotform.com/ 242337787807873 Eddie Abd, In Their Finest (still), 2020.

Liverpool City Council Art Collection.

23 November 2024—26 January THE VIEWS FROM HERE (PART 2) Artworks from the Liverpool City Council Art Collection.

Presented at Casula Powerhouse Arts Centre.

c-a-c.com.au

7 December 2024—16 February FACES OF LIVERPOOL: STORIES OF HOPE, HOPE AND FRIENDSHIP Featuring portraits by Louise Whelan.

Dharawal Country, 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

See our website for latest information.

8 February—6 April ARCHIBALD PRIZE 2024

The Corner Store Gallery cornerstoregallery.com Wiradjuri Country, 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm.

Presented at Yellamundie Art Gallery Level B2 at Yellamundie – Liverpool Library and Gallery 52 Scott Street, Liverpool.

An Art Gallery of New South Wales touring exhibition. Presented at Casula Powerhouse Arts Centre.

Ceramic Break Sculpture Park cbreaksculpturepark.com.au Marikit Santiago (collaboration with Maella Santiago and Sarita Santiago), Mangkukulam, 2024, (detail). Photograph: Donna Vo. 4 January—16 March Marikit Santiago: Proclaim Your Death!

Marikit Santiago: Proclaim Your Death! is a major solo exhibition by Western Sydney-based artist Marikit Santiago, exploring themes of transformation, faith, and identity through immersive and collaborative art practices. The exhibition’s title refers to the memorial acclamation in the Catholic Liturgy of the Eucharist, invoking the death and resurrection of Christ as symbols of renewal and change.

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Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Until 19 Dec: Thu to Sun, 10am–5pm and by appointment, 20 Dec to 28 Feb, 2025: open by appointment only.

See our website for latest information.

Ceramic Break Sculpture Park is the brainchild of award winning bronze sculptor Kerry Cannon. It features 3 galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.

Yani Lenehan.

2 February—15 February Yani Lenehan Online exhibition Yani Lenehan is an artist living in Bathurst, and has a passion for colour. Her inspiration comes from anything and everything, but particularly from ordinary things she sees every day. Lately, she has been mainly focusing her practice on still life settings which are colourful and joyful. When she paint her subjects, she likes to focus on how light affects it, showing their form through a stylised gradation of tones. Her style is bright, fresh and warm and her process is delicate and calm. She works

NEW S OUTH WALES

D’Lan Contemporary

mainly in oils, starting from a detailed drawing that is slowly built up to a stylised contemporary finished piece.

dlancontemporary.com.au

12 February—22 February Inside This Box Art Prize Artists are invited to submit work of any medium or subject matter with measurements that fit within 30x30cm (this includes framing and must not exceed these dimensions). Submitted work can be square or rectangular, or any other shape for that matter, as long as it fits inside a 30x30cm box. Entries close 12 January.

97–99 Queen Street, Woollahra, Sydney NSW [Map 10] 02 9199 9646 Tues to Sat 10am–5pm.

See our website for latest information.

Nikki Lam, the unshakable destiny, 2101 (detail), 2021, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, 16mm film transferred to digital video, 2K, colour, soun. Image courtesy and © the artist, photograph: Zan Wimberley.

15 December 2024—2 February Primavera: Young Australian Artists

Pippita Bennett.

26 February—8 March Clay + String Group Exhibition Karlie Simring, Pippita Bennett, Lea Durie and Christine McLean Four artists, each rooted in the mediums of ceramics and textiles, unite in an exploration of materiality. This exhibition invites the audience on a sensory journey of earth and fiber. Through their distinct yet interconnected practices, the artists celebrate the tactile essence of these ancient materials, revealing stories of tradition, innovation, and the profound relationship between maker and medium.

Cowra Regional Art Gallery 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.

The Gallery offers a lively program of changing exhibitions including in-house curated projects and significant touring exhibitions from state and national sources featuring a diverse range of contemporary art and craft practices and social/historical themes. The Gallery also seeks to engage with a diverse regional public through a program of public events, educational activities and outreach projects including openings, gallery talks, holiday workshops for children, artist run initiatives and quality open learning opportunities for adults.

For Primavera: Young Australian Artists, Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain and Truc Truong investigate themes of protest, perseverance, identity and history. Curator Talia Smith asks what are artists creating to challenge society’s prescribed structures, built by a select few to supposedly serve and protect us? Through new and recent works in various media, including installation, video, painting, sculpture, mark-making and text, Primavera is an exhibition as call to action.

Drawing on their lived experience, these early-career artists work to disrupt the dynamics of power and deliver compelling alternatives to the status quo. A Museum of Contemporary Art Australia and Museums & Galleries NSW touring exhibition, curated by Talia Smith. This project has been assisted by the Australia Governments Visions of Australia program.

Cowra Micro Gallery cowramicro.weebly.com Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat & Sun, 10am–2pm, or by appointment.

Carlene West, 1944–2021, Pitjantjatjara, Tjitjiti, 2014, synthetic polymer paint on linen, 137 x 200 cm.

28 November 2024–10 January REVERENCE This year’s annual exhibition, REVERENCE, takes place in D’Lan Contemporary’s new Sydney gallery at 97-99 Queen Street, Woollahra. This inaugural presents an exceptional selection of modern and contemporary works by First nations artists, with highlights including paintings by Carlene West, Sonia Kurarra, Emily Kam Kngwarray, Bill Whiskey, and a rare 1972 masterpiece by Uta Uta Tjangala.

Darren Knight Gallery darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 Tues to Sat 10am–5pm.

See our website for latest information.

James Morrison, Mission Beach, 2024, oil on canvas, 100 x 100 cm.

Cowra Micro is a new art space at Cowra Railway Station founded by Artists of Cowra East (ACE).

18 January—28 February Fraser Anderson, Kushana Bush, Jon Campbell, Jess Johnson, Maria Kontis, Noel McKenna , James Morrison, Kenzee Patterson, Robyn Stacey and Louise Weaver.

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Aunty Cheryl Davison Aunty Julie Freeman Jonathan Jones Mickey of Ulladulla

bagan bariwariganyan: echoes of country is a body of works by renowned Gweagal/Wandiwandian storyteller & artist Aunty Julie Freeman, leading Walbunja/Ngarigo artist Aunty Cheryl Davison, & Wiradyuri/Kamilaroi artist Jonathan Jones.

The season upholds & maintains Aboriginal values & kinships, featuring an immersive gunyah (home) installation including drawings by the significant Yuin artist Mickey of Ulladulla, a solo

2 November 2024 - 9 February 2025

bagan bariwariganyan

exhibition of paintings by Aunty Julie sharing grandmother stories of local plants, animals & weather patterns, & a new installation by Aunty Cheryl, representing the importance of Burrawang seeds, a key traditional food source. Connected through new soundscapes, the exhibition sings the stories of this place, celebrating local traditions & the ongoing collaboration of these artists & cultural leaders. bundanon.com.au

Aunty Cheryl Davison, Aunty Julie Freeman, Mickey of Ulladulla and Jonathan Jones, bagan bariwariganyan: echoes of country (installation view), Bundanon, 2024. Photo: Zan Wimberley

bundanon.com.au

NEW S OUTH WALES

Fellia Melas Gallery

textiles, shared materials and whatever was to hand, it is seemingly united by the colour blue and those hues that ‘zing’ with it. Through this diverse media and thoughtful exploration, Heather Dunn and Carrie McDowell invite you to experience the art of connection, even across great distance.

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.

Gaffa Gallery gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am–5pm, Mon by appointment, closed Sun & pub hols.

24 January—28 January Kung Chi Shing Presented by Gaffa Creative Precinct in collaboration with KEF Australia. Opening Friday 24 January, 2pm–8pm.

Nicholas Harding, King Street, Newtown, mixed media on paper, 133 x 140 cm.

Works by: N. Harding, D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, 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 and many others.

Gallery76

Judith Burns, Hosier Lane, 3000, winner of the Margaret Oppen Prize 2023. sharing the joy of embroidery is the core of the organisation’s mission, and this exhibition is a celebration of that passion.

Sian Kelly, Metamorphosis I, 2023, House of Annetta, London, still performance.

Photograph: Matt Kelly.

5 February—22 February Metamorphosis III Sian Kelly

embroiderersguildnsw.org.au/ Gallery76

Closing ceremony Saturday 22 February, 6pm–8pm.

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.

See our website for latest information.

23 November 2024—28 January Margaret Oppen and Roma Field Competitions Retrospective Embroiderers’ Guild NSW This exhibition features past winners from the two competitions held by the Embroiderers’ Guild NSW. Each of them is named after one of the organisation’s founders – the Margaret Oppen prize focuses on contemporary embroidery and the Roma Field one on traditional. Spanning work from 1976 to the present, this exhibition displays truly exceptional embroidery.

Student Showcase Embroiderers’ Guild NSW The Embroiderers’ Guild NSW proudly presents a collection of student work produced over the past year. The Guild is a vibrant non-profit community for all stitching enthusiasts, whether a seasoned expert or just starting out. Teaching and

Heather Dunn and Carrie McDowell, Distance Between Friends.

31 January—26 February Distance Between Friends Heather Dunn and Carrie McDowell When friends on opposite sides of Australia collaborate for a two person show, there is an evolution of sorts. Over the course of eighteen months, the components of this exhibition traversed the continent by post and by air, as ideas and resources were exchanged and explored.

A body of work emerged that is somewhat nostalgic, reflecting landscape and the things that matter most. Incorporating

Belinda Skying, If walls could talk.

5 February—22 February If walls could talk Belinda Skyring

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KEN DONE

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Soft coral dive, 2024, oil and acrylic on linen, 100 x 80cm

kendone.com

NEW S OUTH WALES

Gallery Lane Cove + Creative Studios gallerylanecove.com.au Cameraygal Country, Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm.

See our website for latest information.

7 January—18 January Shaping Hand GLC+CS’s teachers, students and staff

which tradition can inspire contemporary creativity and dialogue.

22 January—8 February Reverberation Jenna Lee, Maria Thaddea, Tony Tran.

Curated by Jodie Sim. Reverberation explores the ripple effect of cultural memory and how rituals and tradition can be reimagined for a renewed understanding of cultural belonging.

This group exhibition highlights artists with a cultural connection to Lunar New Year as Jenna Lee, Tony Tran and Maria Thaddea come together with practices that intertwine their own reiterations of their stories.

Begin the new year by celebrating the creativity of Gallery Lane Cove + Creative Studios’ teachers, students, and staff.

Shaping Hand highlights the vibrant works of this artistic community, showcasing the hands that shape and inspire.

career spanning six decades, with a particular focus on his translucent, minimalist porcelains that became a hallmark of his later works.

14 February—22 March Libre: the Art of Being A large group exhibition celebrating the Sydney Gay and Lesbian Mardi Gras festival in Sydney. A platform for local and international artists to explore themes of freedom, individuality and respect. We seek to foster a deeper understanding of the LGBTQI experience and promote inclusivity within the wider community where freedoms are respected and upheld. The exhibition delves into the profound connection between personal freedom and artistic expression and celebrates the beauty of being unapologetically oneself.

Gosford Regional Gallery gosfordregionalgallery.com Sydney, Other People Series, 2023, acrylic on cotton with polyfill stuffing, 150 x 100 cm each.

12 February—8 March Queer Materials Samuel Luke Beatty, Giacomo Budini, Matthew Grayson, Dr. Virginia Keft, Deborah Kelly, Kim Leutwyler, Abby Murray, Saara138, Sydney.

Guo Jian, The Beauty No.6, 2024, inkjet pigment print, 116 x 83 cm, ed of 3+2AP. Credits to the artist and Vermilion Art. 22 January—8 February In the Mood for Love 良宵 Guan Wei, Guo Jian, Geng Xue, Chen Wenling, Yang Xifa, Lin Chunyan, Zhang Xiao, Wang Yunyun, Laurens Tan, Charlie Sheard, Claudia Chan Shaw. Curated

by Abigail Kim and Dr Yeqin Zuo from Vermilion Art. In celebration of the 2025 Lunar New Year, this exhibition invites you to embrace the spirit of being ‘in the mood for love’, capturing the essence of togetherness while honouring the rich diversity of all cultures.

Featuring a dynamic blend of established and emerging artists, it reflects the intricate tapestry of both personal and shared narratives that flourish during this festive season—a time for reflection, renewal, and connection. In the Mood for Love not only highlights the vibrancy of the Lunar New Year but also emphasizes the importance of intertwining our stories to offer fresh perspectives on our understanding of culture. The artworks embrace the dynamic interplay between tradition and contemporary expression. Bridging the past and present, it illuminates the ways in

Queer Materials presents a collection of diverse LGBTQIA+SB textile artists that narrate Queer stories through their practice. Textiles play an important role in shaping, expressing and performing Queer histories and storytelling. Clothing and objects present opportunities for self-expression. The making process itself can be an important communal and cultural practice - providing occasion for connection and exchange. Foregrounding perspectives from a diversity of Queer backgrounds and communities, the Queer histories presented within this exhibition illustrate the multivalent, personal, yet so often strongly communal experience of Queerness. This exhibition is part of Mardi Gras + program.

Gallery Lowe and Lee gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Tue to Sat 10am–6pm.

The gallery will be closed for the Christmas break and will reopen 10am Tuesday 21 January .

21 January—8 February Summer Show Les Blakebrough Gallery Lowe and Lee’s first show of the year will feature the works of Les Blakebrough, a highly influential figure in Australian ceramics. The exhibition surveys the ceramicist’s distinguished

36 Webb Street, Darkinjung Country, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm.

Free admission.

Dr Nicola Hooper, The Giant Flea, 2017, digital print of hand-coloured lithograph on foam board.

2 November 2024—2 February ZOONOSES Nicola Hooper Through drawing and lithography, Nicola Hooper uses fairy-tale iconology and rhymes to explore concepts surrounding zoonoses (animal diseases that can infect humans). The exhibition ZOONOSES explores how we perceive certain animals in the context of fear and disease. A Museums & Galleries Queensland touring exhibition of works by Dr Nicola Hooper presented by Logan Art Gallery, Logan City Council, in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program, and is supported by the Queensland Government through Arts Queensland, part of the Department of Communities, Housing and Digital Economy. Proudly sponsored

by Haynes Paint.

6 December 2024—28 January The Crane and the Kookaburra Tomoko Oka Japanese artist and Central Coast 177

The End & The Beginning

MELAM

daniel weber 2023 danielweberpaintings.com

danielweberpaintings.com

NEW S OUTH WALES Gosford Regional continued... resident Tomoko Oka tells a story with this series of Sumi-e (Japanese ink art) paintings. The collection is an accessible, light-hearted exploration of the frustrations and joys of experiencing another culture - in this case, the Australian kookaburra experiencing Japanese culture, and a crane fascinated by Australia. We are invited to reflect on our own interaction with other cultures, and how meeting people from other nations can open our eyes to the interest and beauty we can find in what is foreign to us.

Kumanara (Ray) Ken, Kulata Tjuta, 2015, synthetic polymer paint on linen. Image courtesy of the Australian War Memorial.

9 November 2024—2 February Art in Conflict An Australian War Memorial touring exhibition.

Of mouth and mind sees Braidwoodbased artist Dionisia Salas explore the interplay between the physical and psychological aspects of the lived experience. The exhibition establishes drawing as the foundational underpinning of Salas’ practice. The lines and forms created whilst drawing mine the artist’s subconscious and create physical articulations of the absurd. Salas’ energetic compositions are at once depictions of the landscape, the body and the mind. The works in the exhibition embrace wandering lines that dip in and out of figuration and abstraction.

Across paintings and drawings, the works in Of mouth and mind straddle the divide between alluring and abject.

Salas’ seductive colours and sumptuous forms entice audiences, with loose and automatic mark making expressing feelings of desire, movement and ecstasy.

Through veils of colour and areas of texture, the works simultaneously reveal allusions a broader spectrum of physical experiences, with fragments signifying hair, bruises, blood and breath.

Of mouth and mind is a major solo exhibition of artist Dionisia Salas. The exhibition is accompanied by a publication featuring newly commissioned texts by leading Australian arts writers.

30 November 2024—9 February Regional Creative Showcase 2024

Tania Mason, A Dinner Plate of History, 2024, courtesy of the artist.

The Regional Creative Showcase 2024 celebrates the diversity and vibrancy of local talent within our art, design, and creative industries from a selection of our senior high school and TAFE Creative Industry students.

1 February—23 February Surrounded by Time with a Canary in a Coal Mine Tania Mason

Goulburn Regional Art Gallery

The exhibition Surrounded by Time with a Canary in a Coal Mine, aims to capture the fragility of our environment and the urgency of conservation. By juxtaposing historical illustrations of endangered species with their current plight, the objective is to create a poignant narrative that evokes both nostalgia and concern.

All works are sitting on shelves as repositories of memory that adds depth, suggesting that these once-vibrant beings could become mere relics of the past. The title references the canary’s role as an early warning signal, reinforcing the idea that the loss of biodiversity is a call to action for us all.

goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm.

14 February—22 March Primavera: Young Australian Artists For Primavera: Young Australian Artists, Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain and True Truong investigate themes of protest, perseverance, identity and history.

Curator Talia Smith asks what are artists creating to challenge society’s prescribed structures, built by a select few to supposedly serve and protect us?

Glasshouse Port Macquarie glasshouse.org.au Biripi Country, Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Sarah Poulgrain, Learning how to build a houseboat: walls, fixings and rope (detail), 2023, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, steel, aluminium, handmade paper pulp, handmade rope, ceramic, glass, digital HD video, image courtesy and © the artist. Photograph: Zan Wimberley.

Dionisia Salas, In the hellebores, 2024, oil on canvas, 102 x 102 cm. Photograph: Stephen Best. Image courtesy and © the artist. Private Collection.

23 November 2024—1 February Of mouth and mind Dionisia Salas

Primavera is an annual exhibition for Australian artists aged 35 years and under. It was initiated in 1992 by the Museum of Contemporary Art Australia in dialogue with Dr Edward Jackson AM and Mrs Cynthia Jackson AM in memory of their daughter Belinda, a talented jeweller who died at the age of 29. The exhibition commemorates Belinda Jackson by celebrating the creative achievements of 179

Redfern Art Gallery specialises in Australian and Japanese ceramics, pottery and glass from the 1950s - 1980s, and is the largest gallery of its kind in Sydney.

The gallery also specialises in collectable but affordable Australian art from this period - focussing on artists who came to live and work in Australia after World War II and female artists from this period.

REDFERN ART

Mid Century Australian Art, Ceramics and Pottery Phone: Gavin 0478 473 041 Email: gavin@redfernartgallery.com.au www.redfernartgallery.com.au

GALLERY

80 Redfern Street, Redfern, NSW 2016

redfernartgallery.com.au

Mosman Art Gallery presents

19 October 2024 – 2 February 2025

Borrowed

Landscapes

Borogegal and Cammeraigal Country 1 Art Gallery Way, Mosman 2088 | mosmanartgallery.org.au Supported by

James Tylor Daguerreotype

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The Darkness of Enlightenment III (Karrawirra I) 2024 Becquerel image courtesy the artist and N.Smith Gallery, Sydney and © the artist

mosmanartgallery.org.au

NEW S OUTH WALES Goulburn Regional continued...

Hazelhurst Arts Centre

young artists in the early stages of their careers. 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.

hazelhurst.com.au

Grace Cossington Smith Gallery

Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm.

Free admission.

gcsgallery.com GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm.

Free admission.

MrvaMontoya, Seamus Mullen, Trent Roberts, Jessica Schembri, Janet Selby, Dianne Turner, Natalie Velthuyzen, Gail Warburton, Hayley West, Bridget Willis.

10 February—13 April ARTEXPRESS Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of expressive forms. ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority, curated and presented by Hazelhurst Arts Centre.

Part of the HSC Showcase season, this exhibition includes artwork by some of New South Wales most talented young artists.

Hawkesbury Regional Gallery hawkesbury.nsw.gov.au/gallery

Glenn Barkley, thatisnocountry4oldmen (sailing2byzantium), detail, 2022.

Photograph: Greg Piper.

Fan Dongwang, Dragon In Water Diptych 2,2024, acrylic on canvas, 180 x 180 cm.

Fan Dongwang, Train Station (Wahroonga), 2024, acrylic on canvas, 60.5 x 90.5 cm.

Until 25 January SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 Glenn Barkley, Alison Milyika Carroll, Kirsten Coelho, Greg Daly, Pippin Drysdale, Dan Elborne, Penny Evans, Honor Freeman, Susan Frost, Shannon Garson, Patsy Hely, Jeffery Mincham, Damon Moon, David Ray, Ben Richardson, Tania Rollond, Owen Rye, Jane Sawyer, Yul Scarf, Vipoo Srivilasa, Kenji Uranishi, Gerry Wedd.

An Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program.

25 January—22 February Carving Perspectives

cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Sat 11am–3pm.

Ruth Downes, Banding Together, rubber bands, elastic cord. Images courtesy of the artist.

6 December 2024—9 February Barely Wearable Ruth Downes

Artist Fan Dongwang merges traditional Chinese carving techniques with contemporary painting. Using brushes to ‘sculpt’ the surface, he creates intricate lines and shadows, evoking a three-dimensional illusion. This survey presents images of Chinese art symbols, landscape paintings, and early works and objects from China.

Granville Centre Art 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.

Bridget Willis, Gathering, 2023.

Photograph: Greg Piper.

Until 25 January Conduit Ynja Bjornsson, Dianne Brock, Janine Brody, Claudia Citton, Trisha Dean, Peter Dwyer, Michele Edinger, Karen Farrell, Aedan Harris, Sally Hill, Marian Howell, Sarah Howes, Christopher James, Cheryl Jones, Nina Matthewson, Bruce McWhinney, Bunty Mitchell, Dushan

Barely Wearable continues Ruth Downes’ passion for reappropriating everyday materials and objects to celebrate their intrinsic beauty. Materials for these ‘wearable’ artworks have been gleaned from a diverse range of sources – from aircraft headsets to coffee capsules. Detritus from nature has also been salvaged to be re-born as a fashion statement.

6 December 2024—9 February Re|Purpose Re|Purpose is an exhibition of objects sourced from the collection of Hawkesbury Regional Museum installed with wall drawings by Dan Kyle. The exhibition shares stories from the everyday lives of people in the Hawkesbury Region, and the clever and sometimes humorous way 181

ar t g ui d e .c o m . au Hawkesbnury Regional continued...

Japanese artist who produces video installations exploring themes of memory and placeness. Also titled Afternote, this 79-minute documentary traces back the history of the movie “theatre” itself, which have since vanished from the city. By unearthing the memories of local residents and what the cinema meant to them, Afternote reminisces on the days when movie theatres were considered the cultural centre, a part of daily life and the cityscape.

The Ken Done Gallery kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

See our website for latest information.

TOM-A-TOL Sausage Seasoning (Dry) Better Colour & Flavour for your sausages, c.1950. Manufactured by Tom a Tol Manufacturing Co., Hurlstone Park, NSW. Collection Hawkesbury Regional Museum.

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.

they ‘made do’ – recycling, upcycling and repurposing old materials and objects into something new and useful once more.

The Korea-Australia Arts Foundation (KAAF) Art Prize is an annual event promoting multiculturalism by uniting artists from diverse backgrounds. The Korean Cultural Centre (KCC) Australia hosts the national finalists’ exhibition as the venue partner.

Lavender Bay Gallery royalart.com.au Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752

14 February—6 April A river, a mountain, a field, a road…

A river, a mountain, a field, a road… explores the various and varied expressions of landscape held in the Hawkesbury Gallery Art collections. The exhibition includes works from the Hawkesbury City Council and Hawkesbury Regional Art Gallery collections as well as works from the Friends of the Hawkesbury Art Community and Regional Gallery Inc.

The Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts.

It has been established since 1880. The Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists. Exhibitions change regularly throughout the year ensuring a diverse range of traditional and contemporary works are on show.

The Japan Foundation Gallery sydney.jpf.go.jp Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

Francis, Keith Fyfe, Samantha Groenestyn, Lizzie Hall, Craig Handley, Geoff Harvey, Petrina Hicks, Miriam Innes, Eamonn Jackson, Tim Johnson & Paul Rhodes, Yoonjung Kim, Louise Knowles, Waratah Lahy, Jolon Larter, Nerissa Lea, Rosemary Lee, Hyun Hee Lee, Anne Leisner, Susan Ma, Deborah Marks, Sonia Martignon, Dennis Mccart, Neil Mcclure, Kevin Mckay, Guy Morgan, Susan O’doherty, David Pavich, Patrick Perlstone, Nani Puspasari, Michael Ransom, Mellissa Read-Devine, Td Reade, Caitlin Reilly, Colin Rhodes, Adrienne Richards, Bronwyn Rodden, Julianne Ross Allcorn, Sandra Routh, Gary Shinfield, Patrick Shirvington, Julie Simmons, Rick Tailby, Claudio Valenti, J Valenzuela Didi, Zena Vix, Maryanne Wick, Callum Worsfold, Fangmin Wu, Estelle Yoon, Yoony Yoony.

Ken Done, Soft coral dive, 2024, oil and acrylic on linen, 100 x 80 cm.

January–February Art School

13 December 2024–12 February Ken Done: Recent Work

Korean Cultural Centre Australia koreanculture.org.au

Nobuhiro Shimura, Afternote, 2024.

13 September 2024—1 March Afternote: In the Shade of Cinema Nobuhiro Shimura Afternote: In the Shade of Cinema is an exhibition focusing on the history of movie theatres in the provincial city of Yamaguchi, Japan. Together with records and materials related to the city’s cinemas, the display includes the latest work by Nobuhiro Shimura, a contemporary 182

Ground floor, 255 Elizabeth Street, Eora Nation, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

Free admission.

21 November 2024—17 January KAAF Art Prize Finalists’ Show Alyssa Aleksanian, Ann Arora, Joseph Austin, Min-Woo Bang, Michael Bell, Janet Cheetham, Wei Bin (Jeffrey) Chen, David Collins, Michael Corridore, Dagmar Cyrulla, Sinead Davies, Sally Davis, Rosalie Duligal, Coco Elder, Dongwang Fan, Mandy

Pamela Irving, Swashbuckler.

24 January Just Drawing Exhibition

NEW S OUTH WALES

Lismore Regional Gallery lismoregallery.org Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thu until 6pm.

The Lock-Up thelockup.org.au 90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm.

6 December 2024—16 February William Kentridge: I Am Not Me, the Horse Is Not Mine 6 December 2024—9 February Works from the Collection

Maitland Regional Art Gallery HIBALL, Composition for Mnemosyne (detailed still), 2024, two-channel video with sound, 8:00 minutes. Courtesy the artists.

30 November 2024—23 February DATA MINDS Roy Ananda, Girl On Road, HIBALL, Jon Rafman and Brie Trenerry.

Karla Dickens, Rise and Fall 1, 2024, digital photograph. Courtesy of the artist and Station Gallery.

30 November 2024—2 February Koori Mail Indigenous Art Award 2024 Exhibition 15 November 2024—5 January Tia Mavanie: UneARTh

Macquarie University Art Gallery artgallery.mq.edu.au Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2113 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

Tim Fry, Mud Crab, 2024. Courtesy of the artist.

10 January—2 March Tim Fry: Local Knowledge

Litsa Veldekis Bespoke Art Dealer litsaveldekis.com 26 Oxford Street, Woollahra, Sydney, NSW 2025 [Map 10] 0413 004 904 Tues to Fri 10am–2pm, Sat by appointment.

we are them. And never more so than in the work of Joanna Braithwaite. Beautiful, pompous, ridiculous, shy, curious, smart, sexy, funny, social, hierarchical, scared, lonely, competitive, and companionable - with a fantastically wry imagination Braithwaite paints a human-animal menagerie of situations, emotions and connections. In each image lurks a world in miniature, a politics of the superficial and the existential. And as a body of work Braithwaite offers us both a humorous question and a seriously political proposition: humans and animals, self and other, you and I, how do we navigate these challenging times?! Like this?!

Joanna Braithwaite, Artist’s Collective, 2023–24, oil on canvas, 200 x 200 cm.

Collection of the artist. Photograph: Jenni Carter.

22 November 2024—15 January Thinking with Animals Joanna Braithwaite In partnership with Martin Browne Contemporary, Sydney. Curated by Tom Murray and Leonard Janiszewski.

Humans have been painting animals for at least 45,000 years. We celebrate and honour them, we fear and plead upon them, we employ, deploy, and eat them, and

mrag.org.au Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am– 4pm. Café, 8am–2pm. Free entry, donations always welcomed.

See our website for latest information.

28 September 2024—2 February The Foundations Are Shifting Beneath Anna Horne South Australian artist Anna Horne uses unlikely materials expertly to create curious and tactile sculptural forms. In this intimate exhibition, she explores the very human qualities of strength and vulnerability and our quest for ‘home’ and stability in an environment that seems to be ever-changing.

12 October 2024—16 February Twitcher Abdul-Rahman Abdullah, Michelle Cawthorn, Tracey Depp, Philip Drummond, Mandy Francis, Todd Fuller, Anna-Wili Highfield, Martin King, Nigel Milsom, Leila Jeffreys x Melvin J. Montalban, Ginger Riley Munduwalwala, Nyangulya Katie Nalgood, Meagan Pelham, Hermannsburg Potters, Ben Quilty, Michael Riley, Joan Ross, Peter Speight, Bridie Watt, Trevor Weekes, Clare Weeks, Brett Whiteley Join MRAG as we celebrate the natural world with an exhibition dedicated to art and birds. We’ve brought together contemporary artists from across Australia who feature birds in many forms across their work. Scheduled to coincide with the great Aussie Bird Count 2024, Twitcher will delight everyone as we pop on the binoculars and go all in for a Summer season of creative birdwatching.

30 November 2024—2 March Body Work Body Work is a celebration of flesh, bones and the mechanics that make up the wonder of the human form. Explore art that brings bodies to life as we present works from the MRAG collection alongside the monumental form of Ron Mueck’s Pregnant Woman in all her anatomical glory.

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ar t g ui d e .c o m . au Australia. Laraine wanted to experience a direct connection to the landscape working with natural light outside in all types of situations in the bush. The result is eighteen small works that delve into the heart of the Australian Landscape.

Maitland Regional Gallery continued...

23 January—8 March OPUS, An Artist’s Odyssey Trevor Weekes Image courtesy of the gallery.

Until 18 January The Seven Seas Beric Henderson

Robert Fielding, Paralipi, acrylic on paper, 107 x 78 cm. Image courtesy of the artist.

9 November 2024—2 March Robert Fielding: Tjukurpa | Handle It Robert Fielding is an artist, a storyteller and a keeper of Tjukurpa (ceremony and culture). Descendant of the first Afghan cameleers, and the Yankunytjatjara and Western Arrenda people of the central desert, Fielding lives and works in Mimili Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Over the past decade, he has built an eclectic and vast catalogue of works spanning and expanding the fields of paint, print, photography, poetry, drawing, film and sculpture, much of which is now housed in national and international institutions and collections.

Beric Henderson brings a unique perspective to his distinctive ocean themed artworks. With a background in art and a PhD in science, Beric has had the opportunity over many years to collaborate with scientists, artists and filmmakers. During the past five years he has turned his attention to the oceans and the impact of climate change, illustrated by drawings made up of thousands of lines and 3-dimensional paintings that challenge the senses.

Beric will give a floortalk on Saturday, 23 November at 11am, where he will share his insights into the creative process. Come and be inspired!

Until 18 January Landscapes from the Heart Laraine Deer Sydney artist, Laraine Deer, is presenting her first exhibition in the MidCoast. This series of plein air paintings are the result of a seven month journey across parts of Australia in 2022. The trip was explorative in nature, like a first taste, to respond to the vast coastlines and desert interiors of the West Australian coast, Central Australia, Northern Territory and South

Trevor considers this his final exhibition.

This body of works reflects previous artworks over a long artistic career and embraces memories and moments to reflect on, like a three-dimensional diary or journal. The images chronicle not only a journey but his artistic life.

23 January—8 March Place Wootton Creative Alliance You Never Leave Jen Delirium

Manly Art Gallery & Museum magam.com.au Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm.

See our website for latest information.

9 November 2024—2 March tjintu kutju kililpi tjuka/ one sun many stars Uncle Richard Edwards, Uncle Leon Hammond, Joby Patten, Kaden Patten, Jason Brown, Johnny Robinson, Trevor Kennedy, Josh Northey, Robert Fielding , Desmond Woodforde , Richard Nelson, Mark Doolan, Shane Dodd Coinciding with Robert Fielding’s exhibition Tjukurpa | Handle is the special collaborative exhibition tjintu kutju kililpi tjuka/ one sun many stars featuring artists from Mindaribba Local Land Council and Mimili Maku Arts alongside Trent Walter from Negative Press.

Anna Madeleine Raupach, Crosscurrents (rig, bleach, farm), 2024, (detail), embroidery thread on tarpaulin, 240 x 60 cm.

13 December 2024—16 February The Water Understands

Manning Regional Art Gallery

Leah Bullen, Michael Cook, Tamara Dean, Keg de Souza, Shaun Gladwell, Phillip George, Gregory Hodge, Miguel Angelo Libarnes, Anna Madeleine Raupach, Doug Schofield, and Angela Tiatia.

manningregionalartgallery.com.au Biripi Country, 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm.

Until 18 January The GOOD

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Trevor Weekes, And my bird will sing, wood, alloy, brass.

An exhibition interrogating water as a life-giving element - artists make work about it, scientists experiment with it, and poets write about it. It takes Ralph Waldo Emerson’s poem Water as a starting point.

In the poem, Emerson imbues the element of water with subjective human experiences – understanding, heartbreak, wit, the ability to destroy, and alternatively the

NEW S OUTH WALES

Mosman Art Gallery 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.

Gregory Hodge, Seascape, 2024, acrylic on linen, 200 x 160cm. Photograph © Gregory Copitet. ability to enjoy pleasure. It is the understanding, or the water’s metaphorical ability to imbue us with knowledge, which is at the core of this exhibition – knowledge of the past, cultural knowledge, traditional knowledge, poetic knowledge, political knowledge, and aesthetic knowledge – knowledge systems which inform the artists and artworks in this exhibition.

Martin Browne Contemporary

Stephen Pleban, Sanctuary I, 2024, oil and wax on linen, 152 x 168 cm.

6 February—1 March Finding Sanctuary Stephen Pleban 6 February—1 March Andy Pye

McGlade Gallery acu.edu.au Building 603, Gate 3, ACU, 25A Barker Road, Strathfield, NSW 2135 [Map 11] 02 9701 4653 Mon to Sat 11am–4pm.

martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

See our website for latest information.

30 November 2024–31 January Recirculate Recirculate showcases the diverse strategies that Australian artists are using to create art in sustainable ways.

In this group exhibition 19 professional creatives present large scale digital prints, paintings, sculptures, drawings, jewellery and textile pieces made using second-hand, recycled and/or re-used materials.

5 December 2024—1 February Summer Group Show

19 October 2024—2 February Borrowed Landscapes Peta Clancy, Dacchi Dang, Simone Douglas, Yvette Hamilton, Alana Hunt, Danie Mellor, Hayley Millar Baker, James Tylor and Amanda Williams Borrowed Landscapes explores a resurgence in Australian landscape photography, reconstructing the view of the landscape, and the narrative that surrounds it in terms of identity, Culture and the need for protection and the primacy of First Nations perspectives.

19 October 2024—2 February This Is How We Love Jazz Money

Recirculate logo by McGlade Gallery intern Julian Villegas.

Ildiko Kovacs, Pink Blush, 2024, oil on plywood, 122 x 84 cm.

Borrowed Landscapes, (installation view), 2024, image courtesy Mosman Art Gallery and the artists © the artists.

Photograph: Jacquie Manning.

Recirculate features works by: Linda Brescia, Peter Burgess, Tracey Clement, Rox De Luca, Adrienne Doig, Anna Dunnill, Nicholas Folland, Kath Fries, Agnieszka Golda, Locust Jones, Bridget Kennedy (+ Anna Davern, Sian Edwards, Jill Hermans, Regina Krawets, & Melinda Young), Ben Quilty, Lucienne Rickard and Lachlan Warner.

To highlight the urgency of re-using and using less, the show is presented in conjunction with international Buy Nothing Day.

This Is How We Love is an enveloping multichannel sound installation that invites audiences into a community of sound and love. The poem, originally written by Jazz Money for World Pride in Sydney 2023 was arranged for a choir by composer Joseph Twist. Presented here as an immersive audio work, the piece was recorded with members of the Sydney Gay and Lesbian Choir to emphasise queer systems of care and reciprocity.

19 October 2024—2 February Between Me and the Sea Jennifer Blau Between Me and the Sea is about the feeling of living in a perpetual state of uncertainty. In this series she explores the idea of a ‘liminal space’ between love and loss, the secure and the unknown, presence and impermanence.

15 February—16 March Artists of Mosman 2088 Various artists Artists of Mosman 2088 presents a survey exhibition of the region’s thriving artistic community and includes works created

by Mosman residents as well as Members and Volunteers of Mosman Art Gallery.

15 February—27 April From Showgirl to Artist, a Synchronisation Virginia Bucknell 185

For the first time, 9 ancestral woven objects, held in the Australian Museum collection, will return to Country. These historic pieces will stand alongside newly commissioned works by contemporary Bundjalung, Yaegl, Gumbaynggirr, and Kamilaroi (Gamilaroi) artists, who have drawn from their great grandmothers’ wisdom to breathe new life into ancient weaving traditions.

TWEED REGIONAL GALLERY 22 February – 27 April 2025

An Arts Northern Rivers touring exhibition. This project was made possible by the Indigenous Visual Arts Industry Support Program, the NSW Government through Create NSW, the Dobell Exhibition Grant Program, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW, and the Australian Government Regional Arts Fund.

The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.

Open Wed – Sun | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

gallery.tweed.nsw.gov.au

tweedregionalgallery

NEW S OUTH WALES Mosman Art Gallery continued...

Elsewhere larger photographic works

by Brook Andrew, Mark Kimber and Sam Shmith illustrate ways in which landscapes of apparent grandeur are constructed for rhetorical purposes by artists, whether through reusing historical photographs, staging fabricated settings for the camera or digitally generating a scene.

This new work shares the significance of dance throughout Virginia Bucknell’s life, in particular her creative journey as a professional cabaret dancer and how it continues to inform her practice as a visual artist.

what, Instrument for measuring the universe, 2002–04. Hold the world to its word, 2024, Murray Art Museum Albury.

Photograph: Jeremy Weihrauch.

15 November 2024–2 March Michael Butler: love This exhibition brings together key works in collage, drawing, printmaking and assemblage by Michael Butler, focussing on love - an ongoing concern of his work.

The collection of works offers Butler’s view of love as an uncertain condition that exists between violence and bliss. love speaks to its subject as a complex and ever changing presence .

Hold the world to its word, (installation view), 2024. Murray Art Museum Albury.

Photograph: Jeremy Weihrauch.

Keith Rutherford, Stargardt Holes I, 2020, oil and sand on polyester acrylic canvas. Image courtesy and © the artist.

8 February—4 May Perfect Fog Keith Rutherford Rutherford has an eye condition Stargardt disease, which means he sees the world in a kind of fogy lullaby.

Each work is a celebration of arrival, the emotion tied to the journey and the joy upon completion.

Murray Art Museum Albury (MAMA) mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

See our website for latest information.

20 September 2024–16 March Hold the world to its word Hoda Afshar, Matthew Harris, Spence Messih, Stephen Ralph, Sandra Selig, Michael Riley, Susan Hiller, What, et al., The giving of one’s word is an act of promise – an assurance of hope. When fulfilled, the trust held between parties is maintained and perhaps strengthened.

But what of a failed promise? How do we contend with optimism denied?

Hold the world to its word recognises the notion of an inherently good and just world is a fragile one. That faith in promises held personally and collectively is easily eroded. The exhibition positions a group of artists within this environment of equivocal hope. The artists span geographies and generations, creating works that assert artistic agency and refute powerlessness while mapping delicate threads of connection between individuals. Key works address both cultural and personal pain and identify avenues of solace.

love features collages recently donated to the MAMA collection, alongside works that provide important context to Butler’s practice. The exhibition includes works made by Butler whilst living in Albury in the 1990s.

Museum of Contemporary Art Australia mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm.

Closed Tuesdays.

The artists offerings refuse the inwardness that can take root in times of doubt, instead suggesting that art can be an agent for good that questions, holds to account, and finds beauty and purpose in the world when optimism is lacking.

1 November 2024–27 April Dividing Range Brook Andrew, James Farley, Silvi Glattauer, Fiona Hall, Marion Hardman, Mark Hinderaker, Robert Jacks, Mark Kimber, Gloria Petyarre, Sam Shmith, Imants Tillers, Ingeborg Tyssen, Stephanie Valentin, Justine Varga, Robin WallaceCrabbe, Kim Westcott Taking its title from that of a featured work

by North-East Victoria based artist Kim Westcott, Dividing Range brings together a selection of photographs, prints and paintings from the Museum’s collection loosely connected by their explorations of human relationships to land and light.

A 1969 abstract painting by Robin Wallace-Crabbe flaring yellow sits between more recent large-scale photographic works by James Farley and Justine Varga produced through direct exposure of paper and film. Across the room a small black and white 1978 photograph by Mark Hinderaker of a television broadcasting a thermonuclear explosion depicts intensely concentrated energy and light.

Julie Rrap, SOMOS (Standing On My Own Shoulders), (detail), 2024, bronze, image courtesy the artist and Roslyn Oxley9 Gallery, Sydney © the artist, photograph: David Suyasa.

28 June 2024–16 February Julie Rrap – Past Continuous Acclaimed multidisciplinary artist Julie Rrap has examined representations of the body in art and popular culture for over 187

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NEW S OUTH WALES Museum of Contemporary Art continued... four decades, often using her own body as the subject. Julie Rrap – Past Continuous is a solo exhibition featuring the Australian artist’s ground breaking feminist installation Disclosures – A Photographic Construct (1982) in dialogue with new and recent works. Free admission.

NERAM is a leading cultural and arts tourism destination in regional Australia, and home to one of the nation’s most significant art collections outside the capital cities, holding a collection of over 5000 works of historical, modern and contemporary art.

NERAM presents a dynamic program of exhibitions, educational and public events.

Nasha Gallery nasha.com.au Gadigal Land, L1, 215 Thomas Street, Haymarket, NSW 2000 [Map 9] See our website for latest information.

15 November 2024—2 February Clay on Country Various Co-curated by Jo Foster and Neridah Stockley, and toured by Artback NT, Clay on Country: Ceramics from the Central Desert, is an impressive survey of ceramic practice that includes over thirty artists and collectives. Some are established ceramic artists others are incorporating clay into their practice for the first time, all have produced accomplished insightful and contemporary works that reflect the culturally and historically rich and complex region where they live and work.

15 November 2024—2 February Wild Rivers Lizzie Horne A journey to capture the essence of the wild rivers of New England on paper has taken Armidale printmaker Lizzie Horne far beyond the local gorge country. In Wild Rivers, Horne takes a deep dive into sugar lift etching, a process of spontaneity and precision, incorporating bold, painterly marks and all the discipline of chemical etching.

15 November 2024—2 February Fusion Max Powell

Simone Griffin, Gum leaves whirl, 2024, acrylic on linen, 140 x 110 cm, 55 ⅛ x 43 ⅓ in.

6 December 2024—28 January Sky Garden Simone Griffin

Helen Eager, New York Sunday 1, 1988, oil stick on paper on canvas. Courtesy the artist and Utopia Art Sydney.

New England ceramicist and artist Max Powell’s latest exhibition at NERAM explores how the synthesis of ideas transforms when using different media for expression in art making.

15 November 2024—2 February Inner/Space Helen Eager

7 February—6 April The Interior Natalya Hughes

This significant survey exhibition examines Helen Eager’s progression from interiors and still lifes to the pure abstract images that she is known for today.

With works sourced from the NERAM collection, Utopia Art Sydney, and the artist herself, the exhibition will celebrate Eager’s passion for colour, light, and deconstruction.

Natalya Hughes’ The Interior invites audiences into an exaggerated consultation room, playfully furnished for psychoanalysis. The immersive installation—combining sculptural seating, richly patterned soft furnishings, and uncanny objets d’art, nestled around a hand-painted mural—generates a stimulating space to unpack our collective and unconscious biases. The exhibition is presented by the Institute of Modern Art (IMA) and toured by Museums & Galleries Queensland.

National Art School NAS Gallery nas.edu.au

7 February–6 April Abstract Women Various

Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm.

Free admission.

See our website for latest information.

Abstract Women shines a spotlight on incredible works in the NERAM collections created by leading contemporary women artists including Vivienne Binns, Marion Borgelt, Elizabeth Coats, Pat Larter, Wendy Paramor, Marisa Purcell, Ann Thomson, Aida Tomescu, Maeve Woods, Margaret Worth and more.

7 February–6 April Oddity: Part 1 KHR Stewart

New England Regional Art Museum neram.com.au Anaiwan Country, 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

Hermannsburg Potters, Antala-iperra/ weather, 2022. Image courtesy of Sara Maiorino.

In Oddity Part 1 KHR Stewart explores the subliminal world of the subconscious, drawing from life experience in collaging influential moments in time and personal relationships interspersed with the surreal. Her current process involves collecting and combining photographs into digital tableaux which are then reproduced as detailed oil paintings.

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Australia’s Highest Value Art Prize for Women Professional Artist Prize $35,000 acquisitive Emerging Artist Prize $7,500 acquisitive Indigenous Emerging Artist Prize $7,500 acquisitive Peoples’ Choice Award $2,000, plus a $500 art pack NEW IN 2025 Prize money is also awarded to Highly Commended artists

Entries Open DST Eastern Australia 20 November 2024 to 5 March 2025 midday Opening Night 20 June 2025 Exhibition of Finalists (Free Entry) 21 June 2025 to 6 July 2025

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Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls P-12 10 Henry Street, Gordon NSW

Gaypalani Wanambi, excerpt from Dawurr 2024 Professional Artist Winner

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Touring Nationally New England Regional Art Gallery NSW 15 November – 2 February 2025 Central Goldfields Art Gallery Maryborough VIC 22 February 2025 - 22 June 2025 Bunbury Regional Art Gallery WA 6 September 2025 –18 January 2026 Geraldton Regional Art Gallery WA 7 February - 5 April 2026 Devonport Regional Gallery TAS 29 May 2026 – 25 July 2026

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Ngununggula ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

8 February—30 March Pursuit of Happiness Belem Lett, Brendan Van Hek, Rebecca Baumann, Christopher Langton

Orange Regional Gallery orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

7 December 2024–27 January HERE/NOW 7 December 2024—9 March Ann Thomson Phillip Spelma, Over The Moon, 2005.

Archibald Prize 2024 finalist, Angus McDonald, Professor Marcia Langton AO. © the artist.

30 November 2024—27 January Archibald Prize 2024 Adrian Jangala Robertson, Angus McDonald, Anna Mould, Ben Howe, Ben Smith, Camellia Morris, Caroline Zilinsky, Craig Handley, Dagmar Cyrulla, Daniel Kim, Danny Morse, David Griggs, Digby Webster, Drew Bickford, Eliza Bertwistle, Emily Crockford, Guido Maestri, Holly Anderson, Janis Clarke, Jaq Grantford, Jessie Bourke, Jill Ansell, Julian Meagher, Karen Black, Kean Onn See, Kelly Maree, Kirsty Neilson, Kris Andrew Small, Laura E. Kennedy, Laura Jones, Laura Peacock, Liz Sullivan,Marcus Wills, Matt Adnate, Meagan Pelham, Mia Bowe, Mostafa Azimitabar, Natasha Bieniek, Natasha Walsh, Nick Stathopoulos, Nicola Higgins, Oliver Watts, Paul de Zubicaray, Robert Fielding, Sally Ross, Samuel Leach, Scott Marsh, Shaun Gladwell, Simon Richardson, Stephanie Galloway Brown, Thea Anamara Perkins, Thom Roberts, Tim Owers, Tsering Hannaford, Whitney Duan, Yoshio Honjo, Zoe Young.

5 more magnificent pieces of artwork to add to the collection. Since then, Outback Arts has continued to receive many more pieces from their generous donors. In total Outback Arts has more than 40 pieces, in varying mediums from painting through to sculpture and photography and in size, very large to the very small.

Penrith Regional Gallery Clarice Beckett, Evening landscape, c 1925, National Gallery of Australia, Kamberri/Canberra, purchased 1974.

7 December 2024—9 March Clarice Beckett: Paintings from the National Collection December 2024—9 March Local Artists Response to Clarice Beckett

Darug Country, 86 River Road, Emu Plains, NSW, 2750 02 4735 1100 Mon to Sun 10am–4pm.

See our website for latest information.

Outback Arts Gallery outbackarts.com.au Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

January–February The Collectors Outback Arts has been very fortunate to have been approached by two private art collectors, Yvon Gatineau and Peter Jackson, in 2005 with their intention to donate some original artworks to Outback Arts. Their idea being for the far west region to gain access to predominately modern art pieces that they have painstakingly collected over the years and which are normally easily accessible to city dwellers.

Belem Lett, Sunshine (Colour octagon 1), 2022. © the artist.

penrithregionalgallery.com.au

Due to the remoteness and lack of cultural infrastructure in the far west region they wanted the communities to view and enjoy the pieces that they have gained so much pleasure from. In mid September 2007, Outback Arts received

Anna Louise Richardson, On the hunt, (installation view), 2017, charcoal, acrylic, pastel and glow in the dark acrylic on cement fibreboard, 215 x 345 cm. Courtesy of the artist. Photograph: Docqment.

9 November 2024—26 February Spot the Difference Abdul-Rahman Abdullah, Billy Bain, Daniel Boyd, Shannon Boyd, Blak Douglas, Troy Emery, Lyndal Irons, Claudia Nicholson, Jason Phu & Maja Baska, Anna Louise Richardson, Kate Rohde, Osselan Tupai Scanlan, Regina Walter, Chris Whiticker & Linda Brescia.

What’s the difference between fact and fiction? Can you spot the difference?

Ask anyone in Penrith, and they will have heard of the myth of the panther. In fact, most have seen it, or know someone who has. With origins that span from circus 191

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NEW S OUTH WALES Penrith Regional Gallery continued... escapees, World War II mascots, and the trade of exotic animals from the 19th Century, it’s a tale that has people sitting in one of two camps – fact or fiction. Spot the Difference brings together artists from Penrith and across Australia to celebrate and interrogate the story of ‘The Big Black Cat’ as a foundational mythology for our region. Working across drawing, painting, sculpture, fashion and installation, these artists highlight the varying origins of the mythology, and the ways in which the story is being told and retold today. Spot the Difference is supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.

Performance Arts Culture Cessnock | PACC mypacc.com.au 198–202 Vincent Street, Cessnock NSW, 2325[Map 12] 02 4993 4266 Tue to Fri 9am–4.30pm, Sat and Sun 10am–2.30pm.

2 November 2024–5 January Lionel’s Place: Lionel Lindsay from The Maitland Regional Art Gallery Collection Lionel’s Place showcases more than 140 artworks created by Lionel Lindsay, an artist who honed his skills in etching and wood engraving so finely that by 1927 he was hailed as the most internationally successful Australian printmaker of all time. This exhibition showcases the artist’s etchings, wood engravings and watercolours, works on paper rich in visual texture, and depicting scenes from abroad and closer to home, exotic and domestic animals and birds, and the lushness of gardens, floral abundance and portraiture. Lionel’s Place is a Maitland Regional Art Gallery Touring Exhibition.

Felix Jackson. Courtesy the artist

Zoe Tjanavaras, Holding hands with you is like a blanket over me, (detail), 2022, wheel thrown and hand built white earthenware clay with satin glaze, 38 x 25 cm. passion for the medium. Opening event, Saturday 18 January, 12noon–2pm.

PIERMARQ* 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.

9 November 2024—26 February transcript Felix Jackson Penrith Regional Gallery is proud to present, transcript, the first solo exhibition by local artist Felix Jackson (they/them).

Based in St Clair, Felix’s practice is rooted in autobiography, drawing upon lived experience and communicated through sculpture, installation and performance.

Their practice draws on familiar materials, reclassifying them through material transformation and a shift in context, prompting audiences to consider their own relationship with the everyday. transcript is presented in the Loungeroom Community Gallery and comprises a selection of works created over the last two years. For Felix, these works – individually and as a whole – suggest a transcription of their personal and artistic growth and offer an archive of this period of time.

9 November 2024—26 February Magic Malfunction Marian Abboud and Vicki Van Hout A collection of archival research and unfinished works traversing video, installation, and traditional forms of making are brought together to circulate themes of process, logic, discussion and research, rationalising the bizarre until it becomes a truth of sorts. Speaking to the intersection of technology, culture and identity, Magic Malfunction considers the magic – both ancient and modern – that permeates our daily lives and rituals.

Tracie Bertram, Bird Goddess, 2023, ceramic with various glazes, nail polish, 67 x 25 x 24 cm.

18 January—23 February Confluence: Contemporary ceramics from Kil.n.it and Hunter region artists Confluence brings together the dynamic works of 35 talented ceramic artists, showcasing the diverse and captivating realm of contemporary ceramics. The exhibition features innovative pieces from the renowned kil.n.it experimental ceramics studio in Sydney, alongside selected artists from the Hunter region.

The convergence of these two groups in Confluence fosters an engaging interplay between different artistic approaches and philosophies. It offers viewers an opportunity to experience a broad spectrum of ceramic artistry, celebrating both the individuality of each artist, and the shared

Cannon Dill, Slow Ride Home, 2024, acrylic on canvas, 183 x 152 cm.

6 February—8 March Cannon Dill

Thérèse Mulgrew, Shrimp Cocktail, 2024, oil on canvas, 30.5 x 40.6 cm.

20 March—19 April Thérèse Mulgrew 193

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Redfern Art & Ceramic Gallery redfernartgallery.com.au Gadigal Country, 80 Redfern Street, corner Redfern and Chalmers Streets, Redfern, NSW 2016 [Map 9] 0478 473 041 Fri 3pm–5pm, Sat 10am–4pm or by appointment.

We work with high quality emerging and mid-career artists, through to Australian investment artists. We sell on consignment works by; Sidney Nolan, Adam Cullen, Martin Sharp, McLean Edwards, Arthur Boyd, Charles Blackman, Garry Shead, Fred Williams, John Firth-Smith, Albert Tucker, Trevor ‘Turbo’ Brown, Mimi Jaksic-Berger, and James Gleeson among others.

Roslyn Oxley9 Gallery 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.

6 December 2024—January Works on Paper Del Kathryn Barton, Tom Polo and Jenny Watson 6 December 2024—January Indulkana Soup Kaylene Whiskey 31 January—1 March Yalmakany Marawili

Mid Century Australian Ceramics and Pottery.

Specialists in collectable, and affordable, Australian art and Australian and Japanese ceramics, pottery, glass and lamps from the 1950s–1980s. The gallery focuses on visual artists that emigrated to Australia after World War II and Australian female artists from this period.

The gallery also exhibits and teaches Japanese Ikebana flower arranging.

Our favourite visual artists: Dorothy Atkins, Joan Beck, Judy Cassab, Tony Costa, Stanley De Teliga, Thomas Gleghorn, Harold Greenhill, Jean Isherwood, Louis James, Ena Joyce, Keith Looby, Jeffrey Makin, Ignacio Marmol, Rodney Milgate, Carl Plate, John Rigby, Joe Rose, Dora Toovey, Phylis Waterhouse and Reinis Zusters.

Our favourite Australian ceramicists, potters and glass blowers: Peter Andersson, Christine Ball, Rick Ball, Lindsay Bedogni, Les Blakebrough, Richard Brooks, Greg Daly, John Dermer, Gillian Dodds, Phyl Dunn, Rudolf Dybka, Ivan and Patricia Englund, Robert Foster, Victor Greenaway, Malcolm Greenwood, Andrew Halford, Campbell Hegan, Jean Higgs, Brian Hirst, Ian Lamb, Jane Lanyon, Col Levy, Robert Mair, Barbara Mason, Suzie McMeekin, Reg Preston, David and Sue Rivett, Keith Rowe, Peter Rushforth, Bernard Sahm, Joe Sartori, Shigea Shiga, Mitsuo Shoji, Derek Smith, Ian Sprague, Peter Travis, Jan Twyerould, Robert Wynn and many other lesser known Australian potters.

Rex-Livingston Art + Objects rex-livingston.com Dharug and Gundungurra Country, 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. See our website for latest information.

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Rusten House Art Centre Nick Stathopolous, Deng, 2016, acrylic and oil glaze on canvas, 138 x 138 cm.

4 January—2 February Textures & Details Nick Stathopoulos Although known for his hyper-real Archibald portraits, including the pictured work, Deng, 2016, (which won numerous People’s Choice awards in the 2016 Archibald Prize and subsequent travelling exhibitions), this exhibition of mainly recent work showcases the extraordinary range of his talent. Subjects vary from delicate floral still-life to jewel-like miniature landscapes full of expressive textures and detail.

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.

Reopening 15 January.

Rusten House Art Centre is an 1862 NSW Heritage listed building that was Queanbeyan’s first hospital. It has been restored for reuse as a regional gallery and workshop facility, opening for the first time to the public from April 2021.

It boasts many original architectural features and is accompanied by a heritage listed garden. Rusten House is owned and operated by QueanbeyanPalerang Regional Council.

Steve Singline, Yearn, 2024, oil on canvas, 92 x 85 cm.

2 February—2 March Transience Steve Singline Somehow, we can find ourselves in the ‘midst’ of things seemingly beyond us.

There may be an ache to move beyond the uncertain fragile moments that can at times be hard to fully grasp. This latest series of works is an exploration of ‘stages between’. Maybe the past is not fully behind us and future is still not clear. In some traditions this is referred to as the liminal space. I have sought to convey moments that feel like a state of transience, the space between the past and future.

Rusten House Art Centre.

January–February Rotating digital and pop-up exhibitions On display at Rusten House Art Centre from mid-January, continuing into early February. Included in these showcases will be: Highlights of the 2024 Art Awards The 2024 QPRC and Bendigo Bank Art Awards exhibited and celebrated artworks from 70 artists across the Queanbeyan-Palerang Region. This

NEW S OUTH WALES exhibition presents a visual slideshow of the works that were a part of the 2024 exhibition.

History of Rusten House This exhibition showcases the history of Rusten House which was first built as a hospital in 1862 and later restored and reopened as an Art Centre in 2021.

The exhibition shows photographs of the people, stories, and history of the building, navigating curious insights into Rusten House in the nineteenth and early twentieth century.

SCA Gallery 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.

S.H. Ervin Gallery 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.

last 25 years he has distilled and refined his use of light, space and time to create atmospheric paintings and prints that push the potential of an image. Presented in association with Orange Regional Gallery. Exhibition publication supported by the Gordon Darling Foundation.

South East Centre for Contemporary Art secca.com.au Yuin-Monaro Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am– 2pm. Closed Sun and public holidays.

See our website for latest information.

Pennie Steel, Landscape.

January–February Viewings and artworks by Pennie Steel and Brian Reid By appointment.

Shirley Hannan National Portrait Award 2024 selected finalist images L-R: Liam, Leaning by Elizabeth Barden, Today Was a Good Day by Joe Blundell, Introducing Andy by Catherine Miles, The Green Man

by Evan Shipard, Support Crew by Lucy Culliton, Jake Dreaming by Russell Carey, Mother and Daughter by Nick Offer.

30 November 2024—1 February Shirley Hannan National Portrait Award exhibition

SteelReid Studio

Sullivan+Strumpf Gadigal/Sydney sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

See our website for latest information.

Peter Godwin, Studio interior with Eastern Grass Owl, 2022, tempera emulsion and oil on linen, 153 x 153 cm.

4 January—2 March Space Light and Time Peter Godwin This survey exhibition focuses on Godwin’s prints and paintings from 20002025, in which he has honed a distinctive, painterly language that immerses us in new worlds. The worlds of Peter Godwin are ever-changing and allusive. In his interiors, still life and landscapes he presents memories of other places. Working from his studio on the central coast of NSW, Godwin recalls places, images and objects into his evocative compositions. Over the

Dhopiya Yunupiŋu, Marwat, 2024, earth pigments on stringybark, 145 x 80 cm.

30 January—22 February Marwat Dhopiya Yunupiŋu

Brian Reid, Pen and wash drawing.

30 January—22 February Mangali Origins Wayilkpa Maymuru 195

Geraldine Richards, Fantasy Hills VIII, acrylic on canvas, 101 x 153 cm.

Miranda Hampson, BURNED, acrylic on linen canvas. Black frame, 76.2 x 76.2 cm.

Scieppan Gallery Shop 2/1 Francis St, Darlinghurst, NSW 2010 0420 818 028 scieppan.com.au info@scieppan.com.au Scieppan Gallery is a contemporary art gallery located in the heart of Sydney, next to Hyde Park.

We represent high-calibre and emerging artists in a diverse disciplines of visual art. scieppan.com.au

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Straitjacket straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 See our website for latest information.

Open by appointment during January, closed February.

7 December 2024–2 February Synergy - pattern and patina Christine Murphy and Sandra McMahon Sharing an appreciation for a minimalist philosophy, this exhibition presents the ceramic pieces created by Christine Murphy alongside the paintings by Sandra McMahon. This exhibition explores the relationship between 3-dimensional form and 2-dimensional works on board.

A synergy of ideas between the works has resulted in an interesting dynamism and tension between the works and, as such, an exhibition of quiet contemplation.

Tin Sheds Gallery sydney.edu.au/tin-sheds

Ellie Kaufmann, Sentimental sanctuary, 2024, oil on ply, 44 x 60 cm.

Gadigal Land, 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

7 December 2024—31 January Summer Salon 24/25 Open by appointment during January.

Tamworth Regional Gallery .

tamworthregionalgallery.com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.

Denis Beaubois, To Fill the Air, 2024, 4K video.

20 February–4 April Indivisible Denis Beaubois

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm.

See our website for latest information.

Arts Northern Rivers, Bulaan Buruugaa Ngali …we weave together. Photograph: Kate Holmes.

22 February—27 April Bulaan Buruugaa Ngali Exhibition Bulaan Buruugaa Ngali Exhibition is a momentous homecoming of ancestral heritage, touring Bundjalung lands in the Northern Rivers. This reclamation project, presented by Arts Northern Rivers and curated by Kylie Caldwell, presents 9 ancestral woven objects on loan from the Australian Museum, alongside new work by contemporary Bundjalung, Yaegl, Gumbaynggirr, and Kamilaroi (Gamilaroi) artists who have drawn from their great grandmothers’ wisdom to breathe new life into ancient weaving traditions.

This project was made possible by the Indigenous Visual Arts Industry Support Program, the NSW Government through Create NSW, the Dobell Exhibition Grant Program, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW, and the Australian Government Regional Arts Fund.

14 February—4 May Porcelain Places Dawn Walker Porcelain Places by regional artist Dawn Walker presents a new body of oil paintings capturing vintage souvenirs from the Tweed and surrounds. Through her work Walker explores the popular appeal of the souvenir, evoking a sense of nostalgia for the familiar while presenting a new meaning for the once treasured tokens of place. A Tweed Regional Gallery initiative. An outcome of the PLATFORM program.

7 February—26 October The Comfort of Home Tweed Regional Gallery collection The Comfort of Home presents works from the Tweed Regional Gallery collection that explores the home as sanctuary – our own individual corner of the world.

Jeanette Stok, Inherited Borders, 2017, galvanised wire, wire mesh, 1800mm x 440mm. Purchased by the Tamworth Regional Gallery Friends.

30 November 2024—26 January 50 to 100 Jeanette Stok

“To be at home is to have a sanctuary of sorts—one characterized by familiar and localizable ways of being—through which the outside world can be temporarily set aside. It is a place where one feels sheltered from outside intrusions and considerations, and given a place to recollect oneself in a space of familiarity.”

– Jacobsen, 2009.

Zion Levy Stewart, Birds and Bees, 2023, acrylic on canvas, 76 x 76 cm. Image courtesy the artist. © The artist.

Includes works by Cressida Campbell, Margaret Olley, Hiromi Tango and more.

Zion Levy Stewart is an artist with Up Syndrome (generally called Down

14 February—4 May Life is Art Zion Levy Stewart

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The University Gallery

14 February—4 May James Barth: The Clumped Spirit

Syndrome.) His infectious zest for life is chronicled through his art, sharing with us his unique and positive view on life. Through a series of vibrant acrylic paintings, Life is Art invites viewers to enter an innocent, naïve world of quirky people, birds and animals, and share in the joyful visions of Stewart’s world.

newcastle.edu.au/ universitygallery

New paintings, video works, and 3D-printed sculptures exploring self-representation and embodiment themes. The third in a series of commissions funded by the Copyright Agency Cultural Fund.

A Tweed Regional Gallery initiative. An outcome of the PLATFORM program.

Until 2 February Wynne Prize 2024 The Wynne Prize 2024 is an Art Gallery of New South Wales touring exhibition.

This project is proudly supported by the NSW Government through Create NSW’s Blockbusters funding initiative

Awabakal and Worimi Country, The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] 02 4921 5255 See our website for latest information.

The University Galleries creates inclusive and exciting opportunities for staff, students, and artists to engage with each other and the wider public through art and culture.

Until 9 February Vestiges Emily-Sarah Boldeman Until 9 February Portraits of Love: A Mother’s Perspective Meli Axford Until 2 March A Dictionary for Painting: Margaret Olley, Robert Malherbe and Keith Burt Until 16 March Stillness: And a touch of reticence Tweed Regional Gallery collection.

Tyger Gallery tygergallery.com.au Memorial Hall, 84 Comur Street, Yass on Ngunnawal Country, NSW 2582 0466 243 684 Thu to Sat 10am–3pm, Sun 11am–3pm.

See our website for latest information.

Tyger Gallery is passionate about art which connects with the natural world and art which tells the story of connection. We specialise in contemporary Australian art by emerging and established artists from the Southern Tablelands and beyond.

Image courtesy Howard Sooley.

14 February—4 May Derek Jarman: Delphinium Days Cultural enrichment workshop, 2023. image courtesy of Speaking in Colour.

22 November 2024—1 March Cultural Resurgence Cherie Johnson and the team at Speaking in Colour, as well as students and community members.

A collection of works from 600 school students and community members who engaged in cultural enrichment activities guided by Speaking in Colour, a First Nations education and consultancy company.

UNSW Galleries 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.

This first exhibition in Australia of artist and activist Derek Jarman, one of the most important and influential figures in twentieth-century British culture.

Delphinium Days brings together rarely seen paintings and films alongside photography and archival materials.

Wagga Wagga Art Gallery waggaartgallery.com.au Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm, closed Mondays.

Free admission.

See our website for latest information.

Sophie Honess, Rest, (detail) 2023.

2 November 2024—31 January Residue + Response: Tamworth Textile Triennial 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.

Ann Rayment, Glass Half Full, mixed media on canvas, framed, 42 x 52 cm.

19 December 2024–9 February Summer Showcase Tyger sees in the new year with a stockroom show including new works from Moody Rabbit (Hannah Goggs), Martine Zajacek, Nigel Killalea, Ann Rayment and more.

James Barth, Stone Milker, 2023. Image courtesy of the artist and Milani Gallery, Meanjin/Brisbane.

29 October 2024—19 January Understories Christopher Orchard, Timothy Crutchett and Damian Moloney Sculpture, video, audio and text based multimedia storytelling combine in an 199

Works by: N. Harding, D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, 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 and many others.

Nicholas Harding, King Street Newtown, mixed media on paper, 133 x 140 cm.

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

fmelasgallery.com.au

BCFA will reopen for 2025 in late January. During the holiday season, we feature Art Deco aficionado, John Klein. Imaging our national flowers in Objets d’Art from his own collections, Klein’s style reflects 1930-50’s modernity.

John Klein, b.1964, Sydney, Flannel Flowers in Art Deco Vase, oil on canvas, framed in oak, 76 x 102 cm.

78B Charles Street, Putney, NSW, 2112 Tue & Wed by appointment, Thu–Sat 10am–5pm 02 9808 2118 brendacolahanfineart.com

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Watt Space Gallery

immersive installation exploring the interconnected stories of eight critically endangered species from local ecological communities.

newcastle.edu.au/ wattspacegallery

5 November 2024—9 February Look at Me Selected works from Wagga Wagga Art Gallery’s print and art glass collection.

Developed and designed by emerging curators and presented in partnership with University of Sydney’s Heritage and Museum Studies program.

Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733

Wollongong Art Gallery wollongongartgallery.com Dharawal Country, Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

14 September 2024—26 January Nicholas Burridge: Terraformed Terraformed presents newly commissioned work from Australian sculptor Nicholas Burridge which continues his material investigation into volcanic rock basalt. Speaking to deep time, geological forces and the culpability of the human hand.

Play has a dark side which frequently makes waves in popular entertainment, video games, and media. Art, too, becomes an arena for toying with taboo themes and pushing social boundaries to their limits.

Through their tongue-in-cheek creations, the artists in XSWL shatter once-innocent veneers, warning us that it’s all fun and games…until someone loses an eye.

Ken O’Regan, Fractured Sanctuary Configuration IV & V, 2019-2023, reused plastic objects, cable ties, steel wire, timber, light.

11 December 2024—8 March Light source Kris Smith, Ken O’Regan and Chris Brown Three multi-disciplinary Newcastle artists who use light as their primary medium, with a focus on environmental concerns.

Wester Gallery wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 See our website for latest information.

Mei Zhao, Untitled, (detail) 2024.

15 February—25 May Remapping Erased Landscapes: Aliens on Alien’s Land Mei Zhao This multimedia exhibition explores the visual forms of disappeared Chinese presence and market gardens, in the Riverina region.

15 February—27 April Bundanon Fantastic Forms Nabilah Nordin, Stephen Benwell and Rubyrose Bancroft

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org 30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

9 November 2024—6 April Shape Shifters: A Retrospective of Australian Collage Tony Albert, Suzanne Archer, Country Women Artists (Northern Rivers Chapter), Malcolm Benham, Lee Bethel, Garry Jones, Robert Klippel, Edith Kouto, Diego Latella, Alun-Leach Jones, Elwyn Lynn, Arthur McIntyre, Allan Mitelman, Jenny Orchard, John Peart, Marilyn Puschak, Martin Sharp, Vicki Varvaressos, Brett Whiteley, Grace Crowley, Ross Crothall, Isabel Davies, Karla Dickens, Elizabeth Gower, Barbara Hanrahan, Paul Higgs, George Johnson, Deborah Kelly, Eveline Kotai, Helen Lempriere, David McDiarmid, Fiona MacDonald, Bridgid McLean, Elizabeth Newman, John Nixon, Carl Plate, Kurt Schranzer, Gareth Sansom, Sandra Selig, Madonna Staunton, Ann Thomson and Meredith Turnbull Curated by Angie Cass, Shape Shifters examines how the use of re-purposed materials, concepts and subjects have evolved within an Australian context.

Many artists, beginning in the early twentieth century, have manipulated their images with adjuncts to do many things: to correct drawings, to play with composition, to decorate, and to make social and political comment.

Featuring over 200 works from the Bundanon Collection in dialogue with new large-scale sculptures, a series of ceramic figures, and stop-motion videos.

15 February—27 April Radial Sign Lisa Sammut Working in sculpture, video and installation, Sammut’s immersive installations use a wide range of media exploring her interest in celestial phenomena and human narratives..

Leonie Reisberg, Mythological dream, 1980, collage of gelatin silver and Polaroid photographs, 24.9 x 37.1 cm.

Collection of the Art Gallery of New South Wales.

Yan Jingzhou 闫镜州, 857 857, 2022, acrylic on canvas, 87 x 160 cm. Image courtesy of the Artist and the White Rabbit Gallery.

18 December 2024—18 May XSWL Group exhibition

30 November 2024—11 May A Road Less Travelled: A Survey of Lustre Ceramics For three decades, John Kuczwal has perfected his craft in the reduced lustre pigment ceramic technique—a method first discovered in the 9th century Islamic 201

ar t g ui d e .c o m . au

Wollongong Art Gallery → Sarah Contos, Crushing Shrinking Violets, 2024, (detail). Courtesy of the artist and Station, Australia.

Wollongong Art Gallery continued... world. Today, only about 20 potters worldwide maintain mastery in this complex and challenging ceramic process. From its ancient Middle Eastern beginnings to contemporary pieces, this exhibition offers a rare glimpse into the world of Islamic art rarely seen in Australia.

Historical lustre ceramics featuring works from Iraq, Iran, Spain and Italy, and contemporary works by Alan Caiger-Smith (UK), Sutton Taylor (UK), Alan Peascod (AUS), John Kuczwal (AUS), Bob Connery (AUS), Jonathan Chiswell-Jones (UK).

Also included are contemporary works from Arturo Benavent (Spain) and Abbas Akbari (Iran).

02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.

See our website for latest information.

life on surfboards and fiberglass canvases - a celebration of the laid-back spirit of the Mid North Coast.

Permanent Museum Exhibition Yaamanga Around here Yaamanga Around here explores the history and identity of the Coffs Coast through themes of the harbour, headlands and hinterland. Gumbaynggirr culture is the central focus with the specially commissioned Daalga Nginundi Wajaarr (Sing Your Country), created by ZAKPAGE. Dive into local stories that are surprising, thought-provoking, playful and inspiring.

30 November 2024—30 March In Essence: Contemporary Photography and Film from the Collection Riste Andrievski, Pat Brassington, David Capra and Teena, Katthy Cavaliere, Stephen Dupont, Will Edgar, Anne Ferran, Lesley Goldacre, Warwick Keen, Tracey Moffatt, Simone Rose, Joanne Saad, Robyn Stacey, Christian Thompson, Jemima Wyman, William Yang and Anne Zahalka 6 December 2024—30 May Sarah Contos: Crushing Shrinking Violets Commissioned as the first in a series of biannual artist projects responding to Wollongong Art Gallery’s exterior panels, Crushing Shrinking Violets is a bold digital collage patterned from some of the recurring tropes of Contos’s visual language – studs, chains, tulle and cats. Intended to wrap and bind the grandeur of the building in fancy dress, Crushing Shrinking Violets is a playful ode to the exposure of private reverie through public display.

Yarrila Arts and Museum yarrilaartsandmuseum.com.au Gumbaynggir Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 202

Brandt Mackney, Last Light, 2022, digital photograph. Image courtesy of the artist.

Glenn Barkley, thatisnocountry4oldmen (sailing2byzantium), detail, 2022.

Photograph: Greg Piper.

23 November 2024—2 February Swell Chasers: Surf Stories from the Mid North Coast

15 February—30 March SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022

Swell Chasers: Surf Stories from the Mid North Coast examines our relationship with the ocean and how surfing has left a lasting, salt-stained mark on our region.

The exhibition features the boards, shapers, breaks, localisms, underground talent, photographers, writers, filmmakers and surfing icons. Interweaving social and cultural history with the work of contemporary artists, Swell Chasers will take you on a journey to the headlands and bays of the Mid North Coast.

A special ADC On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary.

Artists include: Glenn Barkley, Alison Milyika Carroll, Kirsten Coelho, Greg Daly, Pippin Drysdale, Dan Elborne, Penny Evans, Honor Freeman, Susan Frost, Shannon Garson, Patsy Hely, Jeffery Mincham, Damon Moon, David Ray, Ben Richardson, Tania Rollond, Owen Rye, Jane Sawyer, Yul Scarf, Vipoo Srivilasa, Kenji Uranishi, Gerry Wedd.

23 November 2024—2 February Heading North: Mulga Mulga’s new exhibition Heading North brings funky animals and summer vibes to

A–Z Exhibitions

Queensland

JANUARY/FEBRUARY 2025

ROBYN BAUER STUDIO

54 Latrobe Terrace, Paddington, QLD 4064 Gallery open Saturdays only, 9.30am – 4.30pm or by appointment 0404 016 573 Insta. @robynbauerstudio2 @sarah.matsuda www.robynbauerstudio.com www.sarahmatsuda.com robynbauerstudio.com

sarahmatsuda.com

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 204

arthousenorthside.com

www.arthousenorthside.com

QUEENSLAND

Artspace Mackay artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission.

See our website for latest information.

18 January—30 March I, Object

Thea Anamara Perkins, Dylan Mooney, 2024, acrylic on board, 30 x 40 cm.

Image courtesy of the artist and N.Smith Gallery.

18 January—6 April Thea Anamara Perkins: Dualities

performances. Headlining the festival is Grammy-nominated supergroup Bonny Light Horseman, blending timeless folk with contemporary artistry. Experience the electric energy of the “Sultans of Sahara”, Etran de L’Aïr, whose desert blues grooves will transport you to West Africa.

The mesmerising Camille O’Sullivan, known for her dramatic and emotive interpretations of songs by Nick Cave, Bowie, and more will also put on an extraordinary performance. With additional acts yet to be announced, OHM promises a diverse, genre-defying program that redefines live music. Don’t miss this celebration of sound, storytelling, and culture in Brisbane’s iconic creative hub. Tickets available now at brisbanepowerhouse.org

Caboolture Regional Art Gallery moretonbay.qld.gov.au/ caboolture-gallery

Danish Quapoor, undocking, 2021, acrylic and paint pen on stretched paper, 50.5 x 40.5 cm. Photograph: Amanda Galea.

18 January—6 April Danish Quapoor: The Wall (departed) 18 January—6 April Focus on the Collection – Anneke Silver: Iconic Moments

Brisbane Powerhouse brisbanepowerhouse.org Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] 07 3358 8622 Open daily, 9am—late.

February—March Festival of Other Music OHM The OHM Festival of Other Music returns to Brisbane Powerhouse this February - March, celebrating boundary-pushing artists and unforgettable live

Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

4 December 2024—8 March Maximum Madness: Art Inspired by Mad Max Isabel & Alfredo Aquilizan, Karike Ashworth, Martin Bell, Penny Byrne, Patrick Connor, Rod Coverdale, Alex Cowley, Claire Healy & Sean Cordeiro, Emma Gardner, Shaun Gladwell, Franck Gohier, David Griggs, Reg Mombassa, Adam Norton, Phoebe Paradise, Brian Robinson, David Sawtell, Ian Smith, Karen Stephens, Brendon Tohill and Paul White.

George Miller’s genre-defining Mad Max film series has grown from a tense, low-budget Ozsploitation cult hit into a sprawling post apocalypse action opera, redefining science fiction along the way. A complex and compelling mashup of biker, gearhead, Queer and beefcake cultures and their associated aesthetics, Mad Max has become a cosplay favourite, and has become massively influential in cultural terms, being ripped off, satirised and idolised by sources as varied as The Simpsons, Phil Collins, video games and pro wrestling. With its grab bag aesthetics, subversive politics and lustful, irreverent

Frank Grohier, Max Rockatansky, 2023.

Black wattle, flattened baked bean tins, sheet aluminium, etch primer, nails, artist acrylic and found objects.

Courtesy the artist. approach to Australian hoon culture, Mad Max has remained a cultural touchstone, and a highly influential convergence of tropes, images and iconoclasm, ideal inspiration for visual artists. Bringing together a range of artists paying homage to their favourite post-apocalyptic (anti) hero, it’s time for Maximum Madness.

“Maximum Madness: Art Inspired by Mad Max is a Rockhampton Museum of Art touring exhibition curated by Jonathan McBurnie, supported by Rockhampton Regional Council and Haymans Electrical.

Caloundra Regional Gallery 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.

13 December 2024—2 February Nature and Culture – animal as object Deb Mostert Based on years of observation and research within the bird and mammal collections at the Queensland Museum, Deb Mostert seeks to explore the objectification of animals in nature through taxidermy, and in culture through the souvenir. Nature and Culture - animal as 205

ar t g ui d e .c o m . au Caloundra Regional Gallery continued...

Court House Gallery, Cairns cairns.qld.gov.au/ courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

See our website for latest information.

Deb Mostert, Shrimp Hook Plush Whale, 2023, oil on canvas, 106 x 80 cm. Photograph courtesy of the artist. object examines how we have and are creating facsimiles of our natural world and profiting from these copies despite the real risk of losing the originals.

13 December 2024—2 February Highlighting the Collection – Recent donation – Wendy McGrath-Lakeland These artworks represent Wendy McGrath-Lakeland practice of combining printmaking, painting, installation, and mixed media works on paper, to translate the ephemeral elements of a landscape such as energy and embedded memory, the ephemeral ….as we experience landscape through all of our senses. The series has been generously donated to the Sunshine Coast Art Collection by the artist Wendy McGrath-Lakeland.

Martine Perret , Levi and Keneisha, Floating in the clay pan, Wiluna Mission, WA. 17 January–22 February Paper Tigers: An Anthology of Australian Photojournalism by Head On Foundation Curated by Moshe Rosenzveig OAM and Brian Cassey.

A celebration of Australian photojournalism, Paper Tigers features sixty images from sixty of the best Australian photojournalists. The need for truthful journalism has never been more dire. It is through the lens of these photographers that we understand and experience much of the world’s events.

Look back at the most critical moments through recent Australian history, and the images by which we remember them.

Gallery 48 gallery48thestrandtownsville.com

David Rankin, Crossings – Pink, 2005, acrylic and charcoal on paper, 56 x 76 cm. Gift of Dr Peter and Christine Bundesen AM, 2024, Sunshine Coast Art Collection. Image courtesy of the artist.

Photograph: Vivid Photography.

7 February—6 April Latest & Greatest III Caloundra Regional Gallery presents the third in the series of the Latest & Greatest exhibitions that display a diverse snapshot of collecting over the last two years (2023 and 2024) by the Sunshine Coast Art Collection. The exhibition celebrates the recent additions to the art collection by artists, collectors, and local in our region, whilst acknowledging philanthropy as a driver for growth of the collections and regional identity.

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Mia Boe, The Design, 2024, oil and acrylic on linen.

30 November 2024—16 February Mia Boe: Guwinganj Mia Boe is a Melbourne-based painter from Brisbane with Butchulla and Burmese ancestry. Her work is influenced by the inheritance and ‘disinheritance’ of these two cultures, often responding to the British Empire’s deliberate and violent interferences with the cultural heritages of Burma/ Myanmar and K’gari. Through her unique depiction of elongated figures and stylised landscapes, Boe records and recovers Indigenous histories in a contemporary context, fusing the personal and historical.

Mia Boe’s solo exhibition has been developed on Butchulla Country as the recipient of the 2024 Fiona Foley residency.

21 September 2024— 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. Featuring works made from 1936 to 1997, each grouping of works of art acts as an entry point into a thread of Australian art history.

Considered together, the works in National Interests paint a picture of Australia’s search for a national identity in a rapidly changing cultural landscape. National Interests includes works on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

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, and Fridays by appointment.

1 January—31 February Summer Exhibition at Gallery 48 Vincent Bray, Avryl Bunny, Jim Cox, Sylvia Ditchburn, Josephine Forster, Sandi Guy, Anne Lord, Laurna Love and Anneke Silver.

Hervey Bay Regional Gallery hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Badtjala Country, Hervey Bay, QLD 4655 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed Monday & public holidays.

Tiyan Baker, Bamboo Paradise, 2019, installation view. Photograph: Dan McCabe.

QUEENSLAND 30 November 2024—16 February Picturing the End Depictions and predictions of civilisational collapse, looming planetary limits and existential threats reverberate through contemporary culture. While the cause and appropriate response to these apocalyptic visions may be a point of debate across the political spectrum, the assurance of mass human suffering just around the corner has popular appeal. As “the End” of humanity flashes across our screens, what can we learn about ourselves and our public cultures by examining these narratives? Bringing together works from significant Australian artists Tiyan Baker, Joseph Breikers, Michael Cook, Kinly Grey, Guy Louden, Dana Lawrie, Tracey Moffatt, Grant Stevens, and more, Picturing the End reflects on how our relationship with our own mortality intersects with narratives of humanity’s downfall.

HOTA

representing the ongoing evolution of photography and the ways in which artist use it to create memorable images.

June 2024–June A Bigger View Embark on a journey of epic proportions as you immerse yourself in monumental works of art from the National Gallery of Australia (NGA). Made possible through the Australian Government’s Sharing the National Collection initiative.

September 2024—February Here and Now: Gold Coast Triennial A contemporary art exhibition exploring the depth and dynamism of the Gold Coast’s creative community. Held every 3 years, the Gold Coast Triennial is thought-provoking, irreverent and playful, evoking a contemplative atmosphere.

Institute of Modern Art

hota.com.au

ima.org.au

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

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.

See our website for latest information.

Ipswich Art Gallery 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.

Ipswich Art Gallery is a visual arts and social history museum presenting a dynamic program of exhibitions and heritage displays with complementary workshops, performances and an extensive program for children and families.

Embracing an audience-centred approach to everything we do, we will make art come to life for the benefit of the Ipswich community, growing and diversifying our audience locally and regionally.

Anna Carey’s Magic & Memory.

November 2024—April Anna Carey’s Magic & Memory: Make me a home Anna Carey Gold Coast artist Anna Carey creates miniature models of houses and the rooms inside them. Her work has been spectacularly brought to life in an oversized model created for play and daydreams.

Josephine Ulrick and Win Schubert Photography Awards 2024.

December 2024—May Josephine Ulrick and Win Schubert Photography Awards 2024 The Josephine Ulrick and Win Schubert Photography Award 2024 presents a diverse selection of artworks by artists at the forefront of photographic media.

As a survey of contemporary practice, the award plays an important role in

Archie Moore, Archie in The Reminder, 2005.

18 January—29 March Comic Paintings Archie Moore

Keemon Williams, How to Beat A Dead Horse, 2021.

18 January—29 March Platform Jarrod van der Ryken, Shannon Toth, Keemon Williams

Jonny Niesche, Feeling the way (in your image) (detail), 2024. Image courtesy of the artist, 1301SW, Melbourne and Sydney, and STARKWHITE, Auckland.

17 November 2024—16 February Arriving Slowly: Exploring the Abstract At the heart of Arriving Slowly: Exploring the Abstract is a desire to enable audiences to connect slowly and deeply with works of abstraction. Viewers are invited to take their time, immersing themselves in the works to uncover the diverse meanings that unfold through slow, deliberate looking.

This exhibition aims to create a dialogue between 20 contemporary Australian artists working across the expanded definition of abstraction, with artists working across mediums and modes of display. Included in this exhibition are works from our collection, local artists and contemporary artists from across the country. Arriving Slowly was curated in response to works by Mark Rothko (19031970) and Agnes Martin (1912-2004 ) that Ipswich Art Gallery has on loan from the National Gallery of Australia as part of the Sharing the National Collection / Art Across Australia program.

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QUEENSLAND

Jan Manton Gallery janmantonart.com Turrbal Country, 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–4pm, Sat 10am–3pm.

Our award-winning gallery showcases artworks from many different cultures including works by Aboriginal and Torres Strait Islander artists. It also features touring exhibitions on loan from major galleries and national touring bodies.

6 December 2024—25 January My conversation with lichen and the stars Stephan de Wit van der Merwe 6 December 2024—25 January Logan Art Collection: New acquisitions 6 December 2024—25 January A tale of two birds Kristy Ann Duffy and Toni Bielby 6 December 2024—25 January Conversation with nature Ronelle Reid

31 January—22 February Nature’s calligraphers Kristina Hall + Glenda Orr 31 January—22 February Ripple effect - out of Artwaves Jade Payot Egglesfield 26 February—22 March A Library for the Trees, Birds, and Skies Rosie Lloyd-Giblett 26 February—22 March Eagles Eye Students from Eagleby State School .

Mitchell Fine Art 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.

Kellie O’Dempsey, A Cloud Never Dies (lenticular cloud), watercolour on paper, 101 x 150 cm.

21 January—7 February A Cloud Never Dies Kellie O’Dempsey

28 January—15 February Directors Choice

Kellie O’Dempsey’s series A Cloud Never Dies intersects plein-air watercolour on paper, projection, and video. Borrowing its title from by Zen master Thich Nhat Hanh’s teachings on loss, transformation and continuity O’Dempsey uses light and pigment, the work melds the disparate into a collage examining the complexity of the horizon as a stabilising element and as a bridge between human and the intangible enduring connections beyond physical presence.

Jan Murphy Gallery 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.

Gallery closed from 22 December 2024 until 27 January.

Rhonda Woolla, Wik people, Putch clan, Kendall River, Aurukun , Cape York Peninsula, Queensland, Australia, Pach PekAN (In Bloom), 2022 , feathers, seeds, metal, raffia, hebel stone.

31 January—22 March Big Sculpture A Cairns Indigenous Art Fair touring exhibition.

18 February—15 March Napurrula 18 March—17 April Monochrome

28 January—15 February Group exhibition 20 February—23 February Melbourne Art Fair – Michael Cook

Metro Arts

20 February—15 March Michael Cook

metroarts.com.au

Logan Art Gallery 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.

Mitjili Napurrula, Watiya Juta A16503, 2009, acrylic on linen, 90 x 120 cm.

Rosie Lloyd-Giblett, Forest floor and magpie nest, 2024, ink, graphite, recycled paper, cardboard, and paper.

Photographer Tonia Lawless.

Metro Arts @ West Village 97 Boundary Street, Yuggera Country, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm.

See our website for up-to-date opening times and special events in conjunction with exhibitions.

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Victoria Wareham, Contact Zone, 2024.

Photograph courtesy of the artist.

7 December 2024—25 January Contact Zone Victoria Wareham Contact Zone is an exhibition of new and recent work that explores the ontology of the screen by understanding it as an invisible, autonomous membrane that exists between image, object and viewer.

Mulgrave Gallery, Cairns cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Tue to Fri 9.30am–5pm, Sat 10am–5pm.

17 January–22 February A Photographer’s Life Part Three: The Portraits Brian Cassey Brian Cassey is a longterm photojournalist for Australian and international media. This exhibition concentrates on the ordinary people (and the extraordinary people) Brian has encountered in recent years.

A companion exhibition, Word On The Street, featuring photographs by young photo-enthusiasts under the guidance of Brian stories by a local cadet journalist, is presented simultaneously at Mulgrave Gallery.

Museum of Brisbane museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm.

Free entry.

17 August 2024—13 July New Light: Photography Now + Then Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams With the power to freeze and preserve time, photography has captured imaginations for centuries. 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 210

Joachim Froese, Dorothy’s Birthday 2.0, 2024, digital inkjet print from original negative and images displayed on smartphones. Image: Claudia Baxter.

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. Initially thought to comprise 300 glass-plate negatives and a trusty tailboard camera, the collection’s narrative took an unexpected turn in 2014 with the discovery of an additional cigar box brimming with over 400 film negatives and 92 prints. Drawing on this treasure trove of an archive, seven contemporary Brisbane photographers will debut exciting new commissions responding to different parts of the Elliott Collection.

Barbara Dover, Tipping Point, 2025, found object installation, image courtesy of the artist. visual experiences. Thresholds is a group exhibition of over thirty artists. Painting, photography and installation practice are particularly strong in the selection of works being prepared for exhibition.

25 November 2023—Early 2025 Rearranged: Art of the Flower Christopher Bassi, Ashlee Becks, Keith Burt, Norton Fredericks, John Honeywill, Elisa Jane Carmichael, Vida Lahey, Clairy Laurence, Boneta-Marie Mabo, Margaret Olley, Lyndall Phelps, Julian Podmore, Milomirka Radovic, Sarah Rayner, Edith Rewa, Monica Rohan, Bronwyn Searle, Pamela See (Xue Mei-Ling), Judith Sinnamon, Jaishree Srinivasan, Karen Stone, Man&Wah, Anna Varendorff and Michael Zavros and more Still life takes on new life in this celebration of the art of the flower. Brisbane has a strong culture of artists using floral imagery to tell stories of this place. In a space reminiscent of a quintessential Queenslander house, Rearranged: Art of the Flower invites visitors to stroll through a lush collection of paintings, textiles, sculptures, ceramics and new media.

NorthSite Contemporary Arts 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.

13 January—15 March Thresholds Any in-between place marks a liminal terrain – it is a threshold. It represents edges and initiation, change and conception.

What we seek most from an aesthetic experience of Art is the potential for it to change our understanding, for illumination and insight – for an awakening. For this project Art is our tour guide to new

Maharlina Gorospe-Lockie, Discomfort Food, 2024, acrylic on canvas, image courtesy of the artist.

20 January—28 March Discomfort Food Maharlina Gorospe-Lockie Gorospe-Lockie provides an unexpected insight into the Filipino diaspora through art and food. The work is attuned to a contemporary conscience that is reflective of social and environmental pressures in the Asia-Pacific region. On a return visit by the artist, the usual experience of culinary delights was overshadowed by worsening signs of economic hardship especially among low-income households.

Outback Regional Gallery, Winton matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Guwa Country, Winton, QLD 4735 [Map 14] 07 4657 2625

QUEENSLAND

Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

See our website for latest information.

and spectrographs, Cara’s still and moving-image artworks celebrate the natural world through sensory immersion.

Each work incorporates spectrography, the visual analysis of soundwaves. The spectrograph in each still image features her voice pronouncing the Latin title.

Embedded within the moving-image artworks are the landscape’s sounds, from where Cara collected each plant specimen. Furari Flores is a rich visual display of the Australian landscape and Cara’s deep personal connection to it.

Opening Night, 1 February, 5pm–7pm.

Artist talk, 1 February 4pm– 5pm.

Perc Tucker Regional Gallery townsville.qld.gov.au

Image attribution: AM5193_5 ‘Sphinx Luctuosa’.

2 December 2024—6 March Transformations: Art of the Scott Sisters An exhibition by the Australian Museum.

Bindal & Wulgurukaba Country, Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

McCreanor and more.

Do you find joy eating food in fake rainbow colours, even though it might be bad for you? Do you like watching videos of objects being squished, or even people popping pimples? Even if you answered ‘no’ to all the above, you would know that some things can be both delicious and disgusting at the same time. Or they can be funny and sad. Hopefully, the art sparks your senses. It may ignite your emotions and memories too.

Many of the works in this exhibition are connected by themes around food, nature and the ‘unnatural’, disgust and taboo. These themes have complex and challenging histories, presents and futures. The artists don’t shy away from tough subjects, but their works are also filled with fun and irreverence.

Yucky Yum Yum will be packed with new, artist-designed activities to keep you entertained and engaged over the long summer months. Just don’t eat ice-cream off the pavement. A Townsville City Galleries exhibition.

Philip Bacon Galleries philipbacongalleries.com.au

Onespace Gallery

2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

Gallery closed until 21 January.

onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 12pm–5pm or by appointment.

28 January—1 March The Summer Exhibition

Pine Rivers Art Gallery Ruby Yu-Lu Yeh, Of Motherhood, 2024 Winner of the City of Townsville Art Collection Award, 2024 biennial North Queensland Ceramic Awards.

Image courtesy Townsville City Galleries Photograph: Through The Looking Glass Studio.

16 October 2024—16 February North Queensland Ceramic Awards

Cara-Ann Simpson, consummatio et restitutio - exolvuntur sine fine (consumption and restoration - an endless cycle), 2020, pigment print on Canson baryta photographique rag, 2AP + Edition of 10, 76 x 76cm. Image: Courtesy of the artist and Onespace.

31 January–1 March Furari Flores (Stealing Flowers) Cara-Ann Simpson Launching us into our program for 2025 is a stunning exhibition by Cara-Ann Simpson, Furari Flores (Stealing Flowers).

Filled with botanical magic, this exhibition journeys through deep listening, Earth admiration and plant love. Combining focus-stacked photography of plants

The biennial North Queensland Ceramic Awards has long aimed to increase public exposure to a high standard of ceramic artwork from around the nation. A showcase for both well-known and emerging artists, this competition displays the diversity of ceramics currently being produced in Australia.

The City of Townsville Art Collection Award of $10,000 continues to provide the opportunity for artists to become a part of one of the nation’s most significant ceramic collections, as well as ensuring the continued growth of this important subsection of the City of Townsville Art Collection. A Townsville City Galleries exhibition.

29 November 2024—9 March Yucky Yum Yum Ebony Russell, Elizabeth Willing, Hotham Street Ladies, Jan Hynes, Kenny Pittock, Lisa Ashcroft, Smac

moretonbay.qld.gov.au/ pinerivers-gallery Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

Sonja and Elisa Jane Carmichael, Deranji (Healing Rock) and Goompi (Dunwich) from Dabiyil Bajara (Water Footprints) series, 2021, cyanotypes on cotton.

Photograph: Pixel Poetry, courtesy of Fremantle Arts Centre, 2022. Undertow was presented at Fremantle Arts Centre in association with Perth Festival in 2022.

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photographic practice from the last three decades.

9 November 2024—22 February Deep Blue Sonja Carmichael and Elisa Jane Carmichael Dive into the sparkling waters of the Quandamooka this summer with motherdaughter artists Sonja and Elisa Jane Carmichael. Both are proud Ngugi women from Minjerribah on Quandamooka Country. Creating alongside one another and other family members, the Carmichael’s have worked to revive Quandamooka cultural practices once thought lost, and in doing so, they’ve created a living connection between past and present. Deep Blue is the second in a series of exhibitions focused on wellbeing.

It invites you to discover how making and experiencing art together can strengthen bonds and spark creativity. Exhibition developed by City of Moreton Bay.

Pinnacles Gallery townsville.qld.gov.au Bindal & Wulgurukaba Country, Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm.

Rithika Merchant, Temporal Structures, 2023, gouache, watercolour and ink on paper, 105 x 150 cm. Courtesy of the artist and TARQ, Mumbai. ©Rithika Merchant.

30 November 2024—27 April The 11th Asia Pacific Triennial of Contemporary Art

QUT Galleries and Museums artmuseum.qut.edu.au wrgallery.qut.edu.au Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm.

Closed Mondays, weekends and public holidays.

Queensland Art Gallery | Gallery of Modern Art qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

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Numinous presents a profound exploration of one of the most significant aspects of William Robinson’s oeuvre— the landscape paintings produced between 1990 and 2008. Drawing on the magnificent natural environment of Kombumerri Country of the Yugambeh Language Region in South-East Queensland, these works occupy a delicate boundary where human perception intersects with the unknown, the infinite and the divine. Offering visitors a deeply immersive experience, these majestic paintings transcend traditional notions of time and space through William Robinson’s signature multi-dimensional lens. Marking fifteen years since the inception of the William Robinson Gallery at QUT in 2009, Numinous celebrates the work and mastery of one of Australia’s greatest landscape artists.

moretonbay.qld.gov.au/ redcliffe-art-gallery

6 December 2024—23 February Between [the] Details

Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. By remixing or rearranging footage they build different rhythms and moods, create hilarious juxtapositions or shed new light on cultural cliches and presumed histories.

An ACMI touring exhibition.

1 October 2024—31 August Numinous: The Landscape Paintings of William Robinson

Redcliffe Art Gallery

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts. Photograph: Max Mackinnon.

Showcasing six moving image artworks

by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program.

William Robinson, Passing storm, late afternoon, Beechmont, 1993, oil on linen.

QUT Art Collection. Donated through the Australian Government’s Cultural Gifts Program by William Robinson, 2017.

Leah King-Smith, Studio, 2018, digital c-print on metallic photographic paper.

Courtesy of the artist.

27 October 2024—9 March Leah King-Smith: rhythm wRites rhythm wRites is an immersive exhibition orchestrated by Bigambul artist Leah King-Smith, exploring simultaneity, interconnectivity, rhythm, ethereality, spatiality and sound. Rooted in a decolonising framework, the exhibition features new work produced in collaboration with leading First Nations practitioners from the fields of visual art, music and creative writing: Robert Andrew (Yawuru), Nici Cumpston (Barkindji), Keely Eggmolesse (Gubbi Gubbi and Gooreng Gooreng) and Ellen van Neerven (Mununjali Yugambeh).

Audio-visual installations drawing on First Nations experiences, histories, and intergenerational connectivity weave through the galleries alongside select works from King-Smith’s acclaimed

Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

Naomi Hobson, The Rainbow Twins, 2018, from Adolescent Wonderland, digital print on paper, 77.3 x 111.8 cm. Courtesy the artist and Arthouse Gallery, Sydney.

23 November 2024—15 February 52 ACTIONS Artspace’s acclaimed 52 ACTIONS contin-

QUEENSLAND ues its national tour at Redcliffe Art Gallery, featuring works from 52 Australian artists and collectives from each state and territory. As the title suggests, 52 ACTIONS is grounded in art as action. Guided by the local, the artists’ actions speak to critical global concerns including systemic discrimination, climate change, forced migration and colonial legacies. Notions of freedom are ever present, as are First Nations’ perspectives, the importance of family and community, and speculations about our shared future. The exhibition has evolved from Artspace’s online commissioning platform of the same name, which from 2020 to 2021 presented new works each week by the 52 participants on Artspace’s website and Instagram. In close collaboration with Artspace, City of Moreton Bay brings together a selection of these works and others in an adaptive, site specific exhibition that is responsive to our unique context. 52 ACTIONS was developed and curated by Artspace, Sydney. The exhibition is touring nationally with Artspace, Sydney, with support from Museums & Galleries of NSW. This project is proudly funded by the NSW Government through Create NSW. It has been assisted by the Australian Government through the Visions of Australia program and through Creative Australia, its arts funding and advisory body. It is also supported by the City of Sydney and by the Copyright Agency’s Cultural Fund.

Joe Furlonger, Australia b.1952, 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: Queensland Art Gallery | Gallery of Modern Art. © Joe Furlonger.

Redland Art Gallery, Cleveland artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Bringing together five emerging Queensland artists, the work in Dice Topologies draws on tropes of gaming, and the interplay of chance and determination, to grapple with our digitally networked condition.

Rockhampton Museum of Art rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

30 November 2024—23 February Know My Name: Australian Women Artists

8 December 2024—28 January Redland Art Awards Finalists Exhibition Redland Art Awards is a biennial contemporary painting competition open to all Australian artists, presented by Redland Art Gallery. Redland Art Awards 2024 exhibition features the work of 55 shortlisted finalists.

9 February—25 March Performing Presence: Works from the Redland Art Gallery Collection Tony Albert and Natalya Hughes, Michael Cook, Gerwyn Davies, Yavuz Erkan, Petrina Hicks, Dylan Mooney, Monica Rohan, William Yang

Know My Name tells a new story of Australian art. Looking to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time.

Curated by Elspeth Pitt, Senior Curator, Australian Art and Deirdre Cannon, Assistant Curator, Australian Art. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program.

Performing Presence brings together artworks from the Redland Art Gallery Collection that use the potential of mediation to articulate subjecthood. The artworks are grounded in lived experience, whilst emphasising the ways that this is defined by specific social and political contexts.

22 February—10 May Joe Furlonger: Horizons One of Australia’s most respected landscape painters, Joe Furlonger came to prominence in the late 1980s with a series of large-scale figurative paintings.

Employing a highly physical method, he applied swathes of colour with vigorous sweeps of the brush. With inspiration drawn from Matisse, Picasso and Ian Fairweather, Furlonger has never attempted to disguise his artistic influences. Drawn from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Collection Joe Furlonger: Horizons traces the artist’s career through a range of media from painting to ceramics, sculpture and drawing. The exhibition also includes works from City of Moreton Bay’s own collection, showing them in the context of Furlonger’s broader oeuvre.

9 February—25 March Dice Topologies Nicholas Aloisio-Shearer, Charlie Donaldson, Spencer Harvie, Michelle Le Plastrier, Tara Pattenden

Wendy Sharpe in front of I Am All Those Who Are No More, 2024, Rockhampton Museum of Art. Photograph: Mad Dog Productions.

15 July 2024—9 February Wendy Sharpe: I Am All Those Who

Spencer Harvie, Party Mountain, 2020.

Graphite and ink in artist’s frame. 150 x 120cm. Photo by Charlie Hillhouse.

Wendy Sharpe is one of Australia’s most awarded artists, painting in genres that include portraiture, parody and allegory. As a muralist, Sharpe has completed several large-scale installations across Sydney including The Women’s Empowerment Mural in Newtown, the Annette Kellerman Murals in College Street, and Vu iz dos Gesele (Where is the Little Street)? at the Jewish Museum. Sharpe’s mural for Rockhampton Museum of Art takes its title from a line in the Argentinian-Swiss writer Jorge Luis Borges’ poem, All Our Yesterdays (1973-74). Borges references the past and his identity across genera213

ar t g ui d e .c o m . au Rockhampton Museum continued... tions and geography. Likewise, in Sharpe’s artwork, a central figure (resembling Sharpe) is accompanied by what the artist describes interchangeably as ‘perhaps ancestral ghosts, perhaps creatures, perhaps monsters’ floating above and around her.

7 December 2024—23 March Chantal Fraser: The Ascended Sāmoan-Australian artist Chantal Fraser’s multimedia practice has garnered significant acclaim within Australian contemporary art and reflects the complexity of lived experiences for diasporic Sāmoan and Pasifika communities. Chantal Fraser: The Ascended is a Griffith University Art Museum touring exhibition, curated by Naomi Evans.

editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. An ACMI touring exhibition.

6 December 2024—9 February Neon

22 February—28 September Lincoln Austin: The Weight of Experience

Tanks Arts Centre, Cairns

Lincoln Austin, assisted by Artist Chelsea Jewell, presents a new, site-specific sculptural, tensegrity and light-based work The Weight of Experience. Suspended in the Atrium Gallery, a geometric form catches light and creates shadows, shifting and morphing throughout the day and night, overlayed with a colour-coded animation of transformed community-submitted poetry texts. The Weight of Experience encourages audiences to reflect on the life experiences we each carry within us, and the Queer experience of vigilantly reading and interpreting code to assess safety and belonging. This project is supported by the Queensland Government through Arts Queensland.

slq.qld.gov.au/neon

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.

State Library of Queensland slq.qld.gov.au Turrbal and Yuggera Country, Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm.

Renee Kire, Ospring Series Closed Orange Bend, 2023, wood and paint, 21 x 21.6 x 6.5 cm. Courtesy the artist and Onespace. Photograph: Louis Lim.

Yvonne Hering, Grounded, (detail), 2024, Shina wood, washi paper.

20 December 2024–19 January New Frequencies Yvonne Hering (Exhibition & Residency)

31 August 2024—16 February Twist and Turn Renee Kire Through the desire to champion feminist art history, Renee Kire draws inspiration from overshadowed female artists to develop new techniques for testing the precarious nature of minimalist sculpture.

Kire’s sculptures assert presence in an engaging, playful exploration of form, colour and space.

7 September 2024—6 April COLLECTION FOCUS: Women With works by Tracey Moffatt, Virginia Cuppaidge, Judy Watson, Gwyn Hanssen Pigott and Lindy Lee among many others, the Rockhampton Museum of Art can boast some of Australia’s most highly regarded artists within its holdings. The artists in Women represent over 80 years of creativity from women who have lived and made art locally, nationally and across the globe. Included in this story are works by First Nations women, immigrant women and Queer women, who have all played a crucial role in shaping visual arts in contemporary Australia.

21 September 2024—24 November Between the Details: Video Art from the ACMI Collection Showcasing up to six moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program. Working in video offers artists the opportunity to use 214

‘Mokuhanga’ or woodblock printing is Yvonne Hering’s driving inspiration. She teaches it in Cairns, and visits studios in Japan and to learn more about the medium.

From top left to right: Nathaniel Fourmile, Khahlil Walker, Patricia Morris-Banjo, Shadrach Sales-Graham, bottom left is Aviu Ware and Leslie Footscray on the bottom right. Dancers of the Deaf Indigenous Dance Group at the Deaf in dance showcase launch, 2024.

Photograph: Dan Fewquandie/Wombat Vision.

25 May 2024—16 March Deaf in dance: Feeling the beat slq.qld.gov.au/deafindance

Image courtesy of the gallery.

Toowoomba Regional Art Gallery tr.qld.gov.au/trag Jagera, Giabal and Jarowair Country, 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & public holidays.

John Elliott, Marina, 2012, black and white photograph, 61.5 x 76 cm. © John Elliott.

QUEENSLAND 7 December 2024—23 February Almost a true story John Elliott Known for his social documentary photography, John Elliott’s portraits of Australian icons and country music legends celebrate the lives and passions of people across this country. A consummate storyteller, John has been photographing the people and places of regional Australia for fifty years.

and strengthened confidence with many going on to maintain a sustainable cultural business or gain meaningful employment in the creative industries sector.

The UMI Arts Gallery in Cairns, holds five exhibitions every year featuring the artwork and crafts of our talented member artists, and the Gift Shop stock fine art, crafts and artefacts created by our member artists.

31 January—16 March Bonday Muggie Nephi Denham This exhibition presents work by Girramay artist and artworker Nephi Denham as a contemporary exploration of his Culture.

His art practice predominantly spans ceramics and weaving. This exhibition is presented in partnership with Girringun Aboriginal Art Centre.

This exhibition is supported by Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art.

The Summer Show. Photograph: Lovegreen Photography.

Tom Roberts, The coast near Stanwell Park, NSW, 1898, oil on board, 24.5 x 32.2 cm framed, Lionel Lindsay Gallery and Library Collection 022.

Until 9 February Brushes of Sunlight: Oils from the Lindsay Collection Oil paintings from the nationally significant Lionel Lindsay Gallery and Library Collection at Toowoomba Regional Art Gallery.

Featured artists include Rupert Bunny, Mary Edwards, Emanuel Phillips Fox, Ivor Hele, Percy Lindsay, John Longstaff, Frederick McCubbin, Tom Roberts and Arthur Streeton.

UMI Arts Gallery & Gift Shop umiarts.com.au

22 November—2 February The Summer Show Shirley Collins, Gaylee de Bree, Jinneecka Don, Kevin Edmondstone, Dorothy Edwards, Shane Gibson, Melanie Hava, Marilyn Kepple, Ethel Larry, Anzak Newman, Connie Rovina, Michelle Yeatman The Sumer Show showcases 12 talented First Nations artists from Far North Queensland, each capturing the essence of a wet tropics summer through new and diverse works.

Umbrella Studio Contemporary Arts

31 January—16 March The Ecstasy of Gold Michael Pope

umbrella.org.au

The Ecstasy of Gold explores two scenes from Sergio Leone’s iconic Italian spaghetti western, The Good, The Bad and The Ugly through a series of mixed media drawings based upon stills from the film.

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm.

Shop 4, 1 Jensen Street, Manoora, Cairns/Gimuy, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm.

Members who participate in UMI Arts programs leave with new skills, knowledge,

University of the Sunshine Coast Art Gallery usc.edu.au/art-gallery

UMI is a Creole word that means ‘You and Me’. This is significant as we believe that we need to work together to keep our culture strong. UMI Arts is the lead First Nations arts and cultural organisation for Far North Queensland, an area that extends north of Cairns (Gimuy) to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt Isa regions.

Operating since 2005, UMI Arts is a notfor-profit organisation governed and managed by an all-First Nations Board.

UMI Arts mission is to operate a cultural organisation that assists First Nations people to participate in the maintenance, preservation and protection of culture.

UMI Arts provides opportunities for over 1000 First Nations members to participate in an ever-changing, evolving, exciting and unique visual art, craft, dance, music programs and activities.

Michael Pope, The Ecstasy of Gold, (detail), 2024-2025, watercolour, pencil and ink, variable dimensions (each 13 x 30 cm).

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.

Nephi Denham, Bagu, 2024, glazed ceramics and nylon cord, 30 x 13 x 6 cm.

Photograph: Amanda Galea.

Cassie Sullivan, wayi (to hear), 2023, (detail), seven tarlatan monotype prints on frosted acrylic, 170 x 122 cm each.

Installation view, Australian Centre for Contemporary Art, Melbourne 2023.

Commissioned by ACCA. Courtesy the artist. Photograph: Andrew Curtis.

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UQ Art Museum art-museum.uq.edu.au

17 February—3 May Between Waves Between Waves amplifies concepts related to light, time and vision—and the idea of shining a light on our times—as expressed by the Wurundjeri Woi Wurrung word ‘Yalingwa’. The exhibition variously explores the visible and invisible energy fields set in motion by these ideas, to illuminate interconnected shapeshifting ecologies within, beyond and between what can be seen.

Artists: Hayley Millar Baker, Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Jazz Money, Mandy Quadrio, Cassie Sullivan and this mob.

UQ Art Museum is a site for progressive and contemporary creative inquiry.

Our work speaks to the distinct context of the Art Museum’s place within the University.

18 February–14 June These Entanglements: Ecology After Nature Alicia Frankovich, Caitlin Franzmann, Norton Fredericks, John Gerrard, Simryn Gill, Gabriella Hirst, Angelica Mesiti, Betty Muffler and Maringka Burton, Open Spatial Workshop, Alexandra Pirici, Susan Schuppli, Yasmin Smith, James Tylor.

Petroleum, chemicals, and bacteria have become agents of history. Humanity, or rather the settler-colonial project, has infiltrated every environment on a molecular level, resulting in anthropogenic climate crisis. In this state of ‘post-nature’ there are no edges; even plastic has invaded our blood streams.

2025

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

This project has been supported by Creative Victoria through the Yalingwa Visual Arts Initiative and the NETS Victoria Exhibition Development Fund; and the Australian Government’s Visions of Australia program.

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.

PEOPLE ART PLACE

Alicia Frankovich, Atlas of AntiTaxonomies, 2019–22. Commissioned

by Christchurch Art Gallery Te Puna o Waiwhetū. Exhibition view Gus Fisher Gallery | Te Whare Toi o Gus Fisher.

Photo: Sam Hartnett. Courtesy of the artist, Starkwhite, Tāmaki Makaurau/ Auckland and 1301SW, Naarm/ Melbourne and Gadigal Country/Sydney.

These Entanglements: Ecology After Nature thinks with the molecular, the geological and the biological and their entanglements with social relations.

Bringing together Australian and international artists it traverses choreography, sculptural installation, filmmaking, field research, tarot reading, photography, painting, and virtual simulation. Working from the premise that human exceptionalism has led to environmental catastrophe, the exhibition proposes a more ethical, symbiotic, and reciprocal approach to cross-species relations and ways of being in the world.

12 - 21 SEPT CURRUMBIN BEACH QLD

CALL FOR ENTRIES OPEN 1 DEC - 31 JAN APPLY ONLINE NOW SWELLSCULPTURE.COM.AU

SHIFA by Clayton Blake | Leximagery

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A–Z Exhibitions

Australian Capital Territory

JANUARY/FEBRUARY 2025

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Aarwun Gallery aarwungallery.com.au Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

See our website for latest information.

Artists Shed artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm.

See our website for latest information.

Australian National Capital Artists (ANCA) Gallery anca.net.au 1 Rosevear Place, (corner Antill street), Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays.

The gallery will be closed from 12 December 2024, reopening on Wednesday 29 January.

See our website for latest information.

ANCA Gallery is a not-for-profit artist-run initiative. The Gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

Al Munro, Skewed Fold 2, 2024, acrylic on boxboard and wood panel, 70 x 70 x 4cm. around each work, areas of pattern are either revealed or hidden. In this way, the experience of the pattern, colours and forms changes according to the viewer’s position.

Belco Arts belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

See our website for latest information.

Morgyn Phillips, Going going gone.

James O’Rourke, from a collection of works titled Double Empathy Problem, 2024, glazed stoneware.

29 January—16 February EASS Award Exhibition Group Show Ira Gold, Tanya King, James O’Rourke

Margaret Hadfield, Standing Tall, oil.

A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery,and a music venue space. 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.

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As part of ANCA’s support for emerging artists in the Canberra region, the ANCA Gallery awards an annual exhibition (EASS Award) to an ANU School of Art & Design graduate, or graduates, whose work demonstrates creative distinction. This year’s recipients, Ira Gold, Tanya King, and James O’Rourke are all Visual Arts graduates working across drawing, painting and ceramics.

19 February—9 March Pattern/colour/space/form Al Munro The exhibition continues Munro’s investigations of the interaction of colour, pattern and space in painting. The works include fold-like corrugations in the painting’s surface that disturb and activate its physical structure. As the viewer moves

6 December 2024—2 February Dear Forests...

An open postcard exhibition Artists have been invited from throughout Australia to share in bringing a lens of focus on the world’s forests, the need for their safe keeping and preservation inclusive of the wildlife within.

Oikos Peter McLean In ancient Greece oikos referred to both a house and members of a family/household. The modern English prefix of eco derives from oikos, as in the terms ecology and economy.

Grounded Robyn Evans, Sabina Moore, Amanda Andlee Poland Through drawing and sculpture, the act of making is amplified by each artist in a three-way conversation to produce site-specific works, both collaborative and individual, that overlaps ideas and practice.

6 December 2024—2 February Echoes in Absence Rebecca Tapscott

AUSTRALIAN CAPITAL TERRITORY grief made by two artists whose works are in conversation with each other in a way that reflects their daily conversations on paint and life.

180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

Canberra Glassworks canberraglassworks.com

Rebecca Tapscott, Channel Billed Cuckoo.

Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005

Rebecca Tapscott’s cyanotype print wall installation, Echoes in Absence, is a poignant exploration of loss and interconnectedness, drawing from personal and environmental experiences.

Emerging Contemporaries exhibition opening, 2024. Photograph: 5 Foot Photography.

7 February—23 March Neither Here Nor There Liz Faul

20 February–5 April Emerging Contemporaries Multiple Artists

Faul’s recent work celebrates Canberra’s native fauna through detailed portraits of birds, mammals and insects, combined with collaged papers.

TILT Alex Asch and Mariana del Castillo TILT is the final exhibition in a two-year collaboration between artists Alex Asch and Mariana del Castillo. The Pivot Gallery allows the artists an opportunity to create an exhibition that broadens their conversation of overlapping realities.

3000 days … and counting …

Sharon Field An exhibition of Sharon Field’s epic challenge of a drawing/painting a day for 3000 days as a visual record of the plants we are in danger of losing to climate change.

Escape. Control. Delete.

Kristie Watts

Martyn Thompson.

16 January—23 March 2025 History - The paraphernalia of my interior life Martyn Thompson Cross-disciplinary artist Martyn Thompson reimagines his ceramic vessels in glass, blending nostalgia and modernity through a tactile, painterly approach. Curated by Aimee Frodsham, the exhibition integrates his new glasswork with textiles, furniture, and objects from his studio, reflecting his evolving creative journey. Opening event, Saturday 18 January, 4pm.

Emerging Contemporaries is Craft + Design Canberra’s award exhibition for early career artists. Emerging Contemporaries features the works of emerging designers and makers from local institutions including Canberra Potters Society, Canberra Institute of Technology, and the ANU School of Art + Design. This exhibition plays a pivotal role in supporting and transitioning artists into professional practice.

Escape. Control. Delete. is a process and conceptual based installation making the statistics of violence against women in Australia visible. Celebrate Gungahlin: Young Voices. Celebrate Gungahlin: Young Voices features artworks and documentation from the 2024 Celebrate Gungahlin Festival.

Civic Art Bureau civicartbureau.com Melbourne Building, 76 Alinga Street, Canberra City, ACT 2601.

Kate Stevens, Selective Sympathy (Aleppo), 2022, oil on canvas, 125 x 223 cm.

Tom Fereday, SANA collection, 2021.

3 April—8 June Tom Fereday + Katie-Ann Houghton Designer Tom Fereday and glassmaker Katie-Ann Houghton present two solo shows exploring thoughtful design.

Houghton’s minimalist forms blend inspiration from mid-century Italy with her recent residency in Toyama, Japan.

Fereday’s work, meanwhile, examines the tension between natural materials and contemporary manufacturing. Opening event, Saturday 5 April, 5pm.

Craft + Design Canberra

22 February—22 March Elegy

craftanddesigncanberra.org

Kate Stevens and Lizzie Hall

Ngunnawal Country, Level 1, North Building,

A response to personal and collective

Pamela Irving, The Tea Connoisseur, 2024, image courtesy of the artist.

20 February–5 April The Omega Series Pamela Irving The Omega Series by Pamela Irving re-contextualises discarded objects and materials into new forms. Sardine tins, an everyday object with a utilitarian design is the foundation of this series. Once the contents of the tin have been eaten, Irving creates her Omega characters. It’s a play on the essential omega 3 vitamin and the Greek letter Omega, representing the end, the ultimate limit. Her characters reflect both the absurdity of waste and our material culture.

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APOCALYPSE UNFOLDING MAHALA HILL

February 20 to March 9 Opening hours Wed – Sun 11am to 5pm Bldg 3.3, 1 Dairy Rd, Fyshwick ACT P: +61 404 769 843 E: art@graingergallery.com.au www.graingergallery.com.au

graingergallery.com.au

AUSTRALIAN CAPITAL TERRITORY

Grainger Gallery

M16 Artspace

graingergallery.com.au

m16artspace.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.

Ngunnawal Country, Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm.

See our website for latest information.

National Gallery of Australia nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Ethel Carrick, Christmas Day on Manly Beach, 1913, also known as Manly Beach—summer is here, Manly Art Gallery & Museum Collection.

Dan Power, Dirt, 2022.

20 February—9 March Subterra Dan Power Subterra unearths the space where life and death converge, art and science intertwine, and fungal threads highlight the importance of connectivity in nature.

Dan Power’s interdisciplinary works and installations entangle the viewer as a part of the natural world.

7 December 2024—27 April Ethel Carrick

Kirsten Wehner, Seep, (detail), 2024.

Image courtesy of the artist.

24 January—16 February ... Is somebody gonna match my freak? wet sahara and Sophia Dumaresq Creek Kirstin Wehner Opening event Thursday 23 January, 6pm–8pm.

Ethel Carrick (1872–1952) was a pioneering artist who forged new ground in the early twentieth century with her bold and vibrant post-impressionist works. She was a truly transnational artist who was born in Britain and lived and worked primarily in France and Australia.

Her art has often been considered in the light of her husband, Australian artist Emanuel Phillips Fox. Comprising 140 works, this will be the first retrospective of Carrick’s work for nearly half a century and an opportunity to assess her work in a new light.

7 December 2024—27 April Anne Dangar Anne Dangar (1885–1951) occupies a unique position in art history as one of Australia’s most important, yet underacknowledged modern artists.

Almost a century ago in 1930, she moved permanently to the artist colony MolySabata in France, established by the cubist painter Albert Gleizes.

Dangar is one of very few Australian artists to form part of the European avantgarde in the twentieth century, and the only to meaningfully contribute to Cubism in France, her adopted home.

Mahala Hill, Waste Columns I, Monuments of nature.

20 February—9 March Apocalypse Unfolding Mahala Hill

Dörte Conroy, Untitled 2, 2024. Image courtesy of the artist.

Mahala’s sculptures view the world in environmental demise. Contaminated geological glaze forms, bone china insects embodying the living dead becoming the new normal. The works confront the anthropocentric tendencies ingrained in contemporary society, urging viewers to contemplate the environmental impact of human existence.

Soft Edges Michele Grimston, Shan Crosbie, Ann McMahon, Heidi Smith

21 February—16 March Inside-out Manuel Pfeiffer

In.Plane.Site.

Dörte Conroy Opening event Thursday 20 February, 6pm–8pm.

22 February—13 July Kulata Tjuta: Tirkilpa Kulata Tjuta is an ongoing cultural maintenance project that shares the skills of carving and making the punu kulata (wooden spear) across generations. It started as a project involving a small group of men in Amata and has grown to include over 100 Aṉangu men across the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands.

Kulata Tjuta: Tirkilpa is the largest and most significant installation of the culturally important and visually spectacular Kulata Tjuta (Many Spears) 221

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Project. Like others in the series, it is rooted in age-old traditions, knowledge and skills that are designed around keeping Country and culture strong.

14 September 2024—24 August Ever Present: First Peoples Art Of Australia Following a national and international tour, Ever Present: First Peoples Art of Australia returns to Kamberri/Canberra for its final showing at the National Gallery. A survey of historical and contemporary works of art by Aboriginal and Torres Strait Islander artists from across Australia, this exhibition draws from the national collection and Wesfarmers Collection of Australian Art. Ever Present: First Peoples Art of Australia is presented by the National Gallery of Australia and Wesfarmers Arts.

21 September 2024—6 July Masami Teraoka And Japanese Ukiyo-E Prints From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him. These included reflections on contemporary themes such as globalisation, collisions between Asian and western cultures, and the AIDS crisis.

This exhibition will coincide with the 30th anniversary of the National Gallery’s seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS, in which Teraoka featured and includes ephemera relating to the exhibition and associated activists’ works. Masami Teraoka and Japanese Ukiyo-e Prints is a Kenneth E. Tyler Collection exhibition.

light on Lee’s ever evolving and ambitious practice. Lee’s new work Charred forest alludes to the cyclical notions of existence, migration, transformation and hope. It comprises camphor laurel trees that have been treated using the Japanese preservation technique of Shou Sugi Ban which blackens the logs, before being pierced with a scattering of conical holes revealing the natural colour of the timber underneath.

On Tour: 1 November 2024—19 January Enjoy This Trip: The Art Of Music Posters Riddoch Arts & Cultural Centre, SA 16 November 2024—9 February Rauschenberg & Johns Significant Others Geelong Gallery, Geelong VIC 6 December 2024—9 March Clarice Beckett: Paintings From The National Collection Orange Regional Gallery, NSW Programs: Anne Dangar: Ceramics Workshop With Canberra Potters Workshop 1: Sat 1 & Sun 2 Feb 2025.

Workshop 2: Wed 5 & Thu 6 Feb 2025.

Location: Canberra Potters, 1 Aspinall St Watson ACT 2602.

Draw inspiration from Anne Dangar (1885–1951), one of Australia’s most important modern artists, in this twoday ceramic workshop led by artists Maricelle Olivier and Joey Burns. Exploring Dangar’s techniques and philosophies, participants will learn the basics of wheelthrown pottery and surface decoration techniques, and gain a deeper appreciation for Dangar’s bold, Cubist designs.

15 February Artist Talk With Masami Teraoka

Carol Jerrems, Bobbi Sykes, Aboriginal Medical Service, 1973, gelatin silver photograph on paper. National Gallery of Australia Collection. Gift of Mrs Joy Jerrems 1981. © The Estate of Carol Jerrems. photographers. Set against the backdrop of social change in the 1970s, Jerrems’ practice charted the women’s movement, documented First Nations activism, put a spotlight on youth subcultures and explored the music and arts scenes of the era. The exhibition showcases more than 140 photographs, from Jerrems’ lesser-known early work to the now iconic Vale Street 1975, and coincides with the 50th anniversary of her landmark publication A book about Australian women.

Saturday 15 February, 2025, 11am.

James Fairfax Theatre. Free. Join Masami Teraoka for an artist talk to celebrate the opening of the exhibition Masami Teraoka and Japanese Ukiyo-e Prints.

National Portrait Gallery portrait.gov.au Lindy Lee, Ouroboros, 2021-24 installation view, National Gallery of Australia, Kamberri/Canberra, 2024, commissioned for the National Gallery’s 40th anniversary, 2022. © Lindy Lee. From 25 October 2024 Lindy Lee: Ouroboros Ouroboros, an immersive, public sculpture by Chinese-Australian artist Lindy Lee AO will be unveiled at the National Gallery entrance. Ouroboros is based on the ancient image of a snake eating its own tail; an image seen across cultures and millennia, the symbol of eternal return, of cycles of birth, death and renewal.

25 October 2024—1 June Lindy Lee Exploring themes of ancestry, spirituality, the environment and the cosmos, this display of new and recent works will shed 222

Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

24 August 2024—2 February Joan Ross: Those trees came back to me in my dreams Joan Ross: Those trees came back to me in my dreams is a vibrant and dynamic exhibition by acclaimed contemporary artist Joan Ross. In a practice that spans collage, printmaking, sculpture and video animation, Ross probes the ongoing consequences of colonisation in Australia with wit and wry critique.

30 November 2024—2 March Carol Jerrems: Portraits Carol Jerrems: Portraits is a major exhibition of one of Australia’s most influential

Katrin Koenning, where will the story take us, 2002-2024, (detail), printed 2024.

Courtesy of the artist. © Katrin Koenning 30 November 2024—1 June if only we could take the time: contemporary Australian photography if only we could take the time: contemporary Australian photography considers how this impulse to observe, to record and to share continues to propel photographic practice in Australia today. The exhibition, staged alongside the major exhibition Carol Jerrems: Portraits, spotlights the work of three contemporary Australian artists, Ying Ang, Katrin Koenning and Anu Kumar, whose work sits in dialogue with Jerrems’ legacy. In their photographs, tenderness, care and connection are foregrounded and the idea of portraiture is expanded.

A–Z Exhibitions

Tasmania

JANUARY/FEBRUARY 2025

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Bett Gallery bettgallery.com.au Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

See our website for latest information.

Contemporary Art Tasmania

1 January—22 January Colville Summer Show

contemporaryarttasmania.org Nuenonne Country, 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

Lloyd Rees (1895-1988), Distant Derwent – Tasmania, 1976, oil on canvas, 60 x 115 cm.

9 February—11 February Colville Auctions Wellington Room, Wrest Point, Sandy Bay.

Devonport Regional Gallery 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.

Patrick Grieve, Playing in the shadows, reprise, oil on linen, 2024, 122 x 122 cm.

17 January—18 February Reparation and Adrift Patrick Grieve 17 January—18 February PALAWA group exhibition luna rural - strong women

Sarah Maher, Echo of a very old poem, 2024.

1 February—8 March Gravity Portal Sarah Maher

Colville Gallery colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

17 December 2024—14 January Annual Artists Exhibition

Supportng emerging and early career Tasmanian artists who demonstrate a strong vision in their practice.

2024 Selected Artists: Laura Purcell, 14 December 2024 – 27 January; Emily-Rose Wills, 22 March – 3 May; Esther Touber, 10 May – 21 June; Ashlee Hambleton and Rebecca Cannon, 28 June 2025 – 9 August 2025; Freya Tripp, 22 November 2025 – 17 January 2026.

6 December 2024—8 February tidal.24: City Of Devonport Tasmanian Art Award tidal is a contemporary biennial art award linked to the theme of water and tides.

To relate more strongly with the Gallery’s Acquisition and Collection policy, the award has since 2020 been open to artists who identify as Tasmanian by either birth, or by demonstrating a strong and ongoing association with Tasmania. The award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee. The People’s Choice Award is sponsored by One Agency Collins Real Estate.

6 December 2024—11 January PORTAL.24

Imants Tillers, After Warhol, 2023.

Capturing 24 hours of coastal living through your lens. PORTAL enters us into the many moments that make up our lives on the North West Coast.

14 February—8 March Imants Tillers - Metaphysical Journey 14 February—8 March Pat Brassington

14 December 2024—27 January Meet Me Here Laura Purcell

Matthew Armstrong, Elizabeth River, Campbell Town 6pm, 2024, oil on linen, 41 x 31 cm.

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1 February—17 January 2026 Little Gallery Emerging Artist Program

Meet Me Here reveals a poetic response through soft sculpture, performance and documentation. Transformation lingers as possibilities are reimagined and infused in this liminal haven. Meet Me Here is

TASMANIA makes the big names big: Porsche, Picasso or Pompidou? What is the nature of status and why is it useful? Is status all about culture, or is there something deeper?

Handmark

0488 958 724 Wed to Fri 11am–5pm, Sat 10am– 1pm. Other times by appointment.

January STATIC Tania Glanville

handmark.com.au

Laura Purcell, Modesty Cape, Meet Me Here, 2024. Photo by Pete Mellows. part of the Little Gallery Emerging Artist Program 2024.

Nuenonne Country, 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

6 December 2024—20 January Summer Salon Evandale Handmark Artists

Darren Meader, Cataract Gorge Serenity, oil on canvas, 92 x 66 cm.

January Wild Cataract Darren Meader

Kate Ballis, 2350, 2017, archival pigment ink on cotton rag, 103 x 153 cm. Image courtesy of the artist.

15 February—22 March Lost in Palm Springs Kate Ballis (AUS), Tom Blachford (AUS), Darren Bradley (USA), Anna Carey (AUS), Sam Cranstoun (AUS), Paul Davies (AUS), Rosi Griffin (AUS), Jim Isermann (USA), Troy Kudlac (USA), Lance O’Donnell (USA), Kim Stringfellow (USA), Vicki Stravrou (AUS), Robyn Sweaney (AUS), Gosia Wlodarczak (AUS). Curator: Dr Greer Honeywill.

This exhibition examines the connection between Palm Springs and Australia.

Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland, and proudly sponsored by IAS Fine Art Logistics and o2 Architecture.

Anna Fitzpatrick, 2024, Boxing Day on Sydney Harbour, oil on canvas, 140 x 155 cm.

20 December 2024—13 January Sydney to Hobart Anna Fitzpatrick 17 January—10 February Summer Salon Hobart Handmark Artists Tony Curran, Everything’s a hologram, 2024, acrylic on linen, 190 x 150 cm.

February touchStarted Tony Curran February Dissimulation Hugh Kerr

Penny Contemporary

Museums & Galleries Queensland is supported by the Tim Fairfax Family Foundation and receives funds through the Australian Cultural Fund.

Museum of Old and New Art (Mona) mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.

15 June–21 April 2025 Namedropping The exhibition of more than 200 artworks and objects assembled in Mona’s subterranean galleries poses questions: What

pennycontemporary.com.au

Alex Wanders, Warwick Street, 2024, acrylic on canvas, 81 x 81 cm.

14 February—10 March Gleanings Alex Wanders

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

Madeline Gordon Gallery madelinegordongallery.com.au Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17]

James Jake James. Image courtesy of the gallery.

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is housed at the Queen Victoria Museum and Art Gallery, and celebrates and explores the Tasmania-Fujian sister state relationship. This exhibition is supported by the National Foundation for Australia-China Relations.

10 January—30 January Hati Hati Bule James Jake James

5 December 2024—27 April Rex Greeno: Memories through Sea Stories

Michael McWilliams, A Pointed Reminder, 2021, acrylic on linen, 100 x 120 cm.

(Private collection, Tasmania).

Jane Giblin, Catherine watches me fall from the horse, 2022, ink pigment and pastel on lana, 104 cm x 152 cm.

7 February–3 March DRAWING HOME Jane Giblin Some images in this exhibition are sourced from The Sarah Mitchell Scrapbook Courtesy of the Utas Special and Rare Collections, The Royal Society of Tasmania RS 32/89.

Queen Victoria Museum & Art Gallery 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.

much-loved Tasmanian artist, Michael McWilliams.

McWilliams is one of Australia’s most successful and widely recognised artists.

His quirky and whimsical landscapes, depicting wildlife, and domestic and feral species, in Tasmanian bushland, farmyards, gardens and houses, have captivated audiences around Australia and internationally. The exhibition and companion publication will be the first holistic survey of McWilliams’ art, exploring his life and career, his place in the canon of Australian and international art, and his empathy with the wildlife and natural environment of Tasmania.

Queen Victoria Museum at Inveresk: 8 October 2024—2 February Unbound: Books Reimagined A book contains words and information on pages, bound together and protected by a cover. At least, that’s what we generally understand a book to be. Unbound: Books Reimagined challenges this perception and reimagines the many forms a book could take.

An exhibition of works by Tasmanian Aboriginal Elder Rex Greeno - artist, fisherman, and maker of tuylini, ninga and pyerre (Tasmanian Aboriginal bark and reed canoes) - that tells a story of deep connection to culture, family and the sea.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. Supported by the Pennicott Foundation.

6 December 2024—30 March Written in wood: Kevin Perkins inspired by Richard Flanagan Five monumental sculptural works by Tasmanian artist, master furniture-maker and wood craftsman, Kevin Perkins, each based on a novel by the acclaimed Tasmanian writer, Richard Flanagan. Supported by the Mountain Air Foundation.

6 December 2024—21 September On Island Exploring connections between artists and the archipelago of 334 islands that make up Lutruwita/Tasmania. It evokes the artists’ physical presence here, as well diverse narratives and perspectives about this place. All artworks are from the Tasmanian Museum and Art Gallery collection.

Tasmanian Museum and Art Gallery tmag.tas.gov.au

Olegas Truchanas, Showers, Frankland Range, Lake Pedder, 1968. Cibachrome print.

Queen Victoria Museum at Inveresk: 13 July 2024—20 July This Vanishing World: Photography of Olegas Truchanas This Vanishing World is the story of a man who loved Tasmania and its wild places.

For twenty years, Olegas Truchanas explored Tasmania’s wild places, pushing his body and practice to the limit.

Motivated by a love of nature and natural beauty, his legacy is a story told in images.

Queen Victoria Art Gallery at Royal Park: 14 December 2024—23 March Gentle Protagonist: Art of Michael McWilliams In 2024, QVMAG will present the first ever public exhibition of the works of 226

Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Daily, 10am–4pm, Free admission.

8 August 2024—9 February Artists to Ice Artists to Ice presents works from the Tasmanian Museum and Art Gallery collection by Australian artists Stephen Eastaugh, Bea Maddock, Jan Senbergs, and Jörg Schmeisser, who travelled to Antarctica between 1987 and 2009.

18 July—10 February 2025 Home: Here and Now Home: Here and Now explores Chinese migration to Tasmania from the 1800s to now. Through oral histories the exhibition engages with the concept of ‘belonging’ to more than one place and highlights Chinese Tasmanian’s contemporary experiences. Home: Here and Now features content from the Guan Di Temple, which

The Holden Monaro and FB Holden teetering on the edge. Museum photography, 1975.

3 January—12 January On the Edge On the Edge commemorates 50 years since the Tasman Bridge disaster, that saw Hobart cut in two. The most enduring image of the disaster was the two cars, teetering on the edge of the bridge. At On the Edge these two cars will be together again for the first time since 1975. Join us in remembering the 12 people who tragically lost their lives, and reflecting on how that fateful day changed the city of Hobart forever.

A–Z Exhibitions

South Australia

JANUARY/FEBRUARY 2025

murraybridgegallery.com.au

Arts South Australia

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S OUTH AUSTRALIA

Adelaide Contemporary Experimental

When the gallery re-opens on 3rd January after a short break, visit the gallery for a bright and fresh display of paintings, prints, sculpture, glass, ceramics and jewellery to start the year.

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Artists include: Suzie Riley, Todd Romanowycz, Eliza Koch, Joan Blond, Linda Lee, Eliza Piro, Paul Mahoney and NEW Artists – Maz Dixon, Hannah Goggs and Daniel Ross.

Kaurna Yarta, Lion Arts Centre, North Terrace (West End), Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

See our website for latest information.

Art Gallery of South Australia agsa.sa.gov.au Kaurna Yarta, North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry.

See our website for latest information.

Tuan Andrew Nguyen, The Boat People, 2020, single-channel video, 4K, Super 16mm transferred to digital, colour, 5.1 surround sound, 20 mins. Courtesy of the artist and James Cohan, New York.

15 February—12 April Shared Skin Atong Atem (AU), Hana Pera Aoake (NZ), Jared Flitcroft (NZ), Juanella Donovan (AU), Jumana Manna (GER), Jacob Boehme, KTB + Narungga Family Choir (AU), Tuan Andrew Nguyen (USA), Bhenji Ra (AU), Steven Rhall (AU), Marikit Santiago (AU) and Jennifer Tee (NL). Curator: Rayleen Forester (Associate Curator, Adelaide Contemporary Experimental).

20 July 2024—13 April Reimagining the Renaissance Drawing from AGSA’s collection of painting, sculpture, works on paper and decorative arts, alongside loans from public and private collections, this exhibition explores Northern and English Renaissance art together with that of the celebrated Italian masters.

Kaurna Country, 32 The Parade, Norwood, SA 5067 [Map 18] 08 8363 0806 Mon to Fri 9am–5pm, Sat 10am–5pm, Sun 2pm–5pm.

Installation view, Sally Smart, Performance/Punokawan/Chout (The Choreography of Cutting), 2017. © Sally Smart/ Copyright Agency.

murraybridgegallery.com.au Ngarrindjeri Ruwe, 27 Sixth Street, Murray Bridge, SA 5253[Map 18] 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

See our website for latest information.

Still-life paintings by two established SA regional artists, which share moving narratives about the distillation of life, objects, time and memory.

Showcasing the work of over 100 artists, designers and activists, Radical Textiles celebrates the cutting-edge innovations, enduring traditions and bodies of shared knowledge that have been folded into fabric and cloth over the past 150 years.

Book tickets online.

flinders.edu.au/museum-of-art

3 January–9 February Summer Lovin Group Exhibition

Murray Bridge Regional Gallery

23 November 2024—30 March Radical Textiles

Flinders University Museum of Art

Todd Romanowycz, Pink poppies, 2024, acrylic on acrylic, 80 x 80 cm.

A Flinders University Museum of Art exhibition in partnership with Unbound Collective – Dr Ali Gumillya Baker (Mirning), Dr Faye Rosas Blanch (Yidinyji, Mbararam), Dr Natalie Harkin (Narungga) and Dr Simone Ulalka Tur (Yankunytjatjara).

16 November 2024—19 January (dis)Stilled Life Lyn Wood + Winnie Pelz

Art Images Gallery artimagesgallery.com.au

Unbound Collective, performance still from Sovereign Acts – Act III | REFUSE at Vitalstatistix, Port Adelaide, 2018. © The artists. Photo: Tony Kearney.

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.

30 September–11 April 2025 Sovereign Acts | Love Praxis

Kathleen Cain, “Ooo! that itch” — Hairynosed Wombat, 2024, pastel on paper, 60 x 70 cm (framed).

16 November 2024—19 January EXPLORE! Kathleen Cain + Helen Stacey Expressive, symbolic landscape paintings that reflect on loss of land, lives and wildlife on First Nations country, the Murraylands.

16 November 2024—19 January Summer Sensations: Bridge Arts Group exhibition by members of local community group Bridge Arts.

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ar t g ui d e .c o m . au Murray Bridge Regional continued...

2 February—6 April Saltbush Country Saltbush Country provides a rare opportunity to experience the works and worldviews of Aboriginal artists working independently across regional South Australia. In this exhibition, seven artists tell stories of their culture, community and connection to Country.

Lyn Anstey, Cliffs of the Murray, 2022, oil on canvas, 60 x 90 cm.

2 February—6 April Lyn Anstey: Murray River Calling ”The Murray River is my muse. My passion is to capture its rich diversity and ever-changing scenery. The Riverland’s vibrant hues, rhythmic waters and diverse wildlife provides endless inspiration.”

Lyn Anstey

JamFactory at Seppeltsfield jamfactory.com.au

Curated by Sarah Northcott.

Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm.

Julie Blyfield, Corallium Object #3, 2024, Photo: Grant Hancock.

5 October 2024—2 March JAMFACTORY ICON 2024 Julie Blyfield: Chasing a Passion

Newmarch Gallery

JamFactory

newmarchgallery.com.au

jamfactory.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.

See our website for latest information.

Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

See our website for latest information.

17 January—15 February Intertwined. Selected works from the Prospect Civic Art Collection and Adelaide Festival Centre Works of Art Collection

6 December 2024—11 January Skin Bible Niki Sperou + [M] Dudeck fea.

Martina Raponi

Billy Oakley, Drakes upset, Mum, Drakes upset. He’s got a jelly fish wrapped around his leg, 2024, oil on canvas, 60 x 90 cm.

21 February—22 March Clang Billy Oakley

Riddoch Arts & Cultural Centre 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.

2 November 2024–19 January Enjoy This Trip: The Art of Music Posters 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.

Journey back to the Summer of Love and be transported to a time when the music was funky, the art was kaleidoscopic and psychedelia was in full swing. Enjoy This Trip presents a nostalgic exploration of the times through art, graphic design, music, colour and typography.

Enjoy This Trip: The Art of Music Posters is a National Gallery Touring Exhibition supported by the Australian Government through the National Collecting Institutions Touring and Outreach Program.

Liam Fleming, Transitory Form #30, 2024, Photo: Connor Patterson 6 December—30 March Gathering Light 230

2 November 2024—19 January Trip to the Mount Sandy Elverd, Daisy in Spinifex, 2014, Veiled Strands of History, (installation detail), image manipulation by Sue Kneebone.

Running parallel to Enjoy This Trip, Trip to the Mount takes a deep dive into the Mount Gambier of the 1960s to 1980s. An exciting period in Mount Gambier’s social

S OUTH AUSTRALIA 1 February—30 March HARBINGERS: Care or Catastrophe Chris De Rosa, Lara Tilbrook, Ellen Trevorrow, Clancy Warner, Laura Wills Featuring all newly commissioned works by five contemporary artists with strong connections to regional SA, HARBINGERS asks: what could our future look like if we prioritise the environment, cultural practices and social wellbeing over profit; and what does it look like if we don’t?

Curated by Lauren Mustillo and Fulvia Mantelli. This exhibition was commissioned by Country Arts SA and developed in collaboration with Murray Bridge Regional Gallery, as part of the SPUR 2022 skills development and commissioning initiative.

Soc Hedditch, Mount Gambier rock concert (Pinewood Pop Festival), circa 1970, courtesy State Library of South Australia. history, we explore the town that was through posters, the music scene, fashion and archival footage of the way life was.

26 November 2024—17 August Flight Mode In collaboration with District Council of Grant at the newly founded ‘The Hangar Gallery’ at Mount Gambier Regional Airport, The Riddoch Arts and Cultural Centre presents Flight Mode, an exhibition of works from the Riddoch collection that welcomes and farewells travelers to the region, telling a story of it’s natural surroundings while reflecting on the sense of journey from one place or state to another.

Sauerbier House Culture Exchange 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.

14 December 2024–1 February Fathom Anna Révész Fathom reimagines found objects from Port Noarlunga as sculptural forms, documented through photography and drawing to capture the layers of memory they hold as they evolve over time.

1 February—30 March Mémoire d’un danseur Guy Detot

on the landscape and existence within that landscape, to explore despair and hope, and the profound impact of a decaying world on the individual psyche.

Adelaide Fringe Festival.

Samstag Museum of Art 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.

See our website for latest information.

South Australian Museum samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

See our website for latest information.

14 December 2024–15 June Bunganditj Kali! – Talk Bunganditj!

Guy Detot has been carving in wood since he first had a pocket knife as a child, and he hasn’t stopped since. In Mémoire d’un danseur, Detot speaks to his rich background as a ballet dancer in both Europe and Australia to make a suite of extraordinary pieces that both commemorate and celebrate famous dance duets he has performed.

An exhibition of works by Aboriginal students in the Mount Gambier region, painted to illustrate two creation stories: How Fire Was Obtained and How the Volcanoes Were Formed.

The stories, retrieved from archival records, celebrate the Bunganditj language spoken in the South East of South Australia by five dialect groups, Boandik, Meintangk, Pinechunga, Wichintunga, and Polinjunga.

Rebecca McEwan, Good nature is natural politeness, 2024, cotton, paper, 25 x 25 x 5cm. Image courtesy of the artist.

14 December 2024–1 February natural discourse Rebecca McEwan

Chris De Rosa, Under here my dreams are made of water, 2021, papier-mâché, etching, giclee print, collage, wire, glass beads, sand, studio floor debris, pigment, polymer paint, wire, tape pu foam, spray paint, silk cord, rope. Photograph: Rosina Possingham.

Susan Bruce, Muted tones, (still), …….

Image courtesy of the artist.

Guided by Martine’s Handbook of Etiquette (1866), McEwan documents the process of forming a new relationship with the river, grounded in understanding and respect.

8 February—22 March Weathered Susan Bruce Bruce seeks to provoke introspection.

Each frame is an invitation to meditate

The illustrations have been created by Aboriginal students from North Gambier, McDonald Park, Melaleuca Park, Moorak and Reidy Park Primary schools, and Tenison Woods and Saint Martins Colleges in Mount Gambier. Hearing the stories from Elders and Traditional Owners allowed the students to create artwork that connected them to the Culture of the region,their own heritage, and help other students experience the story visually.

This exhibition has been produced through funding provided by the South Australian Museum in partnership with the Department of Education, Burrandies Aboriginal Corporation, and the Bunganditj Language Reclamation Committee.

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A–Z Exhibitions

Western Australia

JANUA RY/FEBRUARY 2025

WESTERN AUSTRALIA

Art Collective WA 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.

symbolised power in Western visual culture, dominating cathedrals, palaces, and galleries as the ideal of civilisation.

Victorian prudishness, Romanticism’s heteronormativity, and societal shifts sidelined the male nude, replacing it with the fetishised female body. Recently, the male nude has resurfaced, often as a comedic curiosity.

Curated by Andrew Nicholls, The Bachelor invites female and non-male artists to reinterpret this archetype, challenging its history through diverse perspectives.

Inspired by Duchamp’s The Bride Stripped Bare and pop culture’s The Bachelor, this humorous, poignant collection examines objectification, heroics, and evolving archetypes.

The Art Gallery of Western Australia artgallery.wa.gov.au

Andrew Nicholls, Invocation of Venus (detail), 2021-2023, archival ink pen, white ink and watercolour on watercolour paper.

1 February—1 March The Majestical Firmament Andrew Nicholls Comprising drawings, ceramics and ritual objects created by artist Andrew Nicholls, The Majestical Firmament represents the first stage in a multi-year project developing a new divinatory system based around traditions of Western Planetary Magick. The centrepiece of the exhibition is a series of large-scale ink and watercolour drawings for future translation into trump cards for a forthcoming cartomancy deck, complemented by smaller ink drawings to form part of the deck’s suits. Rendered in Nicholls’ trademark high-camp style, the works depict personifications of the seven traditional magickal ‘planets’ (including the sun and moon) identified by ancient peoples prior to the invention of the telescope.

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. Visit the website for latest information.

Until 2 February TIME • RONE Step into a moment suspended in time, and get lost in an immersive art experience like no other. A multi-sensory installation excavating meaning from the everyday, TIME • RONE projects onto a grand scale the lifelong search for beauty in decay. Following a sell-out season in Melbourne, TIME • RONE is now showing in AGWA’s Centenary Galleries with expanded staging and a new room, exclusive to Perth.

tralian ceramicist Sandra Black. Spanning over 50 years of practice, the exhibition surveys important touchpoints in Black’s career from 1972 through to her current practice.

Life in the third person installation view, The Art Gallery of Western Australia, 2024. Artwork – Julia Gutman, life in the third person, 2024, woven textile, 12.62 metres (H) x 3.3 metres (L) (installed). Courtesy of the artist and Sullivan+Strumpf. © Julia Gutman, 2024.

Photo: Dan McCabe.

Until 16 February Julia Gutman, Life in the third person AGWA commissioned a major new work by young Sydney-based artist, Julia Gutman, who won 2023’s prestigious Archibald Prize.

Until 16 March Forecast An all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures.

Until 4 May Form and feeling: artists’ studies of the twentieth century Exploring the manifold ways British and Australian artists approached oil painting and drawing. Bringing together significant paintings from the State Art Collection and their preparatory drawings – some

Until 2 February Material Practice: Howard Taylor’s Journal Witness first-hand the evolution of one of Western Australia’s most significant artists, seen through artworks in the Collection along with pages from his Journal. From his early experimentation with tempera and form to his later innovations in manipulating light and space, each artwork reveals the development of Taylor’s creative process, enriched by the insight gleaned from his Journal.

17 January–14 February Performances: 5pm, Fridays | FREE Zheng Bo: 舞草舞木 / Dance Grass Dance Tree

Eva Fernandez, Jesus’ Body is Taken Down from the Cross #2, 2017, archival pigment print.

1 February—1 March The Bachelor Curated by Andrew Nicholls For over a millennium, the male nude

Commissioned by AGWA as part of the Simon Lee Foundation Institute of Contemporary Asian Art, this performance is choreographed by Zheng Bo and Tyrone Earl Lraé Robinson who collaborated with two dancers, Talitha Maslin and Niamh O’Sullivan, and five Western Australian plants.

Until 16 February Sandra Black: Holding light The first comprehensive survey of works by internationally acclaimed Western Aus-

Henry Roy, Man sleeping, Yaounde, Cameroon, 2002, inkjet print on Bartya paper, 117 x 81 cm. With kind permission of the artist. © Henry Roy. 233

lintonandkay.com.au

Kathryn Junor Margaret River Summer 2024 13 December - 17 March 2025 Cherubino Wines Cellar Door

Kathryn Junor, ‘A Perfect Beetle Life’ 2024, Oil on canvas, 78.5 x 102.5 cm

Leigh Hewson-Bower Kimberley Impressions 1 - 17 February 2025

Leigh Hewson-Bower, ‘Tide Lines, Talbot Bay’ 2024, Acrylic on canvas, 110 x 175 cm

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

WESTERN AUSTRALIA Art Gallery of Western Australia continued...

16 November 2024—2 February Etched in Fire Chester Nealie

of which have never been shown before – the exhibition is focused upon technique and process, exploring the transition from preliminary sketches to finished oil painting, and features such artists as Stanley Spencer, William Dobell, Russell Drysdale and Frank Auerbach.

16 November—16 February Tributaries Tineke Van der Eecken

Running on Tuesday 7 to Thursday 9 January, Tuesday 14 to Thursday 16 January, and Tuesday 21 to Friday 24 January.

Until 18 May Henry Roy – Impossible Island In a world-first, legendary photographer Henry Roy holds his first survey at The Art Gallery of Western Australia. Henry Roy – Impossible Island draws on 40-years of recollections and observations as it brings together 113 photos taken from 1983 to 2023.

Image courtesy of the gallery.

January ADULT COURSES: SUMMER SPECIALS Various times & prices

Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Get creative with our very special summer classes, offering a swag of artistic disciplines with experienced, attentive tutors at the helm. There is something for everyone, from beginner to expert.

Running Saturday 11 to Sunday 12 January and Saturday 18 to Sunday 19 January.

Artitja Fine Art Gallery artitja.com.au By appointment South Fremantle, WA 6160 0418 900 954 Specialising in Australian First Nations Art since 2004.

Bunbury Regional Art Gallery bunbury.wa.gov.au/brag 64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

Kelsey Ashe, Cardinal Sea Cathedral (Sugarloaf Rock), 2024, screen print, botanical inks on canvas. Image courtesy the artist.

23 November 2024—16 February The Deep Green Sea Kelsey Ashe

City of Perth Council House Gallery

February TERM 1: ADULT CREATIVE COURSES Times & prices vary Our extensive creative learning program caters to all ages and abilities.

We collaborate with dedicated tutors of various disciplines: all established teachers and many award-winning, prominent artists in their field.

Running Wednesday 5 February to Tuesday 8 April.

perth.wa.gov.au Whadjuk Nyoongar Country, 27–29 Saint Georges Terrace, Perth, WA 6000 Mon to Fri 10am–4pm.

Closed public holidays.

See website for latest information.

Fremantle Arts Centre fac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

January KIDS COURSES: SUMMER HOLIDAYS Various times & prices

Chester Nealie, Red Shino Vase, 2002, wood-fired stoneware with shino slip, fired in the firebox of Chester’s multi-chamber kiln at Goanna Ridge, Gulgong.

For kids and teens ready to unleash their inner artist, our summer holiday program offers a colourful variety of classes at a beautiful location. These classes are split into four groups: Younger Kids (5-7 years) | Older Kids (8-12 years) | Teens (12-17 years) | Kids + Adults.

Kate Mitchell, Sketch For Idea Induction (having a moment in the back seat), 2024.

8 February—20 April Perth Festival Enjoy three exhibitions connected by a relationship to place, site and community.

Explore Kate Mitchell’s immersive and interactive Idea Induction, Dianne Jones’ photographic work inspired by 235

ar t g ui d e .c o m . au Fremantle Arts Centre continued...

stockroom works throughout the month, with viewings in gallery by appointment.

Manjaree in The Beach, and Mervyn Street’s powerful Stolen Wages series on Kimberley history and resilience.

KolbuszSpace provides tailored advice for collectors, architects, developers, interior designers, and stylists - whether for single projects, new collections, or full space consultations, while accommodating a range of budgets.

Opening Night, Friday 7 February, 6pm.

Runng Saturday 8 February to Sunday 20 April, 10am–5pm.

John Curtin Gallery curtin.edu.au/jcg Whadjuk Noongar Country, Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm.

Closed public holidays.

Free admission.

Mai Nguyễ n-Long, Doba (with handles), 2023, smooth terracotta fired to 1120, 17 x 21.5 x 18 cm. Photograph: Jonathan Cohen. Courtesy of the artist and Michael Reid Sydney + Berlin. which derive their appearance from metal bomb shell casings (post-Vietnam War) that residents of rural Vietnam repurpose for practical and spiritual use. In this new body of work, Nguyễn-Long’s brushwork borrows from the southern Vietnamese folk religious motifs of her father’s birthplace, merged with personalised symbology. Doba Nation acts to reconcile the artist’s personal experience of diasporic trauma and invites audiences to interrogate the history of their own identity.

KolbuszSpace kolbuszspace.com

Alice Guiness, Burndud Ground, 2022, acrylic on canvas, 100 x 80 cm. Courtesy of the artist and Juluwarlu Art Group.

Whadjuk Nyoongar Country, 2 Gladstone Street, Boorloo/Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment.

See website for latest information.

7 February—17 April Burndud Ground Alice Guiness

Mai Nguyễn-Long’s large-scale installation Doba Nation features hand-formed clay sculptures that are arranged by the artist on site in a process akin to live storytelling. Along with her distinctive Vomit Girl motif sculptures, Nguyễn-Long has created a series of cylindrical clay forms 236

Linton & Kay Galleries 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.

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

Lawrence Wilson Art Gallery & Berndt Museum

Elder and senior artist Alice Guiness holds a deep connection with the Burndud, an important site and story for the Yindjibarndi people. Each stroke of the Burndud circle tells a story and it is through her special connection that Alice shares these stories with the world. Her use of bold colour and patterns embody the rhythms and movement of the women dancing and the men singing in Ceremony.

Now these works will be celebrated and shared with Festival audiences, brought to life in neon sculpture and immersive media installations. A Perth Festival and Juluwarlu Art Group Commission.

7 February—17 April Doba Nation Mai Nguyễn-Long

The gallery is committed to fostering sustainable careers and supporting notable emerging artists with positive outcomes, and hosts a curated monthly exhibition schedule of both represented and independent artists excelling in a wide range of mediums including painting, neon, sculpture, textile, photography, and ceramics.

uwa.edu.au/lwag Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 11pm–4pm. Gallery closed until 15 February.

Waldemar Kolbusz, Nectar, 2024, oil on linen, 155 x 125 cm.

February Stockroom Waldemar Kolbusz KolbuszSpace is closed in January and reopens in February with selected artist studio-direct and quality / collectible

Gerwyn Davies, Bandit, 2023, archival pigment print, 85 x 150 cm. Courtesy of the artist, Jan Murphy Gallery and Michael Reid Gallery.

WESTERN AUSTRALIA 15 February—3 May de-centre re-centre Presented as part of the Perth Festival 2025 de-centre re-centre spotlights the strength and diversity of contemporary photography in Australia. Deploying and disrupting conventions of portraiture and landscape, the selected artists explore place and belonging in First Nations, diasporic and queer communities.

these iconic built spaces, and the fabric of history that has been contained within them. These works are complemented by historical information and key works from the City of Swan Art Collection, telling the story of Midland Junction’s rich history as a landmark of industry and learning.

in addition to a program of exhibitions, professional consultancy services in art commissioning, collection advice and management.

Lawrence Wilson Art Gallery in partnership with Perth Centre for Photography.

Midland Junction Arts Centre midlandjunctionartscentre.com.au 276 Great Eastern Highway, Wajuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

See website for latest information.

Situated in the heart of Midland, 18km north-east of the Perth CBD, Midland Junction Arts Centre (MJAC) is a vibrant visual and performing arts facility managed by Mundaring Arts Centre Inc. with the support of the City of Swan.

This historical venue is available for community hire and offers three galleries, a 142-seat theatre, ceramics and print studios, textiles and drawing rooms, classrooms, a function room as well as a range of work spaces for artists, workshops and meetings.

KA KE Drift, 2024, mixed media, dimensions variable. Image courtesy of the artists.

30 November 2024—16 February Interior Gemma Ben-Ary, Felicity Bodycoat, Sian Boucherd, Helen Clark, Greg Crowe, Jon Denaro, John Eden, Penelope Forlano, Alice Guiness, Louise Hamill, Gabby Howlett, Margaret Dillon & Jesse Lee, Wendy Hubert, Daniel Iley, Cath Inman, Tanya Jaceglav, Sarah Keirle, Robbie Kerr, Ben Kovacsy, Emma Lashmar, Mark Lilly, Coby McDougall, Kate Rae & Kerry O’Flaherty, Chris Reid, Sarah Soulay, Jacob Smith, Jude Taylor, Anne Williams and Michael Woodley. Curated by Kristy Scaddan Interior is a curated collection of precious objects, homewares and 2D artforms to imbue our lived environments, with a core focus on WA designers and makers. These artists excel in their mastery of materials, form, and functionality. This exhibition celebrates the beauty of how we adorn our homes, while championing the importance of supporting the handcrafted market and fostering sustainability for our artists.

Matthew Hunt, Inland Sea, 2021, scraperboard, unique work 23 x 15.5 cm.

30 January—8 March Souls Matthew Hunt Matthew Hunt opens the gallery year with a solo exhibition presenting new single-channel video works alongside his signature scraperboards, newly expanded in scale. Hunt applies his keen observance of the everyday to mine moments of unexpected meaning, revelation, or affirmation. He often conveys the profound in the fleeting and his visual use of text ranges from the descriptively assertive to the subtle.

Hunt returns to WA from his current residence in the UK for this much anticipated exhibition.

MOORE CONTEMPORARY Hans Arkeveld Midland Junction, 1988, carbon crayon on paper. Image courtesy of City of Swan Collection.

30 November 2024—16 February Building Fabric Hans Arkeveld, Madeleine Clear, Allon Cook, Phillip Cook, Eva Fernández, Nigel Hewitt, Ben Joel, Jessica Jubb, Norma MacDonald, Cyndy Moody, Moorditj Maaman Men’s Group, Sue Starcken, Jude Taylor and Richard Woldendorp. Curated

by Jenny Haynes Honouring the conclusion of a two-year heritage renovation, MJAC reflects on what has come before in Building Fabric.

On display in the East Gallery, this exhibition features a collection of works from artists with long-term ties to the Midland region. These artists take inspiration from the architectural heritage of Midland Junction to form a shared experience of

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 website for latest information.

MOORE CONTEMPORARY was established in its Cathedral Square location in Perth in November 2017. Founded and directed

by Margaret Moore, MOORE CONTEMPORARY is a space dedicated to the presentation and promotion of major contemporary art. In recognition of Margaret’s extensive curatorial and arts management career, MOORE CONTEMPORARY offers,

Ian Williams, Smoke and Mirrors, 2024, oil on canvas, 50 x 75 cm.

20 February—23 February Booth E4, Melbourne Art Fair Ian Williams, Joshua Webb MOORE CONTEMPORARY returns to Melbourne Art Fair with a suite of commanding new paintings by Ian Williams and sculptures of scale by Joshua Webb. This alignment sets up a visual conversation informed by each artists explorations of the digital, virtual world coupled with a commitment to high level material application.

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ar t g ui d e .c o m . au

Mundaring Arts Centre

ideas of intergenerational relationships and change.

mundaringartscentre.com.au 7190 Great Eastern Highway, Wajuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

See our website for latest information.

MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature new 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.

Audrey Fernandes-Satar and Arif Satar, Great Flood Series: Then they sent a dove & I have seen this Sky (composition view), 2024, oil, acrylic, charcoal and paper on canvas; recycled paper and recycled timber. Image courtesy of Arif Satar.

Universe, but as the reality of the force of climate change and that all human acts have a cause and effect on the Planet.

Perth Institute of Contemporary Arts (PICA) pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 12pm–5pm.

See our website for latest information.

Naomie Hatherley The Code, 2024, oil on recycled score plates and shoe laces.

Image courtesy of Rebecca De Vries.

19 October 2024—2 February Half Time Exploring Australian Football Culture Matt Aitken, Monia Allegre, Lyndon Blue, Sally Bower, Les Everett, Conway Ginger, Brent Harrison, Naomie Hatherley, Jennifer Jamieson, Dinni Kunoth Kemarre, Emma-lee Maher, Lucky Morton Kngwarreye and Pedro Sippe. Curated by Amber Norrish.

Alongside a team of artists from across Australia, Half Time celebrates the unifying power of footy. Delving into thought-provoking inquiries, the exhibition ignites an important and timely dialogue on the diverse roles sport plays within our communities.

15 February—6 April Bird Song Audrey Fernandes-Satar and Arif Satar Presented across two galleries, Bird Song is an interrogation of material as ‘Pentimenti’ a method akin to a palimpsest where previous artworks are reconstructed and overlaid, to invoke the allegoric nature of myths and ancient stories.

Stories such as the Great Flood, not as a dogmatic manifest of the Gods over the 238

Housed in an iconic heritage building in the heart of Perth, PICA is the place to experience the very best of local, Australian and international contemporary arts in Western Australia.

Over its 30 plus-year history, PICA has operated as both a producing and presenting organisation, delivering an annual program of changing exhibitions, seasons in contemporary dance, experimental theatre, new music and live art as well as a range of artist-in-residence programs.

Sarah Elson, Pull the earth around me 1, Head piece, 2024.

7 February—30 March In Her Footsteps: A Tribute to Matrilineal Legacy Darcey Bella Arnold, Lauren Burrow, Sarah Elson, Tom Freeman, D Harding, Kate Harding, Zali Morgan Seven Australian artists pay homage to the women who have shaped their lives.

A celebration that acknowledges the nurturing pathways these women have forged, delving into themes of activism and empowerment through a mix of new and existing works.

7 February—30 March Biraddali Dancing on the Horizon Bhenji Ra Biraddali Dancing on the Horizon documents the transfer of ancestral, intergenerational knowledge between Ra and her teacher and collaborator Sitti Airia Sangkula Askalani Obeso.

7 February – Ongoing Five way to make a rainbow Amanda Bell 7 February – Ongoing Cement Frogs the Ghost of a Swamp Tyrown Waigana Ongoing IT IS THE COLOUR OF AN IDEA THAT WILL NOT COMPLETE ITSELF IN OUR LIFETIME Agatha Gothe-Snape

Laure Prouvost, Every Sunday, Grand Ma, (detail), 2022, installation view, image courtesy the artist. Photograph: Andrew Curtis.

7 February—30 March Oui Move In You Laure Prouvost Inspired by the radical, experimental and pathfinding figures who came before, Oui Move In You conceptually explores the roles and legacies of grandmothers, the maternal spaces of mother and child, and

Stala Contemporary stalacontemporary.com.au 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment.

See our website for latest information.

A–Z Exhibitions

Northern Territory

JANUARY/FEBRUARY 2025

ar t g ui d e .c o m . au

Araluen Arts Centre, Mparntwe araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Summer hours, Tue to Sat, 10am–4pm, Sun 10am–2pm, closed Mondays.

See our website for latest information.

“The inspiration of making frill neck lizards came from remembering the road signs around the Top End saying, “We like our lizards frilled not grilled”. I tried to capture the action of the lizards in movement.

They’re made of reused and repurposed items such as nuts, wire, ball bearings and motor parts which is the style of art I find interesting”. –BM The Greenbush artists are Visual art students. The certificates are offered through Charles Darwin University. All artworks are available for sale. A percentage of sales will be going to the artists.

22 November 2024—2 February INKED Limited Edition Prints Araluen Collection

Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kangka Kutjara, Two Girls, 2023 (video still).

2 November 2024—27 January Two Girls From Amoonguna Two Girls From Amoonguna is an exhibition featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. It recounts their intertwining stories of friendship and resilience in the Central Desert. Encompassing video, soft sculptures, and paintings, the centerpiece animation, Arrkutja Tharra, Kungka Kutjara, Two Girls, was made in collaboration with Ludo Studio (Bluey, Robin Hood, and The Strange Chores).

Sally and Marlene’s practice is representative of Mparntwe (Alice Springs), where they live. Playful, self-referential, and humorous, their work embodies the politics, history, and culture of Mparntwe and its surrounding town camps. An ACMI touring exhibition. Arrkutja Tharra, Kungka Kutjara, Two Girls was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood, and The Strange Chores, and is an Artbank +ACMI co-commission.

An ACMI touring exhibition.

For centuries, artists around the world have used printmaking techniques to share ideas, tell stories, and make powerful statements. The subjects are varied, some hold Tjukurpa, others tell us something of the artist or their environment, others are political statements. The diverse techniques used to create limited edition prints combining ink on paper like woodblock, screenprint or lithography, allow for endless diversity and innovation. Showcasing accomplished yet possibly overlooked local talents, such as Ludmilla Kooznetzoof-Hawkins, who explores the art of lithography and collagraphy through self-printed editions, and renowned national figures like John Wolseley, whose enduring connection to the Desert and its distinctive fauna spans decades. INKED brings together a compelling collection of works united by their celebration of diverse techniques that pay tribute to the vibrant multicultural heritage of our nation.

Artback NT artbacknt.com.au Showing at New England Regional Art Museum, 106-114 Kentucky Street, Armidale, NSW.

has been assisted by the Australian Government’s Visions of Australia program.

Museum and Art Gallery of the Northern Territory magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

Free admission.

See our website for latest information.

Our principal facility since 1981 is on Larrakia Land at Bullocky Point in Darwin, home to internationally renowned cultural and scientific collections and research and exhibition programs.

MAGNT also operates the historic Fannie Bay Gaol in Darwin, the Museum of Central Australia incorporating the Strehlow Research Centre in Alice Springs, Megafauna Central and the Alcoota Fossil Bed site north east of Alice Springs.

MAGNT also manages the historic Lyons Cottage on Darwin’s Esplanade and the Defence of Darwin Experience at East Point in Darwin.

22 June–27 January 2025 2024 Telstra National Aboriginal And Torres Strait Islander Art Awards Presented by the Museum and Art Gallery of the Northern Territory and Principal Partner Telstra. The Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA) exhibition i​ s the longest running and most prestigious Aboriginal and Torres Strait Islander Art Award. Experience artworks that reflect the strength of culture, responses to current affairs and deep connections to Country.

Join us in celebrating the 41st year of the Telstra NATSIAA, a career-changing event for many artists

NCCA – Northern Centre for Contemporary Art nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

BM, Frill necked lizards, 2024, recycled metal.

9 November 2024—9 February Steel Life The Greenbush Art Group is back at the Araluen Arts Centre for their sixth exhibition. All artists are working within the Alice Springs Correctional Centre creating sculptures using repurposed materials like metal off cuts, car parts, or wood. In this year’s exhibition the artists are focusing on representing native animals from memory or when they can be outdoor and encounter flying visitors.

240

Photograph: Penelope Clay.

15 November 2024—2 February Clay on Country An Artback NT touring exhibition.

Artback NT is supported through the National Performing Arts Partnership Framework through Creative Australia and the NT Government. This project

Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs.

NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

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L A S T WO R D

“Histories are like imagined worlds, with all their distortions and malformations. Later interpretations of grand histories, as in my work, are like imagining far-off lands, with their strangeness and romance magnified or inversely diminished.”

— N U S R A L AT I F Q U R E S H I

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.

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Installation view of Yayoi Kusama’s The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe 2019 at Kusama’s solo exhibition Yayoi Kusama: All About Love Speaks Forever at Fosun Foundation, Shanghai. Collection of the artist ©️YAYOI KUSAMA

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I N S I D E Telly Tuita, Nusra Latif Qureshi, Carol Jerrems,

Glen O’Malley, Ethel Carrick, The Future & Other Fictions, Sandra Black, Tony Clark, The Huxleys, Roberta Joy Rich, and more.

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