Art Guide Australia — January/February 2022

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January – February 2022 O que é um museu? / What is a Museum? (Lina Bo Bardi - A Marvellous Entanglement), 2019 Endura Ultra photograph facemounted 180 x 240 x 7.5 cm edition of 6 + 1 AP

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Image (detail): Clemencia Echeverri, Treno_, 2007 (video still). Courtesy the artist. Copyright © Biennale of Sydney Image (detail): Clemencia Echeverri, Treno_, 2007 (video still). Courtesy the artist. Copyright © Biennale of Sydney

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A Note From the Editor

January/February

PR E V I E W

2022

EDITOR ISSUE #135 AND

Tiarney Miekus

EDITORIAL

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EDITOR

Anna Dunnill WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANT

Dylan Reilly

CONTRIBUTORS ISSUE #135

Claudia Chinyere Akole, Timmah Ball, Sophia Cai, Tracey Clement, Steve Dow, Briony Downes, Tristen Harwood, Neha Kale, Tiarney Miekus, Giselle Au-Nhien Nguyen, Barnaby Smith, Andrew Stephens, Hamish Ta-me.

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Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia.

We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. artguide.com.au

Cover artist: Kaylene Whiskey.

Please note: due to possible Covid-19 restrictions, gallery opening hours and exhibition dates may be subject to change.

Ever Present: First Peoples Art of Australia Destination Sydney: The natural world Fresh Material: New Australian Textile Art Anna Hoyle: Your choc-mint pelvik floor is so boring Kate Bohunnis: house that heaves Toy Stories A thousand different angles Who’s Afraid of Public Space?

F E AT U R E

James Capper: Dreaming of Hydraulic Insects Léuli Eshrāghi: Rewriting The Script Interview: Polly Borland Kaylene Whiskey: Country and Celebrity S T U DIO

Ramesh Mario Nithiyendran F E AT U R E

Jenna Lee: Black, White, Red Naminapu Maymuru-White: River of Stars C OM M E N T

When Should You Work For Free?

F E AT U R E

front Kaylene Whiskey, Tina, 2019, acrylic on linen, 67 x 91 cm. photogr aph: luis power. image courtesy of the artist and roslyn oxley9 gallery, sydney. back Kaylene Whiskey, Do You Believe in Love?, 2019, acrylic on linen, 167 x 198 cm. photogr aph: luis power. image courtesy of the artist and roslyn oxley9 gallery, sydney.

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 © 2021 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.

Jahnne Pasco-White: A Tangle of Materials Rebecca Belmore: Art for Turbulent Times Gordon Hookey: Kangaroos With Attitude

Issue 135 Contributors CLAUDI A CHIN Y ER E A KOLE is an exhibiting artist,

illustrator, cartoonist, designer, animator, and educator based in Sydney, Australia (Gadigal and Wangal land). She works as a graphic designer in TV broadcast, as a freelance illustrator, and creates comics and illustrations in her personal practice.

TIMM A H BA LL is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning.

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

SOPHI A CA I is a Melbourne-based curator, arts writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices.

TR ACEY CLEMENT is an artist and freelance writer. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture.

STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault.

BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer.

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

TR ISTEN H A RWOOD is an Indigenous writer, editor

and researcher based in Naarm. His work is published in The Saturday Paper, The New York Times Magazine, Un Magazine, ArtReview, Artlink, Art + Australia, and The Monthly.

NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine.

TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast.

GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Naarm/Melbourne.

BA R NA BY SMITH 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.

A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

A Note From the Editor

An attentiveness to the real conditions of life is felt throughout this issue of Art Guide. In my interview with Polly Borland we talk about the way the powerful wield their power. The artist, who acknowledged a sense of feeling lost, kept returning to the crises of the moment, most pertinently climate change.

As she says, “The world is in the midst of the most awful chaos.”

Such attention to environmental threats is given voice throughout this issue, and this voice is global. UK artist James Capper is bringing his walking, hydraulic-powered, machine-like insects to Hobart. These magnificent creations blend engineering, sustainable energy, and art—all with the suggestion of new, sustainable futures.

There are also multiple Indigenous perspectives on the harmful treatment of the natural world, and how this is intrinsically tied to colonialism. Our profile on Toronto-based, Anishinaabe artist Rebecca Belmore looks at how, for decades, the artist has been creating rigourous works of Indigenous resistance. She sees language and the body as central sites where sovereignty can exist. Likewise, in the work of Léuli Eshrāghi, the artist and curator is continually gravitating toward the issue of climate change from a diasporic perspective. They explain that the current focus is a “disembodied, de-terrialised outlook and it needs to shift, because this is not the future."

Meanwhile our cover artist Kaylene Whiskey shows a very different side to the world: her exuberant, joyful paintings are reflections not only of Country, but also the Western cultural icons that many of us live with; Dolly Parton, Barack Obama and Wonder Woman, among others.

Finally, writer and curator Sophia Cai questions the very foundations of art making, asking, “When should you work for free?” The world is not an abstract concept in this summer edition of Art Guide, as you’ll see and read.

Tiarney Miekus Editor, Art Guide #135 and the Art Guide Australia team

“The world is not an abstract concept . . .”

Previews W R ITERS

Tracey Clement, Briony Downes, Giselle Au-Nhien Nguyen, Barnaby Smith and Andrew Stephens.

Perth Ever Present: First Peoples Art of Australia Art Gallery of Western Australia 11 December 2021—18 April

Contemplating First Nations art as a tool of resistance and as offering alternative versions of Australian history, curator Tina Baum knew she was embarking on a huge endeavour with Ever Present: First Peoples Art of Australia. No surprise, then, that this exhibition—devised at the National Gallery of Australia (NGA) but showing only in Western Australia and Singapore—covers enormous cultural territory, with more than 80 artists.

Daniel Boyd, Kudjla/Gangalu/Kuku Yalanji/Jagara/ Baum, the NGA’s curator of Aboriginal and Torres Wangerriburra/Bandjalung peoples, Treasure Strait Islander Art, says the primary aim is for audiences Island, 2005, National Gallery of Australia, to go beyond stereotypes of what constitutes Indigenous Canberra, purchased 2006. art, in this case drawn from extensive NGA and Wesfarmers Arts collections. “There is a lot of resilience and strength evident,” she says. “We still have this, despite everything that has been thrown at us.”

At the spine of the show are themes about ancestors, Country, community, ceremony, trade, resistance, colonisation and innovation. “Essentially, all these cultural connections centre on who we are, our identity. They all interlink to give people a sense of the continuity, but also the disconnection because language and family were taken away.” The exhibition takes in everything from William Barak’s Corroboree, c.1885, to Albert Namatjira’s Ormiston Gorge, 1939. Further additions are Daniel Boyd’s tongue-in-cheek 2005 map Treasure Island, Gary Lee’s Shaba, 2006, and Sandra Hill’s Double Standards, 2015.

Baum says Ever Present emphasises how the striving to reconnect through language and cultural revival shows extraordinary persistence and optimism: “It is ‘ever present’ in the sense that we are still here and we have a lot to celebrate.”

While some early works show artists documenting their perspectives of the colonial frontier, other works present the idea of “time before time—how we came about, our laws and country”. —A NDR EW STEPHENS

right Gary Lee, Larrakia/Wardaman/Karajarri peoples, Shaba, from the series Shaba, 2006.

National Gallery of Australia, Canberra.

Sydney Destination Sydney: The natural world

Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery 4 January—20 March

The title Destination Sydney may read like something lifted from a tourist brochure—and indeed we are invited to travel across the city to three galleries to see the show—but what is on offer in this third and final iteration of the exhibition is not ‘classic postcard views’ of the harbourside metropolis. Instead, a curatorial team of three women presents nine female artists: Joan Ross, Fiona Lowry and Merran Esson at Manly Art Gallery & Museum; Janet Laurence, Caroline Rothwell and Robyn Stacey at Mosman Art Gallery; and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne at S.H. Ervin Gallery. Together these artists use painting, photography, sculpture and ceramics to reflect on the natural world.

For instance, Robyn Stacey literally turned her back on the iconic view made famous by Brett Whiteley when Stacey photographed Whiteley’s home at Lavender Bay. In Wendy and Brett Whiteley’s Library, 2016, Stacey used a camera obscura to cast an inverted harbour bridge across shelves of books, combining, as senior curator Kelly McDonald puts it, “Sydney’s natural environment and artistic life in one image.”

Meanwhile Joan Ross infuses the harbour with fluorescent yellow, like a toxic spill, in her print Please don’t pick the flowers, 2019. She highlights the poisonous legacy of settler culture. “Her artworks cleverly subvert our view of Sydney,” explains senior curator Katherine Roberts. “They examine the imposition of colonialism in Australia, especially concerning its effect on Indigenous Australians, drawing attention to the complex and ongoing issues surrounding first contact.”

And as we venture out once again, Destination Sydney also accommodates a sense of optimism. Director of S.H. Ervin Gallery Jane Watters says that Jennifer Keeler-Milne’s painting Spring Wattle II, 2021, “captures the exuberance of the flowering wattle which, after a challenging two years, almost reflects rebirth following the darkness of lockdown.” —TR ACEY CLEMENT

Jennifer Keeler-Milne, Spring wattle III, 2021, oil on linen.

Townsville Fresh Material: New Australian Textile Art Perc Tucker Regional Gallery 10 December 2021—6 February

Jenny Watson, Sunshine of your love, 2020, acrylic on French cotton and tapestry template, 140 x 137 cm; 39 x 31 cm. image courtesy of roslyn oxley9 gallery.

Jenny Watson is known for being playful, innovative and political, and for transcending conventional ideas about textile art. Her 2020 tapestry-based piece Sunshine of Your Love—showing an ambivalent woman on a flower background next to a stone house—encompasses all these qualities, and these qualities also define Fresh Material: New Australian Textile Art. The initial impetus for Fresh Material, a stylistically diverse and politically charged group exhibition, was curator Jonathan McBurnie’s wish to expand into a tactile, thought-provoking medium: textiles. “As a medium, textiles have a universality,” says McBurnie. “We all deal with

textiles every day in a personal way that is quite different to other media.” Among the 20 exhibiting artists, the chosen styles and materials include cross-stitch, leatherwork, sculptural textiles, and felting. It shows the work of textile veterans such as Watson, as well as newer artists such as Regi Cherini and Sonia Ward, the latter of whose work Fountain of Life, 2021, a tapestry, is a particularly startling depiction of a baby. Meanwhile Cherini’s embroidery, Beauty (Hers), 2021, is a compelling still life of women’s beauty products.

Across these works, Fresh Material emphasises two characteristics of contemporary textile art, the first being the form’s capacity for political statement. “The exhibition explores a number of political and ideological themes,” says McBurnie, “including identity politics, queer theory, Indigenous culture, diaspora, popular culture, illness metaphor, the representation of women, and even more metaphysical concerns such as challenging notions of what art actually is.”

Second is an emphasis on the human quality of hands working directly with material. “Textiles are not an art form that can stand without a high level of skill and commitment. You can’t use Photoshop to touch it up or Auto-Tune to iron out deficiencies. What you see is what you get, so it has to be good.” —BA R NA BY SMITH

Melbourne Your choc-mint pelvik floor is so boring Anna Hoyle Linden New Art 4 December 2021—27 February

Anna Hoyle’s colourful gouache paintings skewer advertising, self-help and consumer trends and culture.

Your choc-mint pelvik floor is so boring presents Hoyle’s tongue-in-cheek works as both fictional book covers and text-based paintings. The works give a knowing wink to the viewer while putting a satirical spin on wellknown cultural tropes and echoing what Hoyle calls “absurd aspirations”.

Language is central here. “She asked Belts n Bags.com to stop sending emails to her gynaecologist,” one book cover reads. “Your boobs can fix it,” another declares, with an image of a smiling pair of breasts, nipples as hands, working away at a desk. “I hate IKEA pencils,” Anna Hoyle, Belts N Bags.com, 2021, goauche and shouts a further piece, with the text etched onto—you acrylic on paper / wood, 21 x 29 cm. guessed it—an IKEA pencil.

Hoyle has long drawn inspiration from advertising in her work, even before it moved into the artistic space— her first job involved copywriting and sign writing for a chocolate company. “I had always drawn, but couldn’t believe how exciting it was to activate a space with text,” the Melbourne-based artist says.

In the early 1990s, Hoyle created a suite of etchings and lithographs inspired by car and pantyliner ads; this influence can also be seen in the titles of her works.

After a break, during which she focused on ink drawings of chinoiserie and suburban motifs, she returned to making work relating to consumer culture in 2013.

And by then, consumer culture had merged with the growing ubiquity of the digital world—as shown in her own work. “I have always been fascinated by the language and look of persuasion in consumer contexts and how words can be loaded, futile or fun,” Hoyle says. “The book trope is funny to me in that we just google those ‘how to’ things now.” —GISELLE AU-NHIEN NGU Y EN

Sydney house that heaves

Kate Bohunnis COMA 21 January—26 February Kate Bohunnis works both with and against what she calls the “tired traditions” of gender stereotypes, creating steel and textile sculptures that inhabit a liminal zone between artificially imposed binaries. Her structures not only push the boundaries of gendered preconceptions—a space where tough and masculine metal meets soft and feminine fabric—they poke and prod, searching for, as she puts it “possibility, fluidity and potential for hybridisation.”

The Adelaide-based artist’s own skill set illustrates Kate Bohunnis, house that heaves (detail), 2021, this search. “I fabricate all of my work myself, which is faux fur, velvet, pvc, cotton, fringing, plastic beads. conceptually important in this context,” she explains. courtesy of k ate bohunnis & coma, sydney.

“As a queer woman working between two industries— metal fabrication and [textile] craft—I find myself responding to the history of these traditionally gendered materials and subverting our expectations of what they do, and who should be doing it.”

In house that heaves—her first Sydney solo since winning the 2021 Ramsay Prize—Bohunnis hopes to draw attention to feminine labour and gender violence, and to disrupt social norms. As she explains the show’s title, the house is a metaphor for both the body and society, meanwhile “a ‘heave’ is the upward movement of the [house’s] foundation caused by underlying issues, leading to cracks in the walls and floors.”

And while exposing the cracks in our culture is serious work, Bohunnis also gives her sculptures a humourous edge, which she says is a key tactic for tackling constricting tropes. As the artist sums up, “By pairing latexes with dated and dowdy fabrics that appear matronly or undesirable, I intend to showcase female labour in a way that rebels against norms and the male gaze.” By using these fabrics to conjure the female body, the artist is “playing with the ideas of fetishisation, sexlessness and ‘the perfect woman’.” And by “overdressing” her sculptures, Bohunnis highlights the inherent absurdity of gender stereotypes.

—TR ACEY CLEMENT

Perth Toy Stories

Midland Junction Arts Centre 13 November 2021—12 February

Narrogin Doll Factory, Puppet Heads, c.1920, papier-mâché, paint. on loan from narrogin old courthouse museum. photogr aph: casey thornton.

The history of toys can tell us much about the history of people and culture. And by this logic, Toy Stories reveals a pattern of improvisation, experimentation and ingenuity in Western Australia over the last century.

Curator Sarah Toohey has assembled an eclectic and often eccentric collection that both encapsulates and expands the idea of what we consider a toy. The exhibition features both contemporary toys and some that date back as far as the 1920s,

all made by Western Australian artisans. And many of the most fascinating works were made in relatively amateur circumstances. “The early toys from the farming areas are all improvised,” says Toohey. “They made use of the materials at hand: knuckle-bones, matches, undyed wool, bits of wood and nails. They have that distinctive, makeshift country-Australia quality.”

In particular, Toohey also emphasises the recent work of Noongar doll-makers Geri Hayden and Yolande Ward-Yarran, who “continue a long tradition of Aboriginal women making dolls.” Other celebrated makers in Toy Stories include the late David Gregson (one of Western Australia’s most well-known painters, whose work here is a ship made for his nephew when Gregson was 17), Barry Tyrie, Theo Koning, and Clem Bond, the latter of whose two-metre Meccano Eiffel Tower is a literal high point.

A key priority in Toy Stories is showing the ornate, sophisticated and contemporary alongside the untrained and the obsolete—many of the older toys in the show might qualify as folk art. “I hope people agree that there is a lot to these simple objects,” says Toohey. “They’re about creativity, making-do, enterprise, experimentation and love, among other things. I hope the exhibition reminds people of the toys of their childhood and the pleasure of play.” –BA R NA BY SMITH

Melbourne A thousand different angles

McClelland Sculpture Park + Gallery 21 February—5 June

Renowned sculptor Inge King AM once described her artform as “drawing from a thousand different angles.”

Using this idea as a thematic springboard, McClelland Sculpture Park + Gallery co-curators Lisa Byrne and Samara Adamson-Pinczewski, Around the Corner Simon Lawrie have spent the last 18 months bringing 8, 2021, acrylic, iridescent acrylic and fluorescent together the work of 13 female-identifying artists for an acrylic with UV Topcoat on ABS resin (SLA), 27 x exhibition exploring the impact of modernism on con55 x 27 cm. courtesy of the artist and charles temporary sculptural practice. nodrum gallery. photogr aph: gavin hansford.

“King’s quote relates to the experience of sculpture,” explains Lawrie. “We used it in a number of ways when choosing the works in the show—in a literal sense with how we experienced a sculptural object and how it articulates space, and also in a broader sense with artists bringing different perspectives to historical works and processes.”

An additional influence for Byrne and Lawrie was sculptor Norma Redpath OBE. As original members of Centre Five—a group of artists who worked in Melbourne in the mid 1950s—both King and Redpath were at the forefront of modern sculptural practice, consistently pushing the boundaries of how form interacted with space. Their artistic legacy forms the compass point of A thousand different angles, which ranges across small maquettes to large-scale public art by artists including Natasha Johns-Messenger, Marion Borgelt and Louise Paramor.

“King and Redpath are each really significant sculptors in the timeline of Australian art,” says Lawrie. “They connected with their materials in direct and innovative ways and we wanted to look at how contemporary artists were expanding on that.”

With each work engaging in a visual dialogue with the McClelland galleries, the forms of linear passages and curved archways are key features in many of the sculptures, further enhancing the viewer’s spatial interaction with the architectural and natural spaces. “King and Redpath always looked at the dynamic spatial properties of the object itself and the broader context of where the object would be located—in nature, architecture, the domestic space or commercial realm—it was all part of the broader experience of sculpture.” —BR ION Y DOW NES

David Wadelton, Northcote Plaza, 1995. photogr aph courtesy of the artist.

Melbourne Who’s Afraid of Public Space?

Australian Centre for Contemporary Art (ACCA) 4 December 2021—20 March

With its lens aimed at the complexities of how we inhabit and perceive public space, the Australian Centre for Contemporary Art’s (ACCA) new offering could have been entirely theoretical had it been limited to its Southbank gallery. In an extraordinary move, Who’s Afraid of Public Space? extends outward, stretching as far as Melbourne’s outermost suburbs to engage with all sorts of unexpected artists and audiences who might not usually go to the Sturt Street arts precinct.

Although ACCA director Max Delany is clear that Who’s Afraid of Public Space partly functions as a research project, it also resembles a mini-festival.

Across exhibitions, performances, talks, meeting spaces, installations and more, a breadth and geographical spread of content will grapple with tough questions about surveillance, private incursions on “public” spaces, occupying Country, and the place of public artworks.

Conceived in 2019, Who’s Afraid of Public Space? has gained momentum and relevance during the pandemic. “It has been fascinating watching the changes in our relationship to public space during the lockdowns,” Delany says. “We abandoned public space and rapidly migrated to the digital realm. But, equally, over the past 18 months we have had a much more intense relationship with it—walking and engaging with local parks, people improvising with public spaces, occupying the outdoors in interesting ways and generally having a more intense relationship with neighbourhoods.”

At ACCA itself, several spaces have an audience-first premise to encourage meeting and debate, with one space focusing on the history of Melbourne’s public sculptures, featuring engaging maquettes, and another—the Gathering Place— exploring materiality and Country. The program’s satellite shows range from Northcote-based photographer David Wadelton occupying disused shopfronts with his well-known photography, to a community project about a new housing estate in Cardinia, using house floor plans as a muse. —A NDR EW STEPHENS

Somali weaver Muhubo Sulieman of The Social Studio. photogr aph: teva cosic. courtesy of the social studio.

Dreaming of Hydraulic Insects UK artist James Capper is bringing his insect-like, walking hydraulic sculptures to Australia, heralding an art practice of engineering, design and biology—all for a more sustainable future.

W R ITER

Steve Dow

James Capper, HYDRA STEP, 2014. photogr aph: damian griffiths. image courtesy of the artist and the museum of old and new art, tasmania, austr alia

James Capper is half engineer and half sculptor. He has one eye on the evolutionary biology of the oldest life forms, and the other on future, preferably green, technology. In London, the UK-based artist recently manufactured walking hydraulic sculptures inspired by insects, each measuring about two by one metres, and shipped them to Art Basel Hong Kong. Here, an idea was hatched: to send them on to Australia to make a hybrid art film.

Broken Hill was deemed the perfect place for director Alexander George to commit the intricate anatomy and strength of these creatures to film. This was especially so given the outback New South Wales town’s rich history of industrial mining processes, on the same continent where fossilised rocks provide evidence of the evolution of vertebrates from sea to land.

Jarrod Rawlins, director of curatorial affairs at Hobart’s Museum of Old and New Art (Mona), where the film and original sculptures will be shown together for the first time, says the film reminds him of Ted Kotcheff’s 1971 psychological Australian masterpiece Wake In Fright. Here, the “Gabba”—Broken Hill—becomes a byword for Australian machismo. “Capper’s film will allow you to see these insects being speculative in the outback,” says Rawlins. “It’s quite beautiful.”

Capper tells me via video conference from his workshop on Old Kent Road, southeast London, that

on the downtime from creating the film his team played two-up at a Broken Hill pub, like the schoolteacher character did in Wake in Fright: “It was amazing. There was a big crowd, and people were putting money on the edge, and at the end of the night all these guys from the mine turned up.”

Capper, only 33 years of age, says the inspiration for the film’s aesthetic is more 1980s: think Ridley Scott’s Blade Runner, Steven Spielberg’s ET and Netflix throwback series Stranger Things. “We cast a lot of people: the characters in the film live locally and said they’d like to be involved in it,” he says.

Prior to becoming renowned for his humanoperated machines, Capper says he wasn’t sure if he was an artist or a welder, a sculptor or fabricator, before he was accepted to study at the Chelsea College of Art and Design. So he took a job welding stilts together, and this heavy fabrication work influenced his artistic vision. In his first year studying at Chelsea, he would make industrial sculptures recalling those of artists Anthony Caro and David Smith. “It wasn’t until later on I introduced my full knowledge of engineering into my practice,” he says.

In his second year, he met his future gallerist Hannah Berry, who invited him to be part of a “squat scene”, a group show in a derelict building. In later years, he has had to learn to build relationships with an industrial supply chain, to delegate as well as

Alexandra George and James Capper, BLUE FRAME, video still, 2017. image courtesy of the artist and the museum of old and new art, tasmania, austr alia.

Alexandra George and James Capper, BLUE FRAME, video still, 2017. image courtesy of the artist and the museum of old and new art, tasmania, austr alia.

“The film will allow you to see these insects being speculative in the outback.

It’s quite beautiful.”

— J A R ROD R AW LI NS

Jean-Luc Moulène, Fixed Zinc, 2021. photogr aph: nicholas burridge. image courtesy of the artist and mona, tasmania, austr alia

Jean-Luc Moulène, Wax Larva, 2021. photogr aph: mona/jesse hunniford. image courtesy of the artist and mona, tasmania, austr alia.

manufacture works true to his drawings and ideas.

Might casting hydraulic equipment as sculpture in dusk settings give us hope to see extractive technology anew, even a thing of beauty? “We’re in a time of great change,” he says. “Even though these earth-moving machines use the same aesthetic values and colours as their ancestors, they stipulate this evolution into something of the future . . .

Engineering shouldn’t take on a stigma. We live in a time where it’s easier to develop stigmas and distastes for things than seeing where things can go.”

Capper reflects on the recent 2021 United Nations Climate Change Conference in Glasgow, heralding a “revolution in green technology”. He heard an interesting radio interview on the BBC’s HARDtalk program with Australian mining magnate Andrew Forrest, who is now spruiking green hydrogen as a replacement for fossil fuels. As Capper recalls, “Stephen Sackur, the guy interviewing Andrew Forrest on HARDtalk, didn’t give him an easy time. He said, ‘You were the guy who, for much of your life, instigated the mining of minerals out of Australia and sold them to China. What gives you the right to come into [COP26] and say you can change the whole thing?’”

“Andrew Forrest said, ‘I completely understand this and I’ve done a PhD now [in marine science] and written papers on where [technology] should go in environmental engineering.’” Like Forrest and British billionaire businessman Sir Anthony Bamford, Capper is excited about the potential of the likes of hydrogen engines and hydrogen fuel cell technology.

As the artist explains of this hopefully greener shift in energy resourcing, “The people who have worked in heavier industries—mining and agriculture—seem to

think that hydrogen is a better and greener method of running engines and hydraulic systems.”

Running simultaneously with Capper’s show at Mona will be a separate exhibition of four new sculptural works by Normandy-based artist Jean-Luc Moulène and his collaborative teams. These consist of pieces made from Triassic sandstone cut from the Australian eastern seaboard; another of creamy wax from the “fires of industry and progress”; another of alloyed zinc smelted near the River Derwent and Bell Bay; and the fourth of rainforest timber, harvested deep from Lake Pieman in west Tasmania.

Rawlins says each material has been carefully selected and refined through complex processes, according to Moulène’s “relentless” formula. “Precision is a word that comes to mind,” says Rawlins. “Jean-Luc is like James Capper—they’re experimental, they’re problem-solving [artists], they don’t know what they don’t know. Jean-Luc in particular is interested in the way material might behave, the way sandstone, for instance, would react to proposed cutting mechanisms.” Regarded for his tactile works, many are excited for Moulène’s first exhibition in Australia.

Prototypes of Speculative Engineering James Capper 17 December 2021—9 May

Jean-Luc Moulène and teams

Museum of Old and New Art (Mona) (655 Main Road, Berriedale, Hobart SA) Early 2022

Rewriting The Script The art of Léuli Eshrāghi is rigorous, beguiling and urgent: it’s searching for a future beyond the colonial present.

W R ITER

Giselle Au-Nhien Nguyen

Léuli Eshrāghi’s work is about rewriting the script.

An artist, writer, researcher and curator, Eshrāghi rejects colonial structures and norms to shift the focus onto the rich cultural histories of communities of colour. “My work is always about projecting into futures of wellness away from the colonial present,” they say.

Eshrāghi, who is of Sāmoan, Persian, German and Chinese heritage, and uses the gender-neutral Sāmoan pronoun ‘ia’, creates in various mediums, including performance, installation and video. One of the most unique aspects of Eshrāghi’s work is the use of barkcloth: a customary practice across Oceania in which paper mulberry bark or hibiscus bark is beaten, stretched and dried. In what they describe as “a continuum of cultural practice”, Eshrāghi takes an inventive approach, as seen in their 2020 video work TAFA ( ( ( O ) ) ) ATA, which combines barkcloth with animation.

Eshrāghi’s work also reflects on the pressing issue of climate change from a diasporic perspective, explored in works such as Expanses, 2021 and the 2017 collaborative performance work Lukautim Solwara (look out for the ocean). And it’s this topic that will be explored in Oceanic Thinking, the first of multiple years of exhibitions in UQ Art Museum’s Blue Assembly project. As curatorial researcher in residence, Eshrāghi will work on an online publication to accompany the artworks, furthering the idea of not only decolonising the issue of climate change, but also the activism surrounding it.

“Part of the problem is seeing it in black and white, when really there are so many different ecologies around the ocean, different understandings—a lot of oral histories here and elsewhere in the world,” Eshrāghi says. “I really reject the term Anthropocene, and rather think about it in cycles of time.”

Eshrāghi mentions Samia Khatun’s 2018 book Australianama as an inspiration for their approach to their own work, particularly with the UQ Art Museum’s Oceanic Thinking and their upcoming curation of TarraWarra Biennial in 2023. “It’s a BangladeshiAustralian historian’s accounts of Australian colonial history entirely from diverse Aboriginal oral histories and South Asian language texts—she didn’t use any English language original texts,” they explain of the book.

“I want to de-centre English as much as possible by commissioning texts in different Indigenous lang-uages and POC languages from around the world. I just really think, using English everywhere all the time, we’re flattening the real beauty and the differences in everyone’s experiences.”

We discuss the Eurocentric nature of much of the Australian art world—even when art from around the world is included and exhibited, it is, frustratingly, often in a way that is introductory and misses the depth and complex cultural context of the work. “A lot of my work is about pushing that Australia is not a white place, and that there are black and brown people of many different shades and that we belong here,” Eshrāghi says.

Léuli Eshrāghi. photogr aph: rhett hammerton.

“I want to see far more incredible black and brown artists taking up space, but also for their work to be interpreted in a sophisticated way.”

— LÉ U L I E SH R ĀGH I

Léuli Eshrāghi, re(cul)naissance, 2020, installation view at Diagonale as part of MOMENTA 2021. photogr aph: jean-michael seminaro.

Léuli Eshrāghi, les langues poussent jusqu’où notre plaisir dépassera aujourd’hui, 2020, installation view at Diagonale as part of MOMENTA 2021. photogr aph: jean-michael seminaro.

“I’m very aware and critical of how race is weaponised in this country. Australia is in Asia, it is in the Pacific, and yet Australian visual arts behave like we’re Atlantis, somewhere between the US and the UK in the North Atlantic. It’s a disembodied, de-territorialised outlook and it needs to shift, because this is not the future.”

So, what is the future? “I want to see far more incredible black and brown artists taking up space, but also for their work to be interpreted in a sophisticated way,” the artist says. “It’s so lazy to not look at the work for itself as work, and see it as identity art.”

Eshrāghi prefers the term ‘belonging’ when talking about what others might call identity: “who I belong to, who claims me and in a larger sense, which histories I am responsible for.” The many arms of their practice are all interlinked—as they say, “Everything that I’m interested in as an artist, I’m also interested in as a curator”—and is united by a desire to promote and enrich their communities. It’s something the artist sees as intrinsic to their cultural background, and distinct from the self-centred modes in which whiteness often operates.

“In Islander cultures it doesn’t really matter who you sleep with, or how you identify—it’s how much you contribute to the community that is important,” they say. “That’s really how I see my artistic work, my curatorial work—it has to be helping out in a way that I think is different to European ways of being, where the individual is king.”

As a curator, Eshrāghi is in the position where they can actively challenge and change some of these old ways of thinking: “It’s interesting to feel like you’re on the outside for a very long time, and then suddenly I’m working in two roles where I get to push some of these conversations a bit and expand people’s understanding of what Australia is and what it isn’t.”

Blue Assembly: Oceanic Thinking

Group exhibition UQ Art Museum (James and Mary Emelia Mayne Centre Building, University Drive, St Lucia QLD) 19 February—25 June

Interview

W R ITER

Polly Borland

Tiarney Miekus

Intimate, sexualised, playful, primordial—these competing adjectives describe the abstract, almost sculptural, photographs of Polly Borland.

For three decades Borland has used photography as her medium, creating images that are compelling in their abject nature. Born in Melbourne, Borland spent two decades in London photographing for publications like Vogue and The New Yorker, and famously capturing Queen Elizabeth for her Golden Jubilee in 2002. Eventually the artist shifted more fully into her artistic output and she talks about this move, as well as photographing people in power and the influences on her work.

TI A R NEY MIEKUS

Do you remember the first time that you intentionally took a photograph?

POLLY BOR LA ND

I don’t know if my memory is correct, but the first sessions I remember doing was when I was in high school in year 12. I was taking photos of two of my sisters in my bedroom, and that was an intentional photoshoot.

Whether it’s the first intentional photograph—I don’t remember taking photos as a child, although I’m sure I did.

TM

Was your family interested in art?

PB

My father was an architect, and he was an extremely creative modernist architect. We were brought up in an arty family. My mother loved art and we were introduced to furniture designers and artists, and we were aware from a very early age about aesthetics— my father had specific furniture, designed furniture, in the house. We also went to a progressive, creative school, Preshil.

TM

A few people I know who went into fashion photography often had fashion or domestic aesthetics as a core relationship with their mother. I wondered if that was the case for you?

left Polly Borland, Her Majesty, The Queen, Elizabeth II (Gold), 2001, C-type photographic print, 29 x 23 cm, 61 x 51 cm, 92.5 x 73.5 cm or 190 x 155 cm. Edition of 6 plus 3 artist's proofs. image courtesy of the artist and sullivan+strumpf.

PB

Well, my mother was really into her own clothing.

She definitely followed fashion and had a lot of Australian Vogue magazines in the house. I remember being quite interested in the Vogue magazines, but she was very into French fashion, Italian fashion.

She was very particular in what she wore. So, I was definitely aware of fashion, but that’s not really why...

Well, it’s partly why I tried fashion photography, but it was more a suggestion of a tutor at Prahran College where I did art photography school. But in a way I regret that because it took me away from what I’m interested in: which is my own work. I always wanted to exhibit my work and that’s ultimately what I’ve ended up doing, but it took some years to get back to the original intention of my photography.

TM

You moved to England in the late 1980s, and it was a small struggle to get a break with your photography. How did you see it through?

PB

It was very hard because I had my own business already in Australia. And I wasn’t that young, I left when I was 28 [years old]. But I knew that ultimately it wasn’t going to be satisfying for me in Australia. So, I left, and it was three years of struggle. I think what happens to a lot of people that leave, they don’t get that it’s going to be difficult, and they don’t have the staying power.

There were so many times I wanted to give up and my husband kept saying, “No, you’ve got to keep going.

Everything’s about perseverance.” Which it is. And so that’s what I did. I worked as a waitress, as a kitchen hand, which I’d done when I was at college in my early twenties, but to be doing it again at the age of 28 was not fun. I hated it actually. It really took me three years before I got a proper break, and then I became

a resident portrait reportage photographer for The Independent Sunday magazine, which was considered extremely photographic. They were employing the best photographers in England, and I got a really good reputation from that. And that led to the exhibition Australians [celebrating Australian ex-pats] at the National Portrait Gallery in London.

But in the end, I left portraiture and commissioned work because ultimately portraits are quite restrictive creatively. Even though I loved getting a window into somebody else’s life, it was quite high stress because normally I was not the one that I was pleasing. Now I’m starting to photograph myself anyway, so I don’t have to worry about anyone any more. I can just be me. A camera and me.

TM

That reminds me of when you once said that photography “allowed you to see the world, but also to control it and make it feel safer.” What makes it feel safe?

PB

For me, it’s better to be in control than out of control. What I meant was that I can point my camera anywhere and reorder my life by framing stuff out.

Photography can be used as an editing tool as much as anything. It wasn’t necessarily that I had control over my subjects, but that I had a certain amount of control over the placement of objects and people. It’s not a psychological control, more a visual control. And the safety aspect is that it’s about perception. But as I’ve gotten older I’m not really interested in controlling, because we’re all sort of screwed as far as I’m concerned. I mean, what can I control? The world is in the midst of the most awful chaos and our politicians are not doing what they need to be doing to protect us. I’m talking about climate change.

TM

Do you want to push your work somewhere ecological or explicitly political?

PB

I have never really viewed my work as political, but I think it probably is. A lot of women think that it’s political from a gender perspective, but I’ve never thought of it that way. I just do what I do. And I’m sure a lot of the things that I’m interested in are fed into my work. It comes out by osmosis, almost. But in terms of climate change, no. I just want to do interviews and talk about how screwed up everything is. I’m passionate, but I also feel totally powerless. I’m kind of a bit lost, to tell you the truth.

TM

I think it’s a common feeling, but on the subject of power: as someone who’s photographed people like Donald Trump, former Italian prime minister Silvio Berlusconi, and Queen Elizabeth, do you feel any sense of immense power from them?

PB

Yes, I do really. Look, I am not a royalist, but with the Queen I was quite taken aback at my reaction because I was really overwhelmed meeting her.

And I think it was because in Australia when I grew up, it was the English colony and everywhere you looked at school, in a doctor’s office, everywhere, there was always a photo of the Queen. So, I was very overwhelmed meeting her, but she was actually rather nice.

Trump was extremely manipulative, but very generous with his time. But he was manipulative because he knows how to work people. I took that photo in 2000, so at that point he was who he was—which is actually, as we know now, not a very nice person. And Berlusconi—that was kind of scary because that was in the prime minister’s palace. And it really was like a palace. It was old Italian, very ornate. And he was very intimidating actually. You felt like you were having an audience with a mafia boss. But I loved photographing the politicians because I’m very interested in politics obviously, and I really did have a thing for photographing people in positions of power. But I don’t know how I feel about it now, though.

TM

Can we talk about your more abstract works, many of which feature people in these organic, sculptural shapes, which stockings are often key to forming. Where did the idea come from to use the stockings?

PB

I was aware of other artists that we were using stockings, but with Gwen [Gwendoline Christie, the model in Borland’s series Bunny], we started this whole body of work and it was based on photos of pin-up girls. Gwen is really tall and not really androgynous: she looked like a 50s starlet, so I wanted to do a series of pin-up photos of her. The more we went down that path, it morphed into ‘let’s dress her in animals that are associated with women’. There was a cat, and then we thought of a bunny. I went to her place one day, and I decided to draw on [a bunny face] with lipstick and eye liner, and I bought some tights to make bunny ears.

So that’s how the stockings started in the Bunny series.

TM

With your abstract works, they feel simultaneously sexualised, playful, childlike and primordial. I know you’ve talked about these different aspects, but why does that overlap compel you?

Polly Borland, Untitled III (Bunny), 2008, archival pigment print, 91 x 66 cm.

Edition of 6 plus 3 artist ’s proofs. image courtesy of the artist and sullivan+strumpf.

PB

I’ve tried to analyse this and I have no idea. When I was at college, Diane Arbus was my first love in photography. I was blown away by her photos. They were obviously people living on the fringe and very unusual characters, and it struck me how brave those photos were and also how people have criticised her [Arbus] for being cold and anthropological almost. But for me, I think there’s a huge humanity in those photos. It’s the simplicity of them, the directness of the gaze, how close she gets to people. I don’t find her photographs

“Diane Arbus was my first love in photography.

I was blown away by her photos.”

— P OLLY B OR L A N D

“Now I’m starting to photograph myself anyway, so I don’t have to worry about anyone any more. I can just be me. A camera and me.”

— P OLLY B OR L A N D

Polly Borland, Morph 7, 2018, archival pigment print, 92 x 78.5 cm or 200 x 162.5 cm.

Edition of 6 plus 3 artist's proofs. image courtesy of the artist and sullivan+strumpf.

judgmental in any way. And I got a lot of ideas for my reportage life in London.

But also, when I was at college, I got introduced to Larry Clark whose work was very frightening to me. It was like, “Oh my god”. It was a world that I was on the edge of anyway: it was the punk scene, and it was musicians, artists, everyone was sort of mixing—criminals, too. And there were a lot of drugs. So I was aware of that going down then [Melbourne in the 1980s]— but I didn’t really feel part of that. Then when I looked at these photos, I just remember seeing they had black and white spot marks, so they hadn’t even been retouched. I was blown away that firstly, anyone would photograph that stuff. And second, it was shocking. I remember thinking: I’d prefer to be moved in this way, which was a more dramatic way of moving someone than just beauty. I’m not saying that the sexual stuff in my work is deliberately aimed to shock, but I think the combination of Larry Clark and Diane Arbus made me realise that there was no censorship. I think that’s why a lot of people find my work very disturbing. I don’t know why, because I don’t find it disturbing. But I suppose with your question—I was quoted in one interview as saying, “Well, sex is what everyone thinks about most of the time.” I mean, not really, but it is a great preoccupation of human beings.

TM

During your practice people’s relationship with images has intensified. What do you think about the acceleration of images, especially with the internet and social media?

PB

I think it’s devalued photography. And music, too. You can get anything for free. I think it has had a destructive influence, and recently I’ve gone off Instagram. I’m done. I don’t know that it’ll be forever; it’s a good selling tool, it’s good to advertise exhibitions and show off, but I just got tired of it. On the whole, it’s exhausting and soulless, and I’m bombarded. It doesn’t make me feel good either. I’m trying to paint now, and I follow mainly, in the latest part of my Instagram use, painters. And a lot of young painters. But I’m also like, “I’m trying to paint, I don’t think I’m very good. And I really need to figure this out without watching what everyone else is doing.” You see through Instagram that a lot of people are doing similar things, and the idea that you could forge something individual or even original, dare I say it— it’s pretty slim chances.

TM

The iconic image of Polly Borland is of you adorning oversized glasses—how did that become part of your personal aesthetic?

PB

I don’t really know. I started wearing glasses in my mid-thirties and over time I realised that bigger glasses suited me better and, you know, why not?

I’ve got a bit of a shopping addiction which I’ve tried to curb, but I’ve collected a lot of glasses. The problem is that my eyesight keeps deteriorating, so I keep needing to update all of the prescriptions! Also, my mother wore big sunglasses and she looked fabulous in them, in the 70s and 80s. Ive just always liked big glasses and they suit my family.

Melbourne Art Fair

Polly Borland, Morph 23, 2018, archival pigment print, 92 x 78.5 cm.

Edition of 6 plus 3 artist's proofs. image courtesy of the artist and sullivan+strumpf.

Polly Borland at Sullivan+Strumpf (Melbourne Convention and Exhibition Centre, 1 Convention Centre Place, South Wharf VIC) 17 February—20 February

Country and Celebrity Vivid and exuberant, Kaylene Whiskey’s paintings are like nothing else. In her distinct style, Whiskey brings together celebrities and consumer culture with her Aboriginal heritage.

W R ITER

Timmah Ball

An effervescent burst of celebrities and pop iconography flourish in Kaylene Whiskey’s paintings. Her exuberant love of famous subjects, which include Dolly Parton, Cher, David Bowie, Tina Turner, Michael Jackson, Wonder Woman and President Obama, are vividly expressed in distinct comic book style.

A unique talent for capturing mainstream culture’s most recognisable personalities is turning the Pitjantjatjara artist from the An _ angu Pitjantjatjara Yankunytjatjara Lands of South Australia into a celebrity of her own making.

With flair and vibrancy, Whiskey’s multicoloured canvases bring a Pop Art aesthetic to the Yankunytjatjara, Southern Desert region. The selftaught artist developed her practice through Iwantja Arts, an art centre in the Indulkana Community, and her acclaim is growing. Having won the 2018 Sir John Sulman Prize, the 2019 Telstra National Aboriginal and Torres Strait Islander Art Award for ‘General Painting’, and being an Archibald Prize finalist, Whiskey’s work is redefining contemporary First Nations art.

Born in 1976, the artist’s large-scale paintings embody her generation’s experience of growing up with MTV and the ubiquity of consumer brands like Coca Cola and KFC. She acknowledges that these experiences have shaped who she is, as well as forming the very desires of her generation—but this is without severing contemporaneous expression as part of the oldest living Indigenous culture in the world.

Whiskey’s work is celebratory. In Dolly visits Indulkana, a 2020 Archibald finalist work, Whiskey illustrates the iconic country music singer visiting

Whiskey’s community: Parton is welcomed with exuberant spirit as Wonder Woman flies in the background and Diet Coke is served in a ceramic vase, which is placed next to a boomerang decorated in desert motifs and colours. In an interview with the Art Gallery of New South Wales, Whiskey described how “It’s one of my dreams for Dolly to come and visit me in Indulkana. I love to listen to her music while I paint: ‘9 to 5’, ‘Coat of many colours’, ‘Jolene’, and my number one, ‘Islands in the stream’ with Kenny Rogers. I often think, ‘If Dolly came to visit, what would she do? What would she say? And what would she be wearing?’”

Whiskey’s vision comes from a place of vast imagining rather than a story of cultural loss or environmental destruction. We are shown what happens when two opposing social systems—Aboriginal Australia and Western pop culture—collide and strangers from across the globe meet. When Parton does meet Indulkana, the viewer is shown a scene of mutual admiration where the two women’s differences and similarities as storytellers incite an exchange, which is playful but equally respectful towards the vastly different cultures that they come from. As Whiskey further described in her interview: “I had a lot of fun bringing Dolly to Indulkana on the canvas. Once I had finished the painting I thought, ‘You know what?

Dolly needs more sparkles’, so I added the plastic jewels as the finishing touch!” While the indelible impact of Western colonial capitalism on First Nations people is vast, Whiskey offers respite illustrating that within the destruction she and others have lived through, one can still find joy in the music and sparkle of international pop icons.

Kaylene Whiskey, Tina, 2019, acrylic on linen, 67 x 91 cm. photogr aph: luis power. image courtesy of the artist and roslyn oxley9 gallery, sydney.

Kaylene Whiskey, APY Sistas, 2020, acrylic on linen, 101 x 167 cm. photogr aph: luis power. courtesy of the artist and roslyn oxley9 gallery, sydney.

Kaylene Whiskey, Dolly Parton and Tina Turner, 2019, acrylic on linen, 91 x 122 cm. photogr aph: luis power. courtesy of the artist and roslyn oxley9 gallery, sydney.

“Whiskey walks in multiple worlds with humour and reverence, and refuses to allow globalised pop culture, where buckets of KFC litter the landscape, to dilute her sovereignty.”

— T I M M A H B A LL

This playfulness is also evident when David Bowie casually drops by in Super Anangu, 2018. In a painting which oozes fun and pleasure, Bowie proclaims “Let’s Dance!” to both Kaylene and Michael Jackson. And the work also provides insight into Whiskey’s sense of place where an evident love and connection to her desert landscape abounds—even if her glossy subject matter suggests otherwise. In the catalogue essay for the 2018 iteration of The National: New Australian Art, Daniel Mudie Cunningham writes how “casting her cherished superstars within comic book–like canvases, Whiskey merges fanciful pop narratives with her own personal experience and daily life in Indulkana.” As he suggests, Whiskey walks in multiple worlds with humour and reverence, and refuses to allow globalised pop culture, where buckets of KFC litter the landscape, to dilute her sovereignty.

Currently, Whiskey is a highly sought after artist.

Her work is exhibiting for the 2021 Tarnanthi Festival (showing until late January 2022), and in February this year Whiskey will present a single-channel video work for Melbourne Art Fair, which is an awarded commission. Maree Di Pasquale, CEO and fair director, has described the significance of Whiskey’s inclusion: “A female Australian artist on the rise, Kaylene’s work deeply aligns with the fair’s theme Djeembana/Place, where she explores her connection as an Indigenous Australian to Indulkana, her hometown, as well as her Yankunytjatjara heritage.”

In addition, a recent collaboration with fashion label WAH-WAH has increased Whiskey’s celebrity status, while also asserting the Blak matriarch into wider public consciousness. WAH-WAH’s Kaylene Whiskey knitted jumper, which features the artist’s iconic imagery such as Wonder Woman, has exploded on Instagram as the next generation of First Nation stars wear the garment in their posts. This includes the likes of Carly Sheppard, Jazz Money, This Mob and Māori filmmaker turned Hollywood legend, Taika Waititi.

While this step into fashion reflects an increasing appetite for First Nations culture, it also feels like an obvious extension of Whiskey’s practice. Refusing containment in the gallery, Whiskey has spread across social media, not unlike the personalities within the MTV world she grew up in. Her vitality and cross-cultural influence, which moves between high art and the mainstream, is a force which continues to evolve with wondrous joy.

Tarnanthi 2021

Group exhibition Art Gallery of South Australia (North Terrace, Adelaide SA) Until 30 January

Melbourne Art Fair: Kaylene Whiskey Commission

(Melbourne Convention and Exhibition Centre, South Wharf VIC) 17 February–20 February

Studio

Ramesh Mario Nithiyendran

“What drives all of my work, no matter what the scale, is an interest in histories of figurative representation, and especially idolatry in the context of South Asia.”

— R A M E SH M A R IO N I T H I Y E N DR A N

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-mé

Tracey Clement

Ramesh Mario Nithiyendran is known for his iconoclastic figurative sculptures that are bright, bold and larger than life—no matter what their actual size. As an artist he moves fluidly between hand-built ceramics and large public sculptures, figuratively and politically looking into idolatry, race and gender, always with an irreverent exuberance.

In 1989, at the age of just one, Nithiyendran immigrated to Australia. In 2017, already trailing a string of awards, he became the youngest artist to present a commissioned solo show at the National Gallery of Australia.

In March 2021, after two productive years at the Parramatta Artists’ Studios (PAS) complex at Rydalmere, Nithiyendran moved into new premises in an industrial park in Gladesville, on Sydney’s lower north shore, with fellow PAS alumnus Yasmin Smith. Here, he talks about his early peripatetic studio “promiscuity”, and that he glazes like a painter, but still gets a thrill out of opening the kiln door.

PLACE

R A MESH M A R IO NITHI Y ENDR A N : I remember when

I was starting out, I was a little bit promiscuous in terms of my studio environment. You know, I’d sometimes work in my parents’ garage, then I’d work at Kil.n.it [a not-for-profit ceramics space] where I had a studio, or I’d see if UNSW, where I studied, would let me work there in the holidays. I think all artists have that hustle in the beginning.

And, on a very literal level, it affected my sculpture. A lot of the time the works were really frontal; I had to make things on tables against walls because I wasn’t working in a space where I could walk around them. But ever since Rydalmere, and this space, I’ve been able to be more ambitious with the sculptural language.

Also, I like that this studio is in a warehouse environment. It’s open, but private, and not too clean. So I feel like I can actually make a mess. Working in something like ceramics you accumulate a lot of clutter: boards, sponges, dollies, trollies, brushes, rags, bits of foam, blankets. It’s hard to have a sexy studio working with a material like this. Here, I just feel a little bit freer to do what I want!

PROCESS

R A MESH M A R IO NITHI Y ENDR A N: One thing that

really transformed the work was getting my own kiln. I bought it after I won the 2015 Sidney Myer fund Australian ceramic award. I was like, “Oh, I’ve got some cash, I need to invest in capital!” It’s like 600 kilos of baggage, but I just thought, “I’m going to do it.” For an artist who actually wants to experiment with materials and take risks, borrowing kilns just isn’t viable.

I don’t really have a studio routine. In the last six months I’ve probably been here six days a week, but I love it. I’m often doing as many firings as I can during the week, so I might have a meeting in the morning, then I need to come here and pack the kiln, and then turn it on after hours because the first few hundred degrees of the firing lets off carbon monoxide and we don’t want to be here during that. So there’s a lot of timing that’s actually structured around the firing processes. I could just wait for the next morning, but I might come back at ten o’clock at night. It’s always kind of exciting opening the kiln door.

There are so many stages of transformation when glazing. I use commercially bought glazes.

However, I edit them, I layer them. And I use highly saturated colours, but a lot of them go on grey.

Alchemy is a clichéd word to use, but you know, it’s almost like that. I think a ceramics person would say my glazing process is quite experimental, but I see it more as a painterly aesthetic.

My diaries are central to all my work. I usually have ideas all the time. So I do a little scribble, and loose watercolours, and I can come back and it reminds me of what I was thinking.

PROJECTS

R A MESH M A R IO NITHI Y ENDR A N: What drives all of

my work, no matter what the scale, is an interest in histories of figurative representation, and especially idolatry in the context of South Asia—but from an imaginative or rhetorical position. I’m not interested in realism.

My large-scale projects—like the 2021 HOTA [Home of the Arts] and Dark Mofo commissions— need engineering and technical drawings. So arriving at a conceptual full stop is important quite early. At the start of these processes, I work on developing the sculptural language by drawing, collaging, building maquettes, colour testing. And discussions with Mark Dyson [a lighting designer], who manages a lot of my large projects, are ongoing.

Whereas the ceramics are more fluid; there are more unpredictable processes. There is a lot of repetitive labour and they often take months to make.

I have studio assistants who come in two days a week.

And there is so much cleaning, so it’s great to do that stuff in pairs. But the final layer of glaze, all the crazy bits, all the expressive stuff—the faces, the carving, the real painterly gestures—I have to do that.

I do quite a bit of painting actually; not in comparison to the amount of sculpture I make, but I still do paint and draw. I have two paintings in the summer group show, Art Mixtape, at HOTA. And I’ve been working on a public art project for the Sydney Metro Station in Marrickville: colour photographs in glass panels, like terracotta clay dioramas, a new technology for me. It’s meant to open in January.

Also in January I have a solo show in Mumbai at Jhaveri Contemporary. I have so much going on all the time; I just hustle to get everything done.

Art Mixtape:Yours for Summer

Group exhibition HOTA (Home of the Arts) (135 Bundall Road, Surfers Paradise QLD) 18 December 2021—Ongoing

Black, White, Red

Black, white and red dominate the art of Jenna Lee, an artist who is a Gulumerridjin (Larrakia), Wardaman and Karrajarri Saltwater woman with mixed Japanese, Chinese, Filipino and Anglo-Australian ancestry. Lee’s work explores these overlapping identities, while also interrogating museum and historical archives, alongside deconstructing colonial objects—most pertinently settler-colonial texts.

Working across multiple mediums including sculpture, installation, photography and body adornment, Lee was the 2019 winner of the Wandjuk Marika 3D Memorial Award at the Telstra National Aboriginal and Torres Strait Islander Art Award (NATSIAA), and has been a finalist in numerous prizes, exhibiting widely. And while her work explores difficult, sometimes violent, colonial histories, Lee is also concerned with creating art of beauty, too.

Here, the artist reflects on five of her recent works.

A R T WOR K OF

A S T OL D T O

Jenna Lee

Tiarney Miekus

Jenna Lee, Invasive Native, 2021, digital print, 42.5 x 90 cm, edition of 15 + 2 A/P.

JENNA LEE: This digital print is the last iteration of a series that has evolved over years. The first time it was shown was for a public art exhibition in Brisbane, when I was living in London. I was homesick and I went to Kew Gardens and I was walking around on my own—and then I found four gumtrees. And I thought, “They can’t be Australian gumtrees.” But they were, and they were flowering, even though they’re invasive. I thought, “If those trees can do it, if they’re not meant to be here, then I can be here too. I can do it.”

The gum leaves in the images are collected fallen leaves and branches from Kew Gardens, and I took them—kind of smuggled them—back to the studio in London and photographed them. And this [above] iteration is black and white, because I was thinking about light and dark in museum collections and how through access, we can bring light to these often dark spaces. But also, plants need to survive: this series has always been about homesickness and about surviving in unfamiliar spaces, whether that's in London, or also surviving in the museum archive.

Jenna Lee, Self: Adorned #1, #2, #3 and #4, pages of ‘Aboriginal words and Place names’, Chinese knotting cord, bookbinding thread, entomology display case, entomology display pins, label, 210 x 293 mm. photogr aph: victorian pride centre.

Jenna Lee, White Grass Trees 1-3, 2021, pages of ‘Aboriginal words and place names’, bookbinding thread, organic cotton thread, florist wire, glue, bookcover board, height: 86 cm including stem – 119 cm, base: 20 x 23 cm to 39 x 38cm. photogr aph: jenna lee.

JENNA LEE: These are experiments with body adornment as an extension of a series I did while living in London and working with ancestral objects. I was in London for research, and I became interested in language and labelling, especially for people who have shifting and overlapping identities. I’m Queer and Aboriginal and Asian, but when I was younger, I felt like I wasn’t enough of any of them to be part of a group. So that’s where the blank label comes in: to talk about self-identifying.

The book I used to weave was an Australian Aboriginal word dictionary.

I dissected the book quickly by cutting all the pages away from the spine, and what I really like about that process is that they [the dissected pages and strips] resemble the traditional grasses that my ancestors worked with. And the red Chinese string—the colour red has a lot of significance for my Chinese, Japanese and Aboriginal ancestry, and looking at the red as resembling blood ties—is something that I use a lot in my work. The adornments are also pinned in entomology display boxes, and I got all the materials from an entomology supplies specialist, as I was wanting to interrogate the ways in which we label by also looking at museum collections. I used to work at a museum and the labelling on objects can be open to interpretation: the way objects are categorised can be up to the bias of the labeller.

And then there’s an idea of adornment as being how we present ourselves to others, and the way we self-exhibit.

JENNA LEE: I’m interested in the act of deconstructing and reconstructing. It’s a transformative process, and I see books as being constructions of paper, ink and glue and colour. It’s quite elemental. I should say I’m a book designer—I love books and have a good understanding of book anatomy. But I got really interested in thinking about how nature does this transformation best: it’s the ultimate recycler.

Fire will happen, and that will create nourishment for the ground to regrow, and grass trees need this act of deconstruction to regenerate. Grass trees grow on my country around Darwin, and I was thinking about the structure of grass trees.

I’ve done five in total, and people seem to think they’re very special.

These books in particular [used to create the grass tress] are Aboriginal language dictionaries—but there’s no such thing as ‘Aboriginal language’. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.

Jenna Lee, Red Thread. /ill-lustrous/ photo poetry exchange collaboration with poet Mackenzie Lee, 2021.

Jenna Lee, un/bound passage, 2019, hand-dyed and folded paper installation from pages of ‘The Voyages of Captain Cook’ Ladybird Book, with video projection. photogr aph: carl warner.

JENNA LEE: This is a collaborative work with my sibling Mackenzie. I took the photos and Mackenzie wrote poems about them. It was made for the Hyphenated Biennial, and this work was for the digital launch during lockdown. I’m not a photographer, but I’m interested in object memory, and objects that have a history. These objects [in this series] relate to the pearl diving industry in the late 1800s in Broome and Northern Australia, where a shell was discovered as containing the largest mother of pearl species in the world.

At this time mother of pearl was the strongest material for buttons. This was before plastic was invented—then the industry collapsed because we have plastic buttons now. So the English button industry was why the pearling industry happened, which is why my Asian ancestry, both Chinese and Japanese, came to Australia.

This photo series is me documenting the objects that inspired the work I present [in the physical Biennial], based on red silk thread, buttons and mother of pearl shells. I wanted the photographs to be very simple. They’re just on black velvet. It’s a luxurious presentation of something precious, but they’re just common objects.

JENNA LEE: I am re-showing this work for Melbourne Art Fair, which I made for the QUT Art Museum show Rite of Passage. It was talking to the 2020 anniversary of Captain Cook’s first arrival. It’s one of my favorite things I’ve ever made, and a huge part of the work is the projection—it’s in a darkened room, and it looks like the boats are moving. It’s 251 paper boats made from The Voyages of Captain Cook, which is a historical book. I was interested in how Australia has this history of boats visiting it: like the Dutch of course, but also trading vessels right through Indonesia and China, all before Cook arrived. I was like, “Why this boat?

Why Cook’s boat?” And obviously I know it’s because it started what is now Australia.

Australia has this identity where we think of Cook as being an Australian icon. He wasn’t. He never thought of himself as Australian, and didn’t even really like Australia. So, I wanted to have 250 red paper boats that are in a canoe fold; they’ve got no sail. They’re to talk about all the other boats, canoes, vessels and trading ships that we’ve had as a part of Australia’s history. And there’s this one boat, which is a classic boat fold, and it’s white. It’s there to question why this boat, and to have conversations around Australia’s identity and what we choose to be proud of.

Melbourne Art Fair MARS Gallery 17 February—20 February

identity, adornment, transformation

Pride Gallery — Victorian Pride Centre Until late January 2022

Hyphenated Biennial

Various venues in Melbourne’s West 26 November 2021—9 April

Blak Jewellery – Finding Past Linking Present

Koorie Heritage Trust (Lev 2, Yarra Building, Fed Square, Melbourne VIC) 4 September 2021—27 February

River of Stars The bark paintings and larrakitj (hollow logs) of Naminapu Maymuru-White poignantly speak not only of Country, but an astral parallel: the Milky Way. W R ITER

Tristen Harwood

A river of stars in the sky. This is what it looks like when Naminapu Maymuru-White paints Milŋiyawuy (a river that has its astral parallel in the Milky Way) in ochre on barks and on larrakitj (hollow logs). Her paintings, such as Milŋiyawuy, 2019, are cast in sublunar light: a series of larger white stars float across a tight lattice of granular white paint, which itself is set against a black and grey background on bark. These are tiny stars seen from the ground, painted in such a way that they seem like bubbles of air rising through water, popping the moment they reach the surface of the river, the bark. This is of course no coincidence—everything is connected; the sky, the ground, the river, the artist’s hand. Maymuru-White’s marks are echo forms reflecting waves of ancestral energy, spirit energy, the life force that is in everything.

This is an impression that has stayed with me since I first saw Maymuru-White’s paintings and sculptural works in her 2020 exhibition River of Stars at Salon Project Space in Darwin. It was September last year; I was in town for a couple of weeks between research assignments in Maningrida. Over a year later, I met with Maymuru-White for the first time.

It’s a video call: I am in my apartment on Wurundjeri Country, she is at Buku-Larrnggay Mulka in Yirrkala.

Maymuru-White is a member of the Mangalili clan, and was born in 1952 in Yirrkala where she lives and makes art.

I asked her how she became an artist, a question that I ask every artist I interview. For Maymuru-White the story of how she learned to paint is the story of who she is: it’s also a crucial part of the history of both

the Yirrkala art centre and of bark painting. She tells me, “I learned by watching my father paint.”

Her father Nänyin and his brother, Narritjin Maymuru, were artists who from the 1950s to 1970s were deeply involved in the development of bark painting and introducing Yolŋu creative practices to the art world. Narritjin established a studio and private gallery in a shed on the beach at Yirrkala, and he also set up the Mangalili clan’s homeland centre, Djarrakpi. In many ways bark painting and the homelands movement, which began in the 1970s, are intrinsic to one another. Both are rooted in deep ancestral connections to and knowledge of Country.

It was through her father and his brother that Maymuru-White was taught to paint miny’tji (sacred clan designs), making her one of the first Yolŋu women to be given the permissions by Elders to do so. This marked a shift in Yolŋu creative practice, the beginning of a period of artistic innovation that continues today.

Will Stubbs, coordinator at Buku Arts who is on the interview with Maymuru-White, helping to translate, says she’s been “painting every day for the past 50 years.” This is a modest compliment; in 1996 her triptych Nyapilingu won the Telstra National Aboriginal and Torres Strait Islander Art Award left Naminapu Maymuru-White, Milŋiyawuy River of Stars 3, 2021, detail, bark painting, 213 x 98 cm. image courtesy of the artist, buku-larrnggay mulk a, yirrk ala and sullivan+strumpf.

“Maymuru-White’s marks are echo forms reflecting waves of ancestral energy, spirit energy, the life force that is in everything.”

— T R IS T EN H A R WO OD

Naminapu Maymuru-White, Milŋiyawuy (Nami), 2021, bark painting, 139 x 90 cm. image courtesy the artist, buku-larrnggay mulk a, yirrk ala and sullivan+strumpf.

Naminapu Maymuru-White, Milŋiyawuy 3, 2021, Larrakitj, 194 x 17cm. image courtesy of the artist, buku-larrnggay mulk a, yirrk ala and sullivan+strumpf.

for ‘Best Work on Paper’ and in 2005 one of her Milŋiyawuy memorial poles won the Wandjuk Marika Memorial 3D award. What Stubbs is getting at is the core of the artist’s practice: Maymuru-White has painted the same inherited miny’tji, Milŋiyawuy for decades. And it is with this deep, situated study that innovation occurs, through subtle shifts, atmospheric observations, slight variation.

I keep thinking about Milŋiyawuy, one of Maymuru-White’s 2019 larrakitj (hollow logs). It’s 190 cm tall and is painted in textural white ochre, little beads of ochre that join in places while leaving some empty space to form a pattern. It looks like a constellation or the back of a shell, or those patterns that bubbler crabs make with balls of white sand on the beach. I’m fixated by the way she has carved morning star-shaped holes into the hollow log. So, depending on where you’re standing in relation to the sculpture, you can see the light shining right through the holes, or the dark belly of the log. The work is simultaneously a study of light, space and time, prompting the viewer to seriously contemplate the ways these concepts take form and bear upon perception. But it is also— and foremost—Milŋiyawuy.

Milŋiyawuy is a central element in the under-

standing of Sky Country, as well as Mangalili being and belonging in Mangalili homelands. It relates to Guwak, the ancestral beings that led Maymuru-White’s clan Mangalili to Djarrakpi (in Northeast Arnhem Land).

Guwak is also, as relayed in Song Spirals: Sharing Women’s Wisdom of Country Through Songlines, “someone’s spirit when they pass away”. Here, “Guwak takes the spirit back to join the ancestors in the River of Stars”. A call is heard when the recently passed arrive, an echo in the “Sea of Stars that lives on earth …

The echo bounces from the river to the sea resonating between them.”

Maymuru-White gives form to this echo, everything it transmits. She is a vital artist, whose bark paintings and larrakitj have deep cosmological implications and test the thresholds of how we perceive the multi-dimensional layers of Country.

Milŋiyawuy—The River of Heaven and Earth Naminapu Maymuru-White Sullivan+Strumpf (799 Elizabeth Street, Zetland, Sydney NSW) 3 February—12 March

When Should You Work For Free?

When the arts sector relies upon free labour from artists and arts workers, how do we have conversations about real job equity and sustainability?

W R ITER

Sophia Cai

Three years ago, I made the decision to stop working for free. Up until this point in my arts career, I would say yes to almost every opportunity. Working in a non-arts day job afforded me the flexibility to support and finance my own independent arts work, and I was hungry to gain experience in the industry.

This trajectory is, of course, not unique. Like many of my peers, I was balancing the precarity of my underpaid and unpaid arts labour with my professional development in the arts sector. When making a choice between doing something for free, or not doing it at all, I would often choose the former. Exhibitions were curated, essays were written, projects were established, and I was happy to do it without pay of any kind. Call it ‘love’. Call it stubbornness. Call it a willingness to prove to myself and others that I was worthy of being here. The visible outcomes of the work justified the means. After all, was I not pursuing my dreams?

It is only now, on the other side of this, that I can look back and recognise the way deeper issues of the arts industry are entangled with the use of free labour. This is marked by a realisation that I would almost certainly not be in my position today without these unpaid experiences, but also that these choices were only made because of the pre-existing expectations of doing unpaid work in our sector. I recognise that the path I thought I had forged through sheer hard work and determination, was equally made possible because of the fact that I had safety nets and alternate jobs at every stage. This is the unaccounted class privilege that funds the underpaid and unpaid labour of the arts industry. Add to this complexity the fact that not all free labour gives equal opportunities— the conditions and benefits of joining a volunteer artist-run board are quite different to being the unpaid intern at a commercial gallery, for instance (and I’ve

done both). The lines between choice, exploitation, and desire are not quite so black and white.

The creative industry has a tricky relationship with talking about money, made worse by the fact that we hardly normalise conversations around wages, incomes, fees, superannuation, and whether we come from generational or familial wealth. While there have been more recent campaigns to push for fairer pay and superannuation for artists, such as the National Association for the Visual Arts (NAVA) 2017 campaign, the issue is not simply about receiving adequate wages, but also creating ongoing and long-term conditions for viability and stability. As critic Lauren Carroll Harris recently wrote for Kill Your Darlings, artists don’t need more grants, opportunities or professional development programs, they need jobs and the benefits of these jobs: things like superannuation and sick leave. This is endemic of a larger casualisation of the broader workforce, which in the arts has effectively led to a gig economy of short-term projects to cumulatively make up a CV. This is a devaluation of not just art, but a failure to recognise the ongoing work that artists have to maintain in order to create art. It is easy to romanticise artistic labour and output, and the ‘starving artist’ trope—but on the flip side of this idealisation is a harmful assumption that artists will keep making work no matter what, that one’s individual talents and effort mean that one is (eventually) rewarded.

This is a failure of both imagination and empathy. It is a failure of imagination because it means we cannot assess artistic worth unless it is connected to tangible, measurable outcomes (as most funding applications assess worthiness on the delivery of a final product or financial viability of a project). And it is a failure of empathy because we treat artists as mere producers for their work, whose role is to make art, as opposed

Illustration by Claudia Chinyere Akole.

to understanding the material conditions necessary for an artist to live. The arts sector therefore becomes ripe for self-exploitation, as the onus is placed on the individual artist to keep trying.

Art, like anything else in our contemporary society, exists within the conditions of capitalism and exchange. Yet to measure the ‘worth’ of art in these terms alone is inadequate. Are artists only as good as the income we make from our art? I would like to say a resounding no. As a member of numerous fandoms and hobbies, I recognise there is something simultaneously freeing and radical about pursuing goals or projects that have no fiscal reward, or outcomes guided by financial success. I also recognise that not all payment is ethical in itself. Artwashing is a real phenomenon—when governments, corporations and property developers fund or commission artwork to distract from negative projects and policies, such as gentrification or the mining industry—and sometimes merely paying a pay cheque does little to address deeper issues of exploitation. How might we imagine a different future?

The answer to the question of ‘should you work for free’ is not simply a straightforward no, because the conditions of ‘free’ are not always equitably created. It is important to recognise that not all labour can

be measured against monetary gain, but that doesn’t make these forms of work any less significant. For me, when I chose to say ‘no’, it is not simply about respecting myself, but also those who come after me. When artists and arts workers devalue our labour, we also inadvertently devalue the labour of our community and peers, perpetuating expectations of what is acceptable. Perhaps we should think about these terms more on a sliding scale; that the more we have access to power, resources and opportunities, the more we should share these with others who would do this for free otherwise.

As we continue to navigate the ongoing pandemic landscape of cancelled gigs, lost wages, gallery closures, and more, I’d also like to rethink our current measures of ‘success’. I want to work towards sustainability and equity; I want us to do less, but be better supported to do so. Ultimately, I want to contribute to a world where art is valued, but artists as people are valued even more. I want us to accept that living a (potentially) financially non-productive life in the arts is still a life worth living, and supporting. And that individual ‘artistic genius’ does not save us from the pitfalls of capitalism.

A Tangle of Materials Creating layers of artificial and natural dyes, Jahnne Pasco-White’s quietly mesmerising canvases speak to an entwined relationship between painting, bodies, materials and the world.

W R ITER

Briony Downes

Decay and renewal are key elements in the work of Jahnne Pasco-White. Blurring the boundaries between painting and installation, Pasco-White engages with a sensory blend of natural and artificial materials to create work imbued with rich colour and tactility.

Densely layered, the Melbourne artist's work also takes in the broader concerns of ecology and the human impact on the environment, the result being a vibrantly expressionist practice that illustrates lived experiences from a domestic and global perspective.

“In my work, layers of materials are tangled together through a process of cutting, pasting, smearing, soaking and washing to create varied ways of coming together,” she explains. Dyes lifted from avocado skins, spices and beech leaves are mixed with acrylic paint, oil stick and crayon to dictate the colours of her expansive canvases. Everyday flotsam is also part of the mix. “While I incorporate a lot of natural dyes from plants in my immediate environment, there is also waste—wrappers, drawings from my daughter, beyond repair clothing. My work is not setting out to be pure eco painting, but rather an acknowledgement of the contaminated nature of how we live in the world.”

Often working on huge canvas sheets designed to hang from the ceiling and stretch across the entire length of a gallery space, in order to accommodate their size and interconnectivity Pasco-White must work on the floor. At the mercy of her surrounds, Pasco-White lets each surface collect the dust and detritus of everyday life. Writing about the exhibition becoming with at Gertrude Glasshouse in 2019, Tara McDowell summed up Pasco-White’s paintings as “repositories of a much larger landscape—time

capsules of a particular season, mood or day.”

Looking at a series of paintings like messmates, 2019, one becomes privy to Pasco-White’s unique daily experiences, clearly evident in the small material remains of parenting a young child, slivers of used art materials and tracked-in fragments of the outside world embedded within their surfaces.

Viewing the human body as a malleable entity flowing with the same energy that passes through all things, Pasco-White keeps the parameters between herself and her work open. Explaining this concept further in the exhibition text for Bodily Feeling, her November 2021 solo show at STATION in Sydney, Pasco-White wrote, “Bodily feeling is that moment when I dive into the ocean and my skin melts and I am swimming like I am water in water. Bodily feeling reaches beyond the porous edges of my body; it is many bodies, it is tone, rhythm, composition.”

Handpicked hibiscus, olive and rosemary all form the dyes that stain the delicately stacked, puzzle-like surfaces in Bodily Feeling. “Bodily feeling is to imagine one can too be consumable, compostable, evaporating like steam sopping into someone else’s pores.”

Choosing to work on several paintings at once, Pasco-White goes through a process of “feeding” each work, constantly adding and working new materials into her surfaces. “The colours, marks and dyes stretch over many canvases as each work progresses alongside and informs the other,” she says. Once complete and no longer in use, older paintings are cut up and fed into another painting— it’s an ongoing cycle of renewal. Most recently, pieces of earlier paintings appeared in Making Kin, 2020, Pasco-White’s three-panelled work currently show-

Jahnne Pasco-White, Bodily Feeling, 2021.

Jahnne Pasco-White, Making Kin Intergiftedness, 2020

Jahnne Pasco-White, Bodily Feeling, 2021.

“My work is not setting out to be pure eco painting, but rather an acknowledgement of the contaminated nature of how we live in the world.”

— J A H N N E PA S C O -W H I T E

ing in the group exhibition Material Reverie at the Town Hall Gallery in Boroondara. Contained within this work were pigments made from sunflowers, carrot and black bean. This is all brought together in a wide expanse of colour layered with contrasting textures and gestural marks, disparate yet strangely harmonious when placed together.

Currently working towards a Master of Fine Art at Monash University, Pasco-White’s research reflects her ongoing interest in fluid substances and porous materials. Titled ‘An Embodied Watery Methodology of Painting’, her MFA project draws heavily on gender and cultural theorist Astrida Neimanis’s concepts of contemporary hydro-feminism. Further influenced by the writing of environmental and feminist scholars like Stephanie Erev and Donna Haraway, Pasco-White hopes to continue creatively exploring our increasingly troubled relationship with the world around us. “My work is about how we are implicated indirectly and directly in things we may not necessarily morally agree with.

Through the fluidity of the plant dyes, the viscous rice glue and painterly washes—all explicate the porous flows connecting my body to the painting, and the materials with the world.”

Material Reverie

Group exhibition Town Hall Gallery (360 Burwood Road, Hawthorn VIC) 20 January—9 April

Wall Drawings

(presented as part of MPRG’s Spring Festival of Drawing 2021) Group exhibition Mornington Peninsula Regional Gallery (Civic Reserve, Dunns Road, Mornington VIC) 12 November 2021—13 March

Art for Turbulent Times Based in Toronto, Anishinaabe artist Rebecca Belmore is showing her first Australian solo exhibition, creating acts of Indigenous resistance through art, language and bodies.

W R ITER

Neha Kale

Language is a source of power, a way to describe the world you want to live in. But for the renowned artist Rebecca Belmore, it can also be a means by which to silence, destroy and erase. Belmore is an Anishinaabe woman from the Lac Seul First Nation, part of north-western Ontario in Canada. Growing up, she spent summers on the land with her maternal grandmother, who refused to speak English. It was an act of resistance that stayed with her all her life.

“My grandmother spoke Anishinaabemowin,” she says. “Even as a child, that was a very inspirational moment about my thinking about what happened here. When you grow up in Canada, it’s all about singing ‘O Canada’ and looking at the Queen. When I was 10, 12, I realised that there was something not true about who we were.”

When Belmore’s thoughts arrive, they seem to animate her body before pouring out as words.

“In ’87, when the Royal Family were coming to the city of Thunder Bay, Prince Andrew and Sarah Ferguson were put in a birchbark canoe,” she says.

“I made this gown and had braids that went straight up in the air to signify my anger.” Her cadence turns poetic. “The absurdity of the monarchy. The rape of the land and the destruction of the culture. The romanticism and the reality.”

Belmore performed that work, Rising to the Occasion, the year she quit art school in 1986. “I was only there for two years and ran away,” she laughs.

“Whether I had the wherewithal to make contemporary art was being questioned. I was young, and I intended to be an in-your-face artist.”

She started making photographs.

First: a 1995 series called Five Sisters. She decoup-

aged portraits of herself on pieces of wood, skewering the wooden ‘Indian’ heads, a fixture of Canada’s highways, that render Indigenous people passive objects in the landscape. Then, in 2002, came Vigil. “I had just come back from a residency in Trinidad, which has major violence against women and the mass murderer Robert Pickton had been arrested,” she tells me.

Pickton, she adds, targeted vulnerable women from Vancouver’s disenfranchised Downtown Eastside neighbourhood, many of whom were Indigenous.

In response, Belmore shouts the names of each woman. She bites the head off a rose, spitting the petals on the pavement. Then, she puts on a red dress.

She nails it to a telephone pole. She wrenches it off in bitter struggle. The performance, documented on video as The Named and the Unnamed, is electrifying, a call for the viewer to witness bodies that had been neglected, forgotten. Struck out of the national conversation. But like Untitled—a 2003 series in which her sister, Florene, appears as inverted, bound in a cocoon of fabric—the work also delivers moments of astounding physical grace.

“I think as Indigenous people, we’ve suffered so many humiliations and atrocities, but we still have humour, we still have a sense of beauty,” says Belmore, whose retrospective, Facing the Monumental, showed at the Art Gallery of Ontario in 2018. “I don’t like the word ‘survivalist’. But it’s more like we’ve always endured.”

This tension propels Turbulent Water, Belmore’s first Australian solo exhibition, which premiered in March 2021 at Griffith University Art Museum in Brisbane. Now showing at Buxton Contemporary in Melbourne, Belmore will present The Named and the

Rebecca Belmore, The Named and the Unnamed, 2002, video projection, colour, sound, 38m21s, screen and light bulbs, projection screen: 240 x 316.2 x 31.8cm. collection: morris and helen belkin art gallery, the university of british columbia, vancouver. image courtesy of the artist.

Rebecca Belmore, Fountain, 2005, single-channel video with sound projected onto falling water, 2m25s, 274 x 488 cm (overall dimension variable). collection: art gallery of ontario, toronto. image courtesy of the artist.

Rebecca Belmore, Apparition, 2013, single-channel colour video, 4m, and latex paint. collection: morris and helen belkin art gallery, the university of british columbia, vancouver. image courtesy of the artist.

“I think as Indigenous people, we’ve suffered so many humiliations and atrocities, but we still have humour, we still have a sense of beauty.”

— R EBE C C A BE LMOR E

Unnamed alongside works like Fountain. This latter piece, a performance-based video installation, was first shown at the Venice Biennale in 2005, where Belmore became the first Indigenous woman to represent Canada at the event. In the work, the artist gathers icy water from Iona Beach, a polluted industrial site in Vancouver. Then, she hurls the contents of the bucket at the camera. The liquid turns into blood.

“In this community of Canada, the water is contaminated by industry, by resource extraction,” she says. “How many human beings on this planet have potable water? I was trying to speak about how water was going to become a war. We are already saying how water is [being] destroyed. We know it is precious.

Why do we deny it?”

For Belmore, it matters who gets to speak and who doesn’t. In 2013’s Apparition, the artist kneels on her haunches, her mouth sealed with duct tape. This year, Belmore reminds me, the Canadian authorities discovered the unmarked graves of over 1300 Indigenous children, part of the residential school system that aimed to destroy their language, stories and culture. A while back, Belmore says, she watched Rabbit-Proof Fence, a film that tells the story of three girls from the Stolen Generations. She hopes to

explore the parallels between the two colonies, on opposite sides of the world, in Turbulent Water. And this extends to language: unlike her grandmother, she doesn’t speak Anishinaabemowin. “I know that I’m [part] of the lineage of this system and what it did to us,” explains Belmore. “I’ve absorbed all this history and I can speak through the use of my body.”

Bodies can have power that is more than language. They can witness the tides of history. “I’m still trying to create something that is relevant, that gives me some kind of pleasure as the maker,” she says.

“Time keeps circling, keeps going forward. I think maybe now I’m more cynical. And I’m more worried than I ever was.”

Turbulent Water Rebecca Belmore

Buxton Contemporary (Corner Southbank Boulevard and Dodds Street, Southbank VIC) 10 December 2021—May 2022

Kangaroos With Attitude The work of Gordon Hookey is a meeting point of Indigenous resistance, activism, and the power of art.

W R ITER

Tracey Clement

Murriland exists on multiple planes. It is both a real place—the unceded Country of the Murri people, which includes most of what is now known as Queensland and part of north-west New South Wales—and an imaginative, contested territory made manifest in the work of Murri artist Gordon Hookey.

In the Brisbane artist’s two epic Murriland! paintings—shown together for the first time in the current Asia Pacific Triennial at QAGOMA—and across Hookey’s broader oeuvre, Indigenous heroes are given their due. Here, kangaroos aren’t cuddly plushies for tourists or sycophantic pets like Skippy.

Hookey’s kangaroos have attitude: they sport dark shades and sixpack abs. These Indigenous warriors are strong, defiant and heavily armed. Alongside historical human freedom fighters, they resist the lie of terra nullius.

All of Hookey’s artwork is a political act of resistance. He is known primarily as a painter, but he doesn’t confine himself exclusively to that medium.

As a veteran member of key Indigenous collectives Boomalli (established in Sydney, 1987) and proppaNOW (formed in Brisbane, 2003), the powerful collision of art and activism has been the driving force in his practice for decades, whether he is working in two or three dimensions. As he explains, “In my work, I try and represent Murri people, Aboriginal people, in the strongest possible light. They have to be powerful. They have to be strong, they have to have resilience and the spirit of resistance in their demeanour.” Hookey draws on wildly divergent sources; from dystopian fiction to creation-time stories. He uses objects, paint and text, not so much to re-write

Australian history as to decolonise the past, present and future.

Born in 1961, Hookey has exhibited in Australia since the 1990s and his work has featured in major contemporary survey shows including The National in 2017, the National Indigenous Triennial in 2007, and the 2004 Biennale of Sydney. Hookey won a Deadly Award for visual artist of the year in 2005, and he has been honoured with international residencies in Canada, New Zealand and the United States.

Recently, Hookey worked with Gary Simmons— an American artist who shares Hookey’s interest in the racism faced and overcome by athletes of colour— on a 2021 solo show at Fort Gansevoort gallery in New York, titled Sacred Nation, Scared Nation. Yet Hookey’s most significant international exhibition came in 2017 with his inclusion in documenta 14.

Hookey’s invitation to participate in the German international event was the spark that brought his vision of Murriland! to life. Australian curator Vivian Ziherl commissioned Hookey to respond to the History of Zaire, 1973-1974, by Tshibumba Kanda Matulu (known as TKM). In TKM’s 101 paintings, which were also featured in documenta 14, the artist put his own spin on history: from before time was ‘time’, to his present day.

Following TKM’s lead, Hookey’s epic painting Murriland! #1 jump-cuts through millennia, from Dreamtime to the invasion of Australia, across a 10-metre-long canvas. Hookey’s sharp wit and the glare of his uncompromising gaze expose shamefully dark chapters in Australian history: the enslavement of Aboriginal people, the wilful conception of terra

Gordon Hookey, Wreckonin, 2007, oil on canvas, 168 x 152 cm. gift of timothy north and denise cuthbert through the queensland art gallery | gallery of modern art foundation 2020. donated through the austr alian government’s cultur al gifts progr am © gordon hookey collection: qagoma.

Gordon Hookey, Blood on the wattle, blood on the palm, 2009, oil on linen, 285 x 500 cm. the james c. sourris am collection. gift of james c. sourris am through the queensland art gallery foundation 2012. donated through the austr alian government’s cultur al gifts progr am © gordon hookey collection: qagoma.

2021 Banyule Award for Works on Paper FINALISTS’ EXHIBITION 14 January - 13 March 2022 Gordon Hookey, MURRILAND 2, 2021, oil on canvas, 300 x 1000 cm. image courtesy of the artist and milani gallery, brisbane.

“In my work, I try and represent Murri people, Aboriginal people, in the strongest possible light.

They have to be powerful.”

Art Gallery 275 @ Ivanhoe Library & Cultural Hub 275 Upper Heidelberg Rd, Ivanhoe www.banyule.vic.gov.au/WorksOnPaper

— G OR D ON HO OK E Y

nullius (despite all the evidence to the contrary) and the brutal racism of official White Australia policy.

Now, in his even bigger sequel Murriland! #2— finished in late 2021 for the 10th Asia Pacific Triennial (APT10)—Hookey is shining a light on other aspects of Indigenous history. As Katina Davidson, Murri woman and curator of Indigenous Australian art at QAGOMA, explains “Murriland #1 is about reclaiming power, it’s about sovereignty and terra nullius. In the new work he is circling back, retelling the same tales in a different light, and beginning to celebrate the heroes.”

One of these heroes is the Murri freedom fighter Dundalli (1820-1855) who Hookey dubs a “terra-ist”— as someone who fights for his land. As Davidson points out, Hookey’s deliberately idiosyncratic use of language is about taking control and decolonising English. Or, as Hookey puts it, “What I generally say is that English is my second language. I don’t know my first, because the invaders stole it from me. So therefore I have a licence to use this coloniser’s language any which way that I want. So I make up my own words.

I misspell words, I bastardise the Queen’s language because I have a licence to do that because of what has happened.”

Tarun Nagesh, QAGOMA’s curatorial manager of Asian and Pacific art, adds that Hookey’s use of language exemplifies a broader theme within APT10: “The vast majority of artists in the show are working in not native English speaking places; many of them [are] places that have long colonial histories.” As he explains, Hookey is one of several First Nations artists in APT10 who are “reassessing histories and revisiting creation stories for new generations and contemporary times.” APT10 has a strong thread of Indigenous futurism, and, for Nagesh, Hookey’s Murriland! paintings are its “anchor”.

The 10th Asia Pacific Triennial (APT10) QAGOMA (Stanley Place, Cultural Precinct South Bank, Brisbane QLD) 4 December 2021—25 April

Artwork Credit: detail from Banyule (2020), by Wesley Fuller banyule.vic.gov.au/WorksOnPaper

AUTUMN SEASON 2022

— FRIDAY 27 MAY

Image: Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

FRIDAY 4 MARCH

hota.com.au

Presented with the Adelaide Festival Isaac Julien (UK) / A Samstag & John Curtin Gallery Installation Helen Fuller (AUS) / Ceramics Daniel Jaber (AUS) / Performance

unisa.edu.au/samstagmuseum

Samstag Museum of Art University of South Australia 55 North Terrace, Adelaide 08 8302 0870 unisa.edu.au/samstagmuseum

All About Australian Design.

designbythem.com Original Australian designed furniture, homewares & lighting. Enjoyed since 2007. designbythem.com

portrait.gov.au

Image: Lifeblood © 2021 Ample Projects

Independent animation from Japan and Australia

Feb 18 – July 2 2022

The Japan Foundation Gallery

Curators

Artists

Deborah Szapiro Honami Yano

Cynthia Burke Jonathan Daw Jake Duczynski Simon Japanangka Fisher (Jr.) Kiyamamizuki Anthony Lawrence PAW Media Ryotaro Miyajima Jilli Rose Jelena Sinik

Presented by

slm.is/iridescent

Shinobu Soejima Nicholas Tory Tjanpi Desert Weavers Shane Jupurrurla White Jason Japaljarri Woods Koji Yamamura Honami Yano Steffie Yee Song Yungsung

Suppor ted by

jpf.org.au

museumsvictoria.com.au/immigrationmuseum

australiandesigncentre.com

Penelope Davis: Sea Change 4 December 2021– 20 February 2022

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

Penelope Davis’ Sea Change is a recent body of sculptural work that evokes the precarious beauty of the ocean environment and human impact upon it.

Image Penelope Davis, Sea Change, 2016–2021, silicone, nylon thread, plastic, dimensions variable Courtesy the artist and [MARS] Gallery, Melbourne © The artist. Photograph

by Simon Strong

4 DECEMBER 2021 - 6 MARCH 2022 IMAGE: Sidney Nolan, The Myth Rider 1958–59, Private collection, © The Trustees of the Sidney Nolan Trust / Bridgeman Images.

Copyright is now managed by the Copyright Agency. Photo © Agnew’s, London / Bridgeman Images.

SUPPORTED BY

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

INAUGURAL FOUNDATION SUPPORTER

MAJOR PARTNERS

MAJOR SPONSORS

gippslandartgallery.com

twma.com.au

twma.com.au

ARCHIE 100 Geelong Gallery 6 Nov 2021 – 20 Feb 2022

An Art Gallery of New South Wales touring exhibition

Support partner

This project has been assisted by the Australian Government’s Visions of Australia program

Geelong presenting partner

A CENTURY OF THE ARCHIBALD PRIZE

Major partner

Top to bottom: Kristoffer Kang, All for a plate of fish 2021 (detail), watercolour, 50.0 x 73.5 cm; Jacqueline Balassa, At the end of the hike 2020 (detail), graphite on paper, 42.0 x 30.0 cm; Narelle White, Goop 2020 (detail), artists’ clay body of porcelain with aggregates and textural glaze, 19.0 cm x 21.0 cm x 31.0 cm. All images courtesy of the artists.

www.mcclellandgallery.com McClelland Sculpture Park + Gallery 390 McClelland Drive, Langwarrin Vic 3910 03 9789 1671

Until 6 February

These exhibitions are supported by the Victorian Government through Creative Victoria.

William Dargie Portrait of Albert Namatjira (detail) 1956. Queensland Art Gallery | Gallery of Modern Art, purchased 1957. © Estate of William Dargie.

Photo: QAGOMA

geelonggallery.org.au

mcclellandgallery.com

SCENT

The Ingrid McGaughey Collection 18 DEC - 20 MAR

BOROONDARA.VIC.GOV.AU/ARTS

Material Reverie TOWN HALL GALLERY THURS 20 JANUARY – SAT 9 APRIL 2022

LEAN

Robert Brown Teelah George Dana Harris Lou Hubbard Shigemi Iwama Cassie Leatham Jahnne Pasco-White Louise Saxton

David Cross 18 DEC - 3 APR

FIBRO FAÇADE Catherine O’Donnell 15 JAN - 3 APR

LITTLE STAR Todd Fuller 22 JAN - 10 APR

138 Commercial Road Morwell www.latroberegionalgallery.com Open Daily: 10 am to 4 pm

latroberegionalgallery.com

Jahnne Pasco–White, detail from ‘Making Kin’, 2020, natural dyed fabrics (avocado, black bean, sunflower, copper beech leaves, carrot, crab apple), earth pigments, violets, olives, crayon, pencil, recycled paper, linen, cotton, acrylic and oil stick on canvas, three panels; total 213.0 x 456.0 cm approx. Image courtesy of the artist and STATION. Photography by Christo Crocker.

HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770

boroondara.vic.gov.au/arts

Entries for the 2022 competition open from 29 November 2021 until 28 January 2022.

Scan the QR code or visit naturephotographeroftheyear.com.au to upload your entry.

Presenting partner

ARE YOU THE NEXT AUSTRALIAN GEOGRAPHIC NATURE PHOTOGRAPHER OF THE YEAR?

ENTRIES NOW OPEN

Craig Greer, Regent of the rainforest (detail).

Finalist in the Animal Portrait category.

finkelsteingallery.com

samuseum.sa.gov.au

Maringka Baker, Minyma Kutjara Tjukurpa 2020, synthetic polymer paint on canvas, 150 x 120 cm

MARINGKA BAKER 9 FEBRUARY - 5 MARCH 2022 www.vivienandersongallery.com

mprg.mornpen.vic.gov.au

vivienandersongallery.com

artsproject.org.au

canberraglassworks.com

LAUNCH / SATURDAY

5

FEBRUARY/ 4:30 PM 05 FEB. / 13 MAR.

THE MACFARLANE FUND & STOCKROOM PRESENT Elynor Smithwick Madeleine Lesjak-Atton Anthea Kemp Michael McCafferty + AMBER CRONIN Dictionary of Animacy

STOCKROOM

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

sheppartonartmuseum.com.au

stockroom.space

Kyra Mancktelow Gubba Up.

26 Janurary – 26 February

nsmithgallery.com

N.Smith Gallery nsmithgallery.com

@n.smithgallery shop.australian.museum

Oliver Watts Felling the Boundary Pines

/Alexi Freeman /Ella Saddington /James Walsh /Jessie French /Narelle White /Yu-Fang Chi

Alternative Provisions

20 JAN - 12 FEB

10 February - 26 March

CHALK HORSE Narelle White, My pink friend (2020-21). Artist’s clay-bodies, glaze

craft.org.au

craft.org.au

167 WILLIAM STREET, DARLINHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU

@craftvictoria

chalkhorse.com

Day Trip 2008 oil on board 150x120cm

John Peart [estate]

Formations and Rhythms 22 February – 19 March 2022

bundanon.com.au

kingstreetgallery.com.au

kingstreetgallery.com.au T: 61 2 9360 9727

art@kingstreetgallery.com

10am – 6pm Tuesday – Saturday

The World That Feels Warm 有温度的世界 27 January – 20 February 2022

An exhibition exploring the harmony between art, nature and humankind.

Image: Jungle (det), 2021, Oil on canvas, 118.5x100cm

JUN CHEN MELBOURNE ART FAIR Nanda\Hobbs – Stand K6 17–20 February, 2022

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

nandahobbs.com

CURATED BY GUAN WEI In partnership with Institute for Australian and Chinese Arts & Culture at Western Sydney University

Tim Johnson with Daniel Bogunovic, Crop Circles, 2018-2020, acrylic on linen

ARTISTS Ginger Jingzhe Li, Tim Johnson, Owen Leong, Tracey Moffatt and Huajie Zhang

Incinerator Art Space 2 Small Street, Willoughby

www.visitchatswood.com.au/Experience/Arts-Culture ENQUIRIES Cassandra.Hard-Lawrie@Willoughby.nsw.gov.au The World That Feels Warm is part of Human Beings and Nature Are One, an exhibition series delivered in partnership by Willoughby City Council and Institute for Australian and Chinese Arts & Culture for the Chatswood Year of the Tiger Festival 2022.

visitchatswood.com.au/Experience/Arts-Culture

Institute for Australian and Chinese Arts and Culture

CHATSWOOD YEAR OF THE TIGER FESTIVAL

BL UE AS SEM BLY O c e a n i c T h i n k i n g

Digital Quilt (detail), Denise Chapman, 2021.

Volume: Bodies of Knowledge 12 Feb - 5 Mar 2022 | Metro Arts 97 Boundary Street, West End, Brisbane Denise Chapman Shivanjani Lal Emele Ugavule Ema Tavola Kelly Ka-Lai Chan Jane Chang Mi Laniyuk Stéphanie Kabanyana Kanyandekwe Lia Pa’apa’a Curated by Torika Bolatagici

Volume features new commissioned work by nine multidisciplinary First Nations, Black and global Indigenous artists and invites us to consider the body as an archive and how embodied frequencies, cadences, and densities guide our movement through neo-colonial spaces.

This project will also be exhibited at Bus Projects in late-2022.

19 February - 25 June 2022

UQ ART MUSEUM

SUPERFLEX Dive-In, 2019.

Dive–In was originally commissioned by Desert X in collaboration TBA21–Academy with music composed by Dark Morph (Jónsi and Carl Michael von Hausswolff).

Photo: Lance Gerber, courtesy of Desert X.

art-museum.uq.edu.au

Metro Arts and this project are supported by the Australian Government through the Australia Council, its arts funding and advisory body. Metro Arts is supported by the Queensland Government through Arts Queensland, part of the Department of Communities, Housing and Digital Economy.

metroarts.com.au

themelbournecompendium.com

bunjilplace.com.au

This language that is every stone 12 February–16 April 2022

lintonandkay.com.au

Vistas Selected Gallery Artists 10 - 28 January West Perth

Celia Perceval, ‘Budawang Ferns Eurobodalla National Park’ 2020, Oil on linen, 90 s 100 m

cur ated by

Hans Ulrich Obrist Asad Raza Warraba Weatherall

Bernard Ollis Artist Gardens III February Daniel Boyd, Untitled (EOTAEIAOOTA), 2020, oil, acrylic and archival glue on canvas. 58.5 x 82.5 cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

including artis ts

Vernon Ah Kee Robert Andrew Daniel Boyd Megan Cope Manthia Diawara Taloi Havini Koo Jeong A Sancintya Mohini Simpson Phuong Ngo The Otolith Group Philippe Parreno Raqs Media Collective Khaled Sabsabi Anri Sala Yhonnie Scarce Latai Taumoepeau Shireen Taweel

Subiaco

Bernard Ollis, ‘Suzanne Valadon’s Studio’ 2021, Oil on Belgian linen, 153 x 183 cm

Tony Hewit New Works February Mandoon

Institute of Modern Art 420 Brunswick St Fortitude Valley QLD ima.org.au Tony Hewitt, ‘Cosmos’ 2021 Ed. 15 [detail], pigment ink on fine art paper, 99 x 125 cm

This language that is every stone is supported by the Copyright Agency Cultural Fund. The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

ima.org.au

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 6465 4314 perth@lintonandkay.com.au

Mandoon Estate Winery 10 Harris Road Caversham WA 6055 Telephone +61 8 9388 2116 info@lintonandkay.com.au

lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 2116 info@lintonandkay.com.au

A–Z Exhibitions

JANUARY/FEBRUARY 2022

Victoria

James Street, McClelland Drive,

Flinders Lane, Gertrude Street, Sturt Street, Federation Square,

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

Nicholson Street, Willis Street, Abbotsford Street, Little Malop Street, Tinning Street, Cureton Avenue, Alma Road, Langford Street, Lydiard Street North, Albert Street, Horseshoe Bend, Bourke Street, Whitehorse Road, Vere Street, Barkers Road, Roberts Avenue, Templestowe Road, Church Street leonardjoel.com.au

VICTORIA

Jenny Reddin Gravity Revisited 20 January—20 February 2022 Opening 5–8pm by guest speaker Ewen Jarvis.

ACMI → Laura Duffy, still from Spawn, 2021.

ACMI www.acmi.net.au Federation Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–6pm.

See our website for latest information.

ACMI is your museum of screen culture.

Navigate the universe of film, TV, videogames and art with us.

Located in the heart of Melbourne’s Fed Square, ACMI (formerly Australian Centre for the Moving Image) celebrates the wonder and power of the world’s most democratic artform – fostering the next generation of makers, players and watchers. ACMI’s vibrant calendar of exhibitions, screenings, commissions, festivals, and industry and education programs explore the stories, technologies and artists that create our shared screen culture.

and life lessons. Artist Jason Phu has reclaimed these wise sayings and remixed them into a moving image philosophy for surviving contemporary life. Divided into chapters featuring insights and meditations from different movies, Analects of Kung Phu offers a guide to ourselves and society taught by action stars and movie heroes.

Jason Phu is the 2021 recipient of the Mordant Family Moving Image Commission for young Australian artists.

1 December 2021—6 March Spawn Laura Duffy What do freak-science, fairies and queer flower coding have in common? These themes intersect in a new experimental video work by Te Whanganui A-Tara based artist Laura Duffy. Spawn explores political underpinnings of categorisations of ‘natural’ and ‘unnatural’ in relation to bodies. Exploring critically the process of bodies considered natural or normal.

Spawn is an ACMI + CIRCUIT Commission which supports an invited Australasian artist to deliver an experimental new work specifically for an online context.

Open daily The Story of the Moving Image

Jason Phu, Analects of Kung Phu: Book 1, The 69 Dialogues between the Lamp and the Shadow, 2021. Courtesy of the artist.

Jenny Reddin, Everything Falls Away, 2021, 120 x 140 cm, mixed media on canvas.

112 Adderley St, West Melbourne VIC 3003, Australia

Wednesday to Saturday, 11am–4pm

0415243917 westendartspace@gmail.com westendartspace.com.au

1 December 2021—30 January Analects of Kung Phu: Book 1, The 69 Dialogues between the Lamp and the Shadow Jason Phu Aside from bareknuckle action and breakneck stunts, Marchtial arts and wuxia films are packed with wisdom

From the first projections and optical illusions to the birth of film and beyond, moving images have the power to spark imagination, share stories and shape history. Discover how inventors, innovators and artists at the turn of the 20th century wielded light, split time and captured motion, heralding a technological revolution that continues today. Featuring ancient shadow puppets, Victorian-era magic lanterns, original cameras, iconic costumes, movie sets, sketches, clips and contemporary art, our exhibition traverses time, countries and cultures in a mesmerising exploration of an art form

that changed the world and illuminated our collective humanity.

Five distinct sections frame the major moments in moving image history, including the origins and future of cinema, production design and the creative process, Australian culture and stories, the rise of videogames, and how screens inform, influence and empower us.

Until 23 January Disney: The Magic of Animation Discover the creativity and innovation of almost 100 years of Disney animation in ACMI’s latest Melbourne Winter Masterpieces exhibition. Shown in Australia for the very first time, this exhibition contains original sketches and rare artworks from 1928 to the present day, including the latest release Raya and the Last Dragon, exclusive to Melbourne. Experience the depth of colour in animation through an immersive room featuring scenes from The Lion King (1994) and Pocahontas (1995).

See over 500 artworks from your favourite animations. Don’t miss the chance to see how animators use colour to express emotions, and the technical skill of crafting character and storytelling.

You can even step inside a scene from the Disney classic Snow White and the Seven Dwarfs.

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment.

See our website for latest information.

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westendartspace.com.au

VICTORIA

Anna Schwartz Gallery

BAYSIDE ACQUISITIVE ART PRIZE $15,000

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

Gallery closed until 2 February.

2 February—14 May Peripheral Vision Alberta Whittle, Haris Epaminonda, Yael Bartana, James Nguyĕn and Victoria Phãm, Hiwa K, Cyprien Gaillard.

Curated by Lewis Gilbert and Tania Doropoulos.

5 February—2 April Towards A Blind Self-Portrait Mike Parr 17 February—20 February Melbourne Art Fair Emily Floyd

Attrib.William Buelow Gould, (Portrait of a gentleman), circa 1830, oil on canvas.

Collection of the Art Gallery of Ballarat.

Ruth de Vos, Banksia Spill, 2014, procion fibre reactive dyes, cotton homespun, cotton linen blend, cotton batting, 119 x 107 cm. © the artist and Central Goldfields Art Gallery.

Until March Golden Textures Art Quilts

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

See our website for latest information.

John Eagle, Windy Autumn Evening, 2013/14, wheel-thrown Southern Ice Porcelain with glazes and underglazes, gas-fired to 1280 - 1310°C, d. 22 cm.

Until 9 January Linda McCartney: Retrospective The Ballarat International Foto Biennale returns with an exhibition of exclusive works by world-famous, award-winning American photographer Linda McCartney. Linda McCartney: Retrospective presents the spontaneous and experimental experiences involving the iconic people and places that shaped Linda’s extraordinary life.

Now in its 7th year, the Bayside Acquisitive Art Prize for painting is calling for entries from Australian artists.

Designed to attract both emerging and established artists, the winning work selected by the judging panel is awarded an acquisitive prize of $15,000.

Entries now open For one of Victoria’s major prizes for painting Major Prize $15,000 (Acquisitive) Local Art Prize $3,000 People’s Choice Prize $1,000 Judges Dr David Sequeira, Director, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne Bala Starr, Director, La Trobe Art Institute Joanna Bosse, Curator, Bayside Gallery

Until 16 January Anindita Banerjee: Ondormohol

Venue Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton

Part of the Ballarat International Foto Biennale.

Until 9 January From the Murray to the sea Marie Mason Until 23 January Robert Fielding: miil-miilpa

Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm

Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent living in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands whose work combines strong cultural roots with contemporary perspectives. In miil-miilpa (sacred) he continues his work connected to the significance of Elders in his community, their stories and their understandings in two distinct bodies of new photographic work—intimate portraits and landscape images. Part of the Ballarat International Foto Biennale.

Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

6 May– 26 June 2022 Shortlisted works to be exhibited at Bayside Gallery baysideacquisitiveartprize.com.au Entries close 11 February 2022

Until April John Eagle: Horizons Ella Baudinet, Ascent, 2021, oil on canvas, 122 x 122 cm.

22 January—10 April Call and Response Recent acquisitions in impossible conversations with works from the Collection.

12 February—1 May Daryl Lindsay: En pointe 19 February—24 April Next Gen 2022: VCA Art and Design 13 January—27 February Dianne Dickson: My cyberspace studio A Backspace Gallery exhibition.

Art Lovers Melbourne Gallery www.artloversaustralia.com.au 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–5pm or by appointment.

See our website for latest information.

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

See our website for latest information.

Until 6 February Frances Burke: Works from the TAMA Collection

Shane Bonsujet, Prime.

2 January—31 January Unwrapped

@baysidegallery

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bayside.vic.gov.au

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ar t g ui d e .c o m . au

VICTORIA

Art Lovers Melbourne Gallery continued...

Arts Project Australia

Nestled in an iconic art pocket of Collingwood, Art Lovers Australia unwraps their new Melbourne gallery, showcasing an eclectic group of Australian artists from abstract to Aboriginal art, figurative to still life, urban to pop.

www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–6pm, Sat & Sun 12noon–4pm.

See our website for latest information.

Mimi Leung, Turd for Brains, 2009.

Lisa Kotoulas, untitled (Blue Nose).

12 February—3 March Absurd Exploring themes of humour and surrealism, Absurd exhibits a wildly imaginative multi-media collection from artists across Australia. From funny and chaotic, to cerebrally challenging and mysterious, this collection taps into the darker and more hidden part of the subconscious, to present you with a series of works that are at times illogical and irrational, and ultimately, absurd. Opening Saturday, 12 February.

series Intricately bejewelled bugs. Leung has also created a giant, colour-in, for ArtSpace, inviting everyone to be bold and let some of their inner colour out. Mimi is represented by the Jacky Winter Group.

Jenny Ngo, Untitled, 2015, acrylic, greylead pencil on paper, 70 x 50 cm. © Copyright the artist. Represented by Arts Project Australia, Melbourne.

22 January—6 March Sincerely Yours

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, 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 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm.

See our website for latest information.

ArtSpace at Realm: Until 23 January Facets Mimi Leung Mimi Leung is best known for her brightly coloured, quirky illustrations, such as her ubiquitous design for the 7-Eleven’s Slurpee rebrand and her Melbourne Art Tram design. Very much a global citizen, she studied in London and has lived in Hong Kong, Yuendumu, Alice Springs and Melbourne. Leung’s work playfully explores the meaning of life and offers a creative way of trying to make sense of the whacky world around us. Facets features some audience favourites, including the 120

Barbara Henderson, Release, 2015, watercolour.

Maroondah Federation Estate Gallery: 7 February–8 April Light Delights in Life Barbara Henderson Barbara Henderson is a local Maroondah artist based in Croydon. For over 40 years, she has produced observational and abstract artworks across various mediums including painting, drawings, embroidery and sculpture. Henderson describes how she approaches her practice as a form of meditation. The process is often laborious and time consuming, a form of alchemy that requires attention to every little detail. She resolves the issues of form, line and colour as they arise.

“I intently focus on what is there now, before my eyes with my mind freed of preconceptions.”

Henderson has participated in numerous solo and group exhibitions across Melbourne. Her work features in Textile Fibre Forum Magazine and is held in private collections.

Curated by Sophia Cai, Sincerely Yours is a group exhibition across two neighbouring galleries at Collingwood Yards: Arts Project Australia and West Space. The exhibition will bring together a wide range of contemporary artists, including Arts Project studio artists, to explore fandom theory and the different ways artists and audiences engage with objects or subjects that inspire fannish love and devotion. Featuring work by Alanna Dodd, Amy Meng, Ari Tampubolon, Carly Snoswell, Daniel Pace , Danny Lyons, Dylan Goh, Jenny Ngo, Mel Dixon, Miles Howard-Wilks, Nick Capaldo, and Raquel Caballero.

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

See our website for latest information.

The Australian Centre for Contemporary Art (ACCA) plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural

ACCA → Kerrie Poliness, Parliament Steps Walking Drawing 2021, Commissioned by the Australian Centre for Contemporary Art, Melbourne, Presented in association with UPTOWN, and as part of Who’s Afraid of Public Space?, Courtesy the artist and Anna Schwartz Gallery, Melbourne. Photograph: Andrew Curtis. conversation and setting the agenda for contemporary art. Our mission is to Do Art Differently – to challenge, connect and resonate – so that ACCA becomes the go-to place to engage with contemporary art now: a platform for artists, and a centre for the exchange of ideas, to reflect and inspire positive change in people and communities.

4 December–20 March 2022 Who’s Afraid of Public Space?

Continuing ACCA’s series of Big Picture exhibitions, inaugurated with Sovereignty in 2016–17 and followed by Unfinished Business: Perspectives on art and feminism in 2017–18, ACCA is developing Who’s Afraid of Public Space?, a major exhibition and research project exploring the role of public culture, the contested nature of public space, and the character and composition of public life itself.

Developed over a two-year period in the lead up to ACCA’s summer season of 2021–2022, Who’s Afraid of Public Space? will engage contemporary art and cultural practices to consider critical ideas as to what constitutes public culture and ask who is public space for? The project will explore and animate recent global debates and phenomena including the increasing incursion of private interests into public culture; the dynamic relations between urban design, surveillance, regulation and gentrification; as well as related unsanctioned counter-positions, improvisation and play. It will explore ideas of community, collectivity and the

commons; the cultivation of fear in media and urban space; ongoing debates related to the freedom of speech, assembly and censorship; and the public broadcasting of private lives. It will also explore the ways in which technology, knowledge and mobility impact upon and transform our understanding of public space, culture and its values. In the wake of the coronavirus, and the rapidly changing pandemic landscape which we are currently negotiating, the project will also consider the radical shift from the civic space of the public square to the virtual space of the digital commons.

Australian Galleries www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am– 6pm.

10 January—8 February Group Exhibition

Developed by ACCA curators, working collaboratively with a diverse group of artists, academics and cultural producers, the exhibition adopts a collective curatorial model. Whilst centred at ACCA, the exhibition will extend beyond the walls of the gallery into public space itself – through engagement with and interventions into public and urban realms, mainstream and social media, as well as community centres and academic contexts.

Working with an assembly of collaborators and partners, and informed by a number of workshops, think tanks and public projects over the past eighteen months, Who’s Afraid of Public Space? is organised according to a dispersed, distributed structure, encouraging a polyphonic and polycentric understanding of our increasingly complex public realm.

John Anderson, Dusk on the road, 2020, oil on linen, 153 x 121 cm.

8 February—26 February John Anderson 121

VICTORIA

Australian Tapestry Workshop

BLINDSIDE www.blindside.org.au

www.austapestry.com.au

contemporary small textile artworks by selected Australian artists 18 June - 14 August 2022

Call for Entries Entries open from 1 December 2021 - 11 March 2022 ( 5pm EST)

During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis. Gallery closed until 18 January.

21 December 2021—11 March Leftover Love Driven by a love of leftovers artists Carolyn Cardinet, Hannah Gartside, Carolyn Menzies and Helen Philipp reuse, repurpose and remake found and discarded materials.

Bayside Gallery Ruby Berry Pomegranate 2019 Basketry

wangarattaartgallery.com.au

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Wangaratta Art Gallery 56 Ovens Street | 03 5722 0865 wangarattaartgallery.com.au

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

Michelle Zuccolo, Augury (Self Portrait), 2019, oil on canvas, 65 x 60 cm. Courtesy of the artist.

27 January—6 March Bayside Local Bayside Local is a much-anticipated annual exhibition that celebrates the high calibre of work produced by artists demonstrating a link to Bayside.

In 2022 we are excited to be including the work of senior school students who study in Bayside.

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

See our website for latest information.

Kieren Seymour, Watching YouTube, 2021, oil on canvas, 103 x 84 cm. Courtesy of the artist and Neon Parc, Melbourne.

14 December 2021 (Online) Artist Mentorship Initiative Mark Smith, Kieran Seymour, Darcey Bella Arnold, Jordan Dymke, Sam Petersen Curator Michael Camakaris.

28 December 2021 (Online) It’s raining and I miss you (Song Book) Evelyn Pohl and Yundi Wang.

Anida Yoeu Ali, Water Birth, The Red Chador: Genesis I, 2019, Kaiona Beach, Honolulu, Hawaii, USA. Performance & Concept: Anida Yoeu Ali. Photograph: Masahiro Sugano. Image courtesy of Studio Revolt.

Premium quality grey matters brushes solve the issue of glare and reflection.

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from January 15 until the end of February.

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Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] Tue to Sat 12noon–6pm (during exhibition program).

Closed on public holidays.

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry.

See our website for latest information.

Cat Rabbit, Shaun Tan, 2021, felt, fabric, thread, wire. Courtesy of the artist.

7 August 2021—30 January SOUL fury Various

Until 16 January Cat Rabbit: The soft library

13 January—29 January Summer Studio: Radiant Void Siena White, Elena Tory-Henderson 2 February—19 February DEBUT XVIII Works by recent graduates from Melbourne’s major art institutions.

Curator Sanja Pahoki.

23 February—12 March Sacred Light: In the Shadows of the Land First Nations Project Kat Clarke, Adam Sutardy, Stevie Graymore, Hollie Johnson, Yaraan Bundle.

Curator Kat Clarke.

The soft library is an extraordinary new project by textile artist Cat Rabbit that transforms Bayside Gallery into a fantastical library run by bears, or ‘libearians’, many of whom are famous literary characters.

Bendigo

Essendon

159 McCrae St, 114 Buckley St, Bendigo VIC 3550 Essendon VIC 3040 Ph: (03) 5443 9700 Ph: (03) 9337 3594

Richmond Sunbury

Nowra

Thornleigh

43 Bridge Road, 2B Old Bakery Walk, 6/68 North Street 9a/10 Pioneer Ave, Richmond VIC 3121 Sunbury VIC 3429 Nowra NSW 2541 Thornleigh NSW 2120 Ph: (03) 9428 1511 Ph: (03) 9740 7487 Ph: (02) 4421 6821 Ph: (02) 9483 2418

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Until 16 January Michelle Zuccolo: The encounter The encounter brings together paintings and drawings by Michelle Zuccolo focusing largely on portraits and still life subjects. The exhibition reveals her endless fascination with the still life genre and an almost forensic approach to portraiture.

Kirsty Budge with her winning work, Ok, so is this a fresh hell or are we just adding to the regular one today?, 2021. Arthur Guy Memorial Painting Prize 2021 winner.

20 November 2021—13 February 2021 Arthur Guy Memorial Painting Prize

H.Mur, Matrix of Rule, 2021, video, 9:13min, sound and music by Marchco Cher-Gibard. Speech by Achille Mbembe.

Courtesy of the artist.

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Bunjil Place Gallery

31 January (Online) MOBILE | all this noise Sharni Hodge, Sara Retallick, Geoff Robinson, Tamil Rogeon

www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–5pm.

See our website for latest information.

Curator James Carey.

31 January (Online) SATELLITE | Matrix of Rule H. Mur

Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia.

Curator Priya Namana.

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. 7 January—21 January Small Works Art Prize 2022 Opening Friday 14 January 6pm–9pm and Saturday 15 January 6pm–9pm.

28 January—13 February O UT I can’t remember how to dance at nightclubs Logan Mucha I can’t remember how to dance at nightclubs is presented as part of O UT for Midsumma Festival.

Opening Friday 29 January 6pm–9pm.

28 January—6 March Gods & Not Kyle KM

David Lindesay, Eye to I (1), mixed media print, 15 x 15 cm.

17 February—6 March Eye to I David Lindesay

18 December 2021—6 February Video Art from the ACMI Collection Angelica Mesiti, David Rosetzky, Ivan Sen An exhibition celebrating ACMI’s vibrant collecting and commissioning history.

Homo-empathicus Kate Gorman Opening Friday 18 February, 6pm–9pm.

Bus Projects www.busprojects.org.au 35 Johnston Street, Collingwood VIC 3066 [Map 3] Tues to Fri 12noon–6pm, Sat 12noon–4pm.

See our website for latest information.

Gods & Not is presented as part of O UT for Midsumma Festival and the Ground Floor Gallery Project. Friday 29 January 6pm–9pm.

Mabel Juli, Garnkiny Ngarranggarni, 2020, natural earth pigments and charcoal on linen, 120 x 180 cm. Courtesy of the artist and Warmun Art Centre, Western Australia. Photograph: Ian Hill.

19 February—24 April One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, French & Mottershead, Mabel Juli, Richard Lewer, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri and Nawurapu Wunuŋmurra.

At a time when many are experiencing complex feelings about the frailty of life and future uncertainty, this exhibition explores the subject of mortality and the inseparable link between life and death.

17 February—6 March I like birds Edan Azzopardi After all Katie Daniels

The exhibition presents paintings, sculptures, installations and sound works, that challenge us to reckon with death and dying as an inherent part of life, invoking experiences of loss, impermanence, transience, remembrance, memorialisation and varied expressions of grief.

One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin.

Keith Stevens, Piltati Rockhole, Nyapari.

From the project Painting on Country.

Photo by Leopold Fiala, courtesy of Tjungu Palya Aboriginal Corporation.

18 January—20 February After Lightning, by the Tjungu Palya Artists

Darcy McCrae, Blue Christ, acrylic and aerosol on canvas, 190 x 165 cm.

Birds of Idiot Poetry Darcy McCrae One Man’s Trash Damien Veal

Keith Stevens, Bernard Tjalkuri, Aaron Ken, Beryl Jimmy, Teresa Baker.

Presenting partner, ‘Agency Projects.’

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

The museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art.

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Image Credit: Gideon Wilonja, Soft, Winner Wyndham Art Prize 2021

VICTORIA Buxton Contemporary continued...

The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

Wyndham Art Prize 2022 Entries Open Feb 1 - 1 April 2022

w w w. w y n d h a m . v i c . g o v. a u / w y n d h a m a r t p r i z e 2 0 2 2

Wyndham Art Gallery Great Art. Deep West.

www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat 12noon–5pm, or by appointment.

See our website for latest information.

Rebecca Belmore, Fountain, 2005. Single-channel video with sound projected onto falling water, 2m25s. 274 x 488 cm (overall dimension variable). Collection: Art Gallery of Ontario, Toronto. Image courtesy of the artist.

The first solo Victorian exhibition of internationally acclaimed artist Rebecca Belmore. Co-curated by Wanda Nanibush, Curator of Indigenous Art at the Art Gallery of Ontario and Angela Goddard, Director of Griffith University Art Museum, Brisbane.

18 February—17 April We, Us, Them Anu Kumar, Julie Rrap, Cate Consandine, Raphaela Rosella, Milpa Space and Helen Sloane Beekeeping Tree Çamlıhemşin Turkey.

Found image courtesy of Honey Fingers.

4 February—26 February Communal Atmosphere or The Space The air (Falls) behind you as you move Stuart Bailey, Stephen Bram, Rozalind Drummond, Ruth Cummins, Elein Fleiss (FR), Shelley Lasica, Yanni Florence, Ida Thonsgaard (DE), Honey Fingers, Laetitia Benat (FR), Kerrie Poliness, Clara Adolphs and more to be announced.

A project presented by Rozalind Drummond as a part of CAVES Guest Curator Program. Opening Saturday 5 February.

Centre for Contemporary Photography www.ccp.org.au Julie Dowling, The Elements: O-thero (Earth), 2008, acrylic, polymer and ochre on canvas. The University of Melbourne Art Collection, Michael Buxton Collection, d onated through the Australian Government’s Cultural Gifts Program by Michael and Janet Buxton 2018. Courtesy of the artist and Niagara Gallery, Melbourne and Yamaji Art. Photograph: Christian Capurro.

404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm.

See our website for latest information.

#deepwest wyndham.vic.gov.au/arts

Developed with Belfast Exposed in Northern Ireland, We, Us, Them, will explore community, race and language, and chart how communities throughout the world see and define themselves.

The project is supported by the UK/ Australia Season and is a collaboration between the British Council and the Australian Government’s Department of Foreign Affairs and Trade, and the Arts Council for Northern Ireland.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm.

See our website for latest information.

Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm.

10 December 2021—8 May Observance Karla Dickens, Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler and Angela Tiatia.

177 Watton St, Werribee Vic

Australia’s largest open-entry photomedia exhibition and competition, CCP Salon, is back for its 29th year. Sponsored by national leaders in the photographic industry, with prizes across more than 36 categories to be awarded.

Anu Kumar, Ghar (Home) #8, medium format colour negatives, courtesy the artist.

10 December 2021—8 May Turbulent Water Rebecca Belmore

- 15,000 non-acquisitive Prize - 5,000 Local Emerging Art Prize - 2 , 5 0 0 P e o p l e s C h o i c e Aw a r d Exhibition and prize announcement Thurs 2nd June, 2022

CAVES

21 January—6 February 2021 CCP Salon—Supported by Milieu

5 February—27 March Maternal Garden Ema Shin

Featuring work by Karla Dickens Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler, Angela Tiatia. Co-curated

by Hannah Presley and Samantha Comte.

2020 CCP Salon. Photo Courtesy J Forsyth.

5 February—27 March The intimacy of scrutiny: Mig Dann Mig Dann. Curated by Zoë Bastin and Josephine Mead.

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VICTORIA The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

Counihan Gallery continued...

D’Lan Contemporary Shaped, photographer: Lauren Bamford.

Ema Shin, Untitled (from the Hearts of Absent Women series), 2020, embroidery, handwoven tapestry and papier-mache. Courtesy of the artist.

exploration of the relationship between maker and material. Set against the backdrop of three dreamlike interiors, Shaped celebrates the transformative potential of creating. Crafted from glass, wood, fibre, metal, ceramic, stone, each work embodies innovation and careful consideration of materials and processes with exploring diverse ideas through object and material storytelling.

Narelle White, My pink friend, 2020-21, artist’s clay-bodies, glaze.

10 February—26 March Alternative Provisions Alexi Freeman, Ella Saddington, James Walsh, Jessie French, Narelle White and Yu-Fang Chi.

Jazmina Cininas. The Sparrow Made Some Beer, (installation view), 2019, Used beer caps, recycled timber, nails and re-purposed market umbrella stands, dimensions variable. Photograph: Nadia Giuliani. Courtesy of the artist and photographers.

5 February—3 April The Sparrow Made Some Beer Jazmina Cininas

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

See our website for latest information.

23 November 2021—22 January Shaped Craft’s end of year exhibition brings together more than 80 works by over 30 Australian artists in a maximalist 128

Alternative Provisions presents the work of designers and makers expanding material practice as an act of making good. The exhibition explores how unexpected and under-utilised materials, driven by the notion of ‘reuse’, are developed and used in interesting ways by today’s makers.

The exhibitors each forage for their material, whether organic matter or discarded waste product, to create works that offer production alternatives, as well as a means to tell new stories. This exhibition is presented as part of Melbourne Design Week.

www.dlancontemporary.com.au 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 0401 025 205 Tues to Fri 10am–5pm.

See our website for latest information.

This survey exhibition presents the work of Cliff Reid, a significant and highly influential Ngaanyatjarra artist and a vivid storyteller whose knowledge of Country is told and performed by the bold figures of his canvases with movement, humour and drama.

A dynamic painter, Cliff Reid’s legacy will be celebrated by bringing together a selection of his most powerful works for this major exhibition alongside several public programs in collaboration with the Papulankutja Arts Centre.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 10am–12.30pm and 1.30pm–4pm during exhibitions.

See our website for latest information.

25 January—26 February Dance Urban Susan Robey

DISCORDIA

30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 Wed to Fri 11am–3.30pm, plus last Sunday of each month, 12noon–3pm.

Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thur to Sun, 12noon–6pm.

Gallery closed until 8 January.

See our website for latest information.

Divisions Gallery is a brand-new art space

by Pentridge Arts. Drawing from the history of the site as well as contemporary practices, Divisions Gallery is dedicated to showcasing the work of our resident artists and those further afield.

www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs.

January: Open 7 days.

February: Fri to Mon, 11am–4pm.

Alex Gibson, A Post Colonial Critique of the Yarra Valley Ranges, 2021.

VQGAN+CLIP (artificial intelligence Australian impressionism) 4K, H264 MP4, 3mins.

26 November 2021—16 January Emergence Pentridge Studios resident artists Kenny Pittock, Brett Ashby, Lucy Maddox, Lana Daubermann, Varuni Kanagasundaram, Tegan Iversen, Joe Whyte and Alex Gibson.

Iwantja Women’s Collaborative, Ngura (Country), 2021, acrylic on linen, 200 x 200 cm. Courtesy of the artists and Iwantja Arts.

Emergence is the inaugural Pentridge Arts exhibition showcasing our resident artists and their diverse practices.

Spending time both in and out of the studios over lockdown, Emergence introduces eight visual artists working within Pentridge Studios.

November 2021—February Courtyard: ICHIKAWAEDWARDS November 2021—February Suzanne Corbette

www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615 See our website for latest information.

The gallery’s changing exhibition program features a broad range of work by Federation University’s Arts Academy students and staff, local, emerging and internationally recognised Australian contemporary artists and recent acquisitions from Federation University’s extensive permanent art collection. Our vision is for the Post Office Gallery to be a vibrant, evolving centre for the creation and presentation of contemporary art.

SCOPE21 installation view (detail) Post Office Gallery, Federation University. Courtesy of the artists.

17 February—11 March SCOPE22 Visual Arts Lecturers, Teachers and Honoraries An important Arts Academy annual exhibition, SCOPE presents new work by lecturers, teachers, research associates and research fellows who, as educators and researchers at Federation University, also sustain an ongoing rigorous artistic practice.

Flinders Lane Gallery www.flg.com.au

www.discordia.gallery Level 3, Room 23, 37 Swanston Street, Melbourne, VIC [Map 2] See our website for latest information.

Federation University

The Post Office Gallery is committed to providing an outstanding educational resource and presenting an innovative exhibition programme, encouraging diverse audiences while creating strong links with the local and broader community.

The Deakin University Art Gallery provides an exciting venue for the University’s program of exhibitions and arts events.

14 December 2021—22 January wandering within an accumulation of short lines Amy Kennedy and Ariel Gout.

www.daxcentre.org

www.arts.pentridgecoburg.com. au/divisions-gallery

Everywhen Artspace

11 February—11 March Cliff Reid

These include curated exhibitions drawn from the University’s art collection, group and solo exhibitions by significant contemporary Australian artists, travelling exhibitions and selected student, staff and alumni work.

The Dax Centre

Divisions Gallery

Ami Taib, Squished Moon Jar with Handle, 2020, stoneware, glaze.

27 January—20 February Press against time Ami Taib, Sophie Harle, Tessy King, Varuni Kanagasundaram and Kate Jones.

24 February—20 March Inner Hum Charlotte Ivey, Karen Hew-Yin Eriksen and Belinda Wiltshire.

Jack Nawilil and Owen Yalandja, Maningrida Arts. Courtesy of the artists and Maningrida Arts.

27 December 2021—8 February The Summer Collector’s Show 2022 An annual exhibition featuring outstanding Aboriginal paintings and sculptures from the APY Lands, Arnhem Land, the Kimberley, the Pilbara, the Western, Central and Eastern Deserts, Utopia, Far North Queensland and Victoria.

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–6pm, Sat 11am–5pm or 3pm on last Sat of each exhibition for de-install.

Closed Sun & Mon. See our website for latest information.

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VICTORIA

Footscray Community Arts www.footscrayarts.com

Flora Nakamarra Brown, Mina Mina Dreaming, 2021, acrylic on canvas, 107 x 61 cm.

18 January—5 February Warlukurlangu Artists

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

See our website for latest information.

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am–3pm.

See our website for latest information.

At Footscray Community Arts, we collaborate with artists and communities to make change. We are a dynamic arts precinct that provides space for new experiences, ideas, conversations, community, and connection.

22 February–5 March Hidden Dorothy Lipmann Paintings.

20-20 Hindsight James Yuncken Painting and mixed media.

Fox Galleries www.foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon to Sun 10am–6pm.

See our website for latest information.

Fox Galleries represents local and internationally based artists, who have their artworks in private and institutional collections. Fox Galleries promotes excellence in the arts through the production of exploratory work, art publication and the participation in Art Fairs.

Photo Courtesy of UCT Libraries’ Special Collections and Archives. The artist has applied a purple hue to the original monochrome archival image.

Karlee Rawkins, Laughing Owl, 2021, acrylic on cotton, 71 x 61 cm.

8 February—26 February The Other Side of the Mountain Karlee Rawkins

Finkelstein Gallery www.finkelsteingallery.com Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0431 411 908 Open by appointment.

25 January—5 February

mɔ.nuˈmɛn̪ .t̪ um John Mezzini Paintings.

Artist Roberta Joy Rich invites you to experience The Purple Shall Govern, a series of new installation works that hope to inspire recognition, reflection, resistance, and release. Through a process of reframing moments, affirming stories and anarchiving materials, the works encourage us to consider our histories and relationship to public spaces.

Paintings.

Things Fall Apart Mike Lutz

Textiles.

Jewellery.

Presented as part of Who’s Afraid of Public Space?, in collaboration with the Australian Centre for Contemporary Art. Opening Saturday 29 January, 2pm–4pm.

27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Tues to Fri 11am–4pm, Sat 9am–2pm.

Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry.

16 November 2021—22 January Musical Marks: The Stringed Series of Painting to West African classical music Nina Bové Melbourne artist Nina Bové paints in response to music as a mindful practice of being in the moment. Her art is based on immersion in West African rhythms, with instinctive brushwork marking her responses in abstracted notational form.

18 November 2021—5 February Transitions Wendy Grace

18 November 2021—5 February Above Hans Schiebold

8 February–19 February Stitching Change Naarm Textile Collective Kate Durham

www.thefac.com.au

Paintings inspired by the changing boundaries of freedom and the enforced restrictions of Covid. Seeking the comfort of the familiar, Wendy is drawn toward the idea of sequence and repetition. The use of pattern and colour in this series of work shows how disruption can alter the course of continuation and the outcome; an experience familiar to us all.

John Mezzini, The Embraced, (detail), 2020, oil on canvas, 100 x 120 cm.

20 January—27 March The Purple Shall Govern Roberta Joy Rich

Frankston Arts Centre

Harold David, Move to Prove the Groove, 2021, mixed media on canvas, 157 x 155 cm.

January Harold David

A series of relief paintings with threedimensional elements that capture the details of historical buildings, preserving the beautiful features of our past in the ever-changing landscape of our cities.

Kenny Pittock, The Frankston Line.

Australian contemporary culture and a celebration of the seemingly mundane.

The Frankston Line is a playful exhibition of line drawings celebrating Frankston.

18 January—12 February The Still Life FAC KidsFest Art Exhibition A Still Life exhibition and art competition where 4 to 12 year olds were invited to draw inanimate objects that may have once appeared ordinary.

February and March Ventana Arte Frankston Ventana Fiesta Ventana Arte is a celebration of Latin cultures and the Visual Arts.

Opening Event Saturday 26 February.

See thefac.com.au for further details.

Registration essential.

FUTURES www.futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12pm–5pm.

See our website for latest information.

Curated stockroom selection.

Karina Laird, Peluquera (detail), photograph.

18 November 2021—29 January Su Alma (Their Soul) Karina Laird Steven Tran, BOLD. Photography by Jackie Dixon.

Karina Laird’s Su Alma (Their Soul) is a photographic exhibition captured during a hot Latin American Summer in 2019.

Exploring Mexico and Cuba, Su Alma captures the vibrant soul of these two countries and documents the beautiful street life that radiates through its people, art, colour and architecture.

23 November 2021—20 February BOLD Steven Tran

Coady, Red Head, oil on canvas, 2021, 183 x 168 cm.

17 February—20 February Melbourne Art Fair Solo presentation by COADY. 130

BOLD is artist Steven Tran’s first solo exhibition. His work is about structure and movement, featuring abstract, geometric paintings and drawings which are distinct, daring and delightful.

The exhibition seeks to breakdown pressure to blend in with the crowd, encouraging people to be visible, agile and BOLD.

Braden Howard, Tuef, pen, pencil on paper, 105 x 155 cm.

22 February–5 March A Stream of Consciousness: One Year Later Braden Howard Mixed media on paper.

Jason Moad, Covid Times, 2021, oil on linen, 51 x 41 cm.

February Things I Didn’t Know Group show. Refer to gallery website for exhibition dates.

18 January—12 February The Frankston Line Kenny Pittock Kenny Pittock is an interdisciplinary artist and his artwork offers a sentimental yet refreshing and humorous perspective of

Matilda Davis, It is Hard To Look at Mirrors and Mirrors Would Agree, 2021, oil on linen and pine board, 45 x 50 cm.

20 January—19 February Romantic Geometry: Measuring the Emotional Spiral Matilda Davis 131

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Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. Mon and pub hols by appointment only.

VICTORIA

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

3 December 2021—29 January [Wall]flower Deborah McHugh, Di Ellis, Ema Shin, Jess Hall, Katherine Marmaras, Mary-Ellen Belleville and Miranda Brett.

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

Until 6 March Exhume the grave—McCubbin and contemporary art Drawing largely from the gallery’s permanent collection, this exhibition brings together works by contemporary artists that re-interpret key paintings by McCubbin and explore recurring themes in his work through the lens of cultural diversity and feminism. A Geelong Gallery exhibition. Free entry.

Christopher Pease, Handshake 2, 2021, 190 x 120 cm.

28 January—5 March Lost in Translation Christopher Pease

Geelong Art Space www.geelongartspace.com Geoff Bonney, The New King, painted wood and found objects, H 115 x W 37 x 30 cm.

89 Ryrie Street, Geelong, VIC 3220 [Map 1] Fri & Sat 12pm to 5pm.

Other times by appointment.

Closed public holidays.

Frederick McCubbin, A bush burial, 1890, oil on canvas. Geelong Gallery, Purchased by public subscription, 1900.

Photograph: Andrew Curtis.

Until 13 February Frederick McCubbin—Whisperings in wattle boughs This exhibition celebrates the first major work to enter the collection in 1900: Frederick McCubbin’s A bush burial (1890). Made possible through public subscription, this exceptional acquisition and moment in the institution’s history is marked by bringing A bush burial into dialogue with a tightly focussed selection of other iconic McCubbin works in which he elaborates and redefines the Australian bush and the human subjects within it.

A Geelong Gallery exhibition. Ticketed.

Until 20 February Archie 100: A Century of the Archibald Prize In celebration of the 100th anniversary of the Archibald Prize, Archie 100 explores the history of Australia’s most prestigious portrait award. The exhibition presents a diverse selection of Archibald portraits from the last century—the triumphant and the thwarted—and honours the artists who have made the prize the most sought-after accolade in Australian art today. An Art Gallery of NSW exhibition. Ticketed.

19 February—6 March Scratching the surface Ian Grigg and Geoff Bonney.

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Courtesy of the exhibiting artists and Geelong Art Space.

Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri 9am–5.30pm, Sat, Sun & Pub Hols 10am–4pm.

See our website for latest information.

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

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

David Ashley Kerr, I Hear the Sea, 2010, Type C print on paper, 85 x 145 cm. © the artist. Collection Gippsland Art Gallery.

Purchased with the assistance of the John Leslie Foundation, 2020.

4 September 2021—27 February This is Gippsland

Eileen Tep, Bagu, print on paper, 50 x 15 cm.

1 December 2021—31 February Far North Celebrating the diverse art practices of the art centres of Far North Queensland.

Bana Yirriji Art Centre, Yarrabah Arts and Culture, Pormpuraaw Arts and Culture Centre, Girringun Art Centre.

17 December 2021—30 January Gertrude Contemporary: Gertrude Studios 2021 Sarah Brasier and Matthew Harris, Justin Balmain, Kay Abude, Mia Salsjö, Hoda Afshar, Darcey Bella Arnold, Mikala Dwyer, Georgia Banks, James Nguyen, Joseph L. Griffiths, Catherine Bell, Andrew Atchison, Jason Phu, Sam George and Lisa Radford, Ann Debono, Amrita Hepi.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm.

See our website for latest information.

20 January and 27 January 6pm–8pm Gertrude Glasshouse: Performance Review and Gertrude Present: Contact High Arini Byng, Rebecca Jensen, Marcus McKenzie, Sean Miles, Alexander Powers, Ari Tampubolon. Music by Amrita Hepi.

Curated by Anador Walsh.

Glen Eira City Council Gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat and Sun 1pm–5pm.

Gallery closed until 10 January.

John Brack, Barry Humphries in the character of Mrs Everage, 1969, oil on canvas. Art Gallery of New South Wales, purchased with funds provided by the Contemporary Art Purchase Grant from the Visual Arts Board of the Australia Council, 1975. © Helen Brack.

www.gippslandartgallery.com

Gertrude

www.gleneira.vic.gov.au/gallery

Ian Grigg, Pear Tree Bend, oil and bitumen on canvas, 107 x 81 cm.

Gippsland Art Gallery

Until 6 February Telling Tales Featuring Chris Bond, Penelope Davis, Prudence Flint, Nicholas Jones, Victoria Reichelt, Tai Snaith, Charlie Sofo and Deborah Walker. Curated by Diane Soumilas.

10 February—6 March International Baccalaureate Visual Arts Exhibition

Penelope Davis, Sea Change (detail), 2016, silicone, nylon thread, plastic, dimensions variable. Courtesy the artist and [MARS] Gallery, Melbourne. © The artist. Photograph by Simon Strong.

4 December 2021—20 February Sea Change Penelope Davis Stoneware Pioneer Harold Hughan Art Safari

Hearth Galleries www.christinejoycuration.com Contemporary ethical Aboriginal art.

208 Maroondah Highway, Healesville, VIC 3777 [Map 1] 0423 902 934 Wed to Sun 10am–4pm.

Margel Hinder, Revolving Construction, 1957, wire, plastic and electrical motor 49.5 x 35.5 x 56 cm. Art Gallery of New South Wales, Sydney. Purchased 1959.

Until 6 February Margel Hinder: Modern in Motion Until 23 January Heide II: House of Light Until 30 January Nabilah Nordin: Birdbrush and Other Essentials Until 6 March Under Lamplight: Albert Tucker and Patrick Pound Until 29 May House of Ideas: Cynthia Reed’s Studio 133

VICTORIA

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

Mark Johnson, Surrey Hills, 1978, silver gelatin print, 40.7 x 50.6 cm. (1984–2) Horsham Regional Art Gallery Collection.

Courtesy of the artist.

9 October 2021—6 February A kind of Alchemy Silver gelatin prints from the collection.

Through the magic of black and white silver gelatin prints, this exhibition features iconic artists of 20thC Australian photography and their vision of the streets, people and culture of our cities. A Horsham Regional Art Gallery exhibition.

Telling Tales

Hyphen – Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Mon to Fri 10am–6pm, Sat 9am–12noon. Closed Sunday.

See our website for latest information.

Bethany Thornber, cudjallagong dreams, 2021, acrylic on canvas, 152.5 x 122 cm.

2 August 2021—30 January Nyanda Bethany Thornber (Wiradjuri), Treahna Hamm (Yorta Yorta), Tegan Murdock (Barkindtji, Dhudhuroa), Trish Cerminara (Gamilaori).

High St Wodonga, c. mid 1900s, photographer unknown. Image courtesy Wodonga Historical Society.

Sarah Snook as Gertrude ‘Trudy’ Pratt.

Photograph: Ben King. Courtesy of Film Art Media, NFSA.

3 December 2021–6 February 2022 Chris Bond; Penelope Davis; Prudence Flint; Nicholas Jones; Victoria Reichelt; Tai Snaith; Charlie Sofo; and Deborah Walker.

Glen Eira City Council Gallery

Curated by Diane Soumilas.

Free admission.

Corner Glen Eira and Hawthorn Roads Caulfield (enter via Glen Eira Road) Monday–Sunday, 1pm–5pm.

Closed all public holidays.

Public programs: www.gleneira.vic.gov.au/gallery

Image: Penelope Davis Shelf 2008 Type C print 100 x 80 cm Courtesy of the artist and MARS Gallery

Bentleigh Bentleigh East Brighton East Carnegie Caulfield Elsternwick Gardenvale Glen Huntly McKinnon Murrumbeena Ormond St Kilda East

30 October 2021—16 January The Dressmaker A National Film and Sound Archive Australia touring exhibition.

The Dressmaker costume exhibition, which celebrates the artistry of the film’s sumptuous designs and the transformational power of fashion, as well as returning it to the Wimmera /Mallee region where it was filmed.

Gallery visitors will be able to go ‘behind the seams’ of a diverse range of elegant vintage fashions by award winning costume designer and exhibition curator Marion Boyce worn by Hollywood stars and Aussie acting talent in the film.

This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians. Presented in partnership with the National Film and Sound Archive of Australia (NFSA) and FilmArt Media.

Enamoured with the vibrant world that surrounds him, Matthew Clarke paints his subjects with an unquestionable spontaneity and conviction. His works tell of an effervescent ecology bursting at the seams with eccentric and dynamic characters. Return of wallabies to Maribyrnong is a jubilant exhibition that celebrates local, thriving ecosystems.

Sean Miles and Bon Mott, A showing of works, 2020-21, Gertrude Street, Fitzroy, installation view.

28 January—6 March WHOLE SELF Emiko Artemis, Blackgin, Luke Duncan King, Penn Gabona, Sean Miles and Bon Mott. Co-curated with Mama Alto.

WHOLE SELF is an exhibition that illuminates the over-lapping spheres of queerness and disability as an intersection of infinite possibilities. Presented in Midsumma Festival’s key note program AND/OR, WHOLE SELF articulates a multiverse of senses enriched through the exploration of mythology, lore, sex, magic, ceremony and dreaming. The exhibition navigates transcendent abilities to move between spaces, melding together inner and outer narratives, celebrating the over-lapping of spheres, whilst weaving a journey beyond barriers.

2 August 2021—April Picturing the Past This exhibition is a collection of photographs and artefacts from the Wodonga Historical Society collection.

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm.

See our website for latest information.

Incinerator Gallery is your community gallery located by the scenic Maribyrnong River. We have a diverse offering of solo and group exhibitions, which will delight and challenge our audiences as we explore new and fresh perspectives on contemporary art and life. Incinerator exhibition entry and many of the programs are free.

28 January—6 March Return of wallabies to Maribyrnong: Matthew Clarke

Chelsea Arnott, Untitled, 2014, acrylic on canvas, detail.

28 January—6 March Hey, I have something to say Batoul Ahmad, Savi Ross, Chelsea Arnott.

Curated by Tegan Iversen.

Informed by the artists’ unique perspectives on self, culture and identity; gender and queerness; and the power of connection in community, the exhibition includes works in painting, illustration, photography, and design. Hey, I have something to say highlights the importance of self-reflection and discovery in the life and journey of the artist through playful and intimate works of art.

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VICTORIA

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 Please check the website for details and updates on visiting hours and COVIDsafe guidelines.

10 December 202 1—16 January Loft 275: Bubbles Joe Pascoe and Don Walters.

Bubbles are the collaborative creation of artist Don Walters and poet Joe Pascoe.

Bubbles is an every-person character who finds life a little bewildering, but still has wonder and hope. You are invited to join Bubbles and their friends on a joyous adventure together.

This exhibition will display the original artworks and the respective poems from a soon-to-be-published book, Bubbles: On an Island Somewhere South of Paris, by the creative duo.

Yongqiang Lu, Pink in Spring, 2018.

20 January—13 February Loft 275: Journey Yongqiang Lu An exhibition of paintings by Yongqiang Lu. Lu is a Chinese artist who calls Ivanhoe home. He is fascinated and inspired by the Yarra River and the surrounding land. His paintings reveal decades of skill and experience as well as the joy of exploring a new environment. He employs both Western and Chinese artistic languages to define his journey of this landscape.

17 February—13 March Loft 275: Beyond the Page Deborah Bowen, Helen Platania and Julie Walker Libraries have always been places of community, signifying more than just a building for the storage of books. One of the only places in modern society for the public to go and simply exist, operating purely on a basis of trust.

Told through the perspectives of three local multidisciplinary artists, this exhibition will explore the influence of stories, books, and community.

Jewish Museum of Australia www.jewishmuseum.com.au Wesley Fuller, Banyule, 2020. Licensed and used with permission.

14 January—13 March Art Gallery 275: The 2021 Banyule Award for Works on Paper – Finalists’ Exhibition The Banyule Award for Works on Paper is awarded biennially to an outstanding contemporary work on paper. This is a prestigious national art prize, with the winning artwork entered into the Banyule Art Collection. The winner will be announced at the award ceremony, which will be held when possible.

Gallery & Stockroom Gallery & Stockroom Level 1 & 2, 322 Brunswick Street Level 1 & 2,Country, 322 Brunswick Street Wurundjeri Fitzroy VIC 3065 Wurundjeri Country, Fitzroy VIC 3065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au

Image: Worrwurr Ga Ŋerrk , Judy Manany & Megan Yunupingu, ochre and earth pigments on wood, dimensions variable Image: Worrwurr Ga Ŋerrk , Judy Manany & Megan Yunupingu, ochre and earth pigments on wood, dimensions variable

The theme for this edition of the Banyule Award for Works on Paper was “Community”, and in this Covid world, we asked artists to consider what community means to them, and to provide us with inspiration and reflection through their various works on paper.

Mirka Mora, aged 2, 1930.

Featuring more than 200 never-displayed works from the private collections of the Mora family and Mirka’s studio and archives, alongside pieces from Heide Museum of Modern Art, MIRKA offers the most comprehensive picture of the artist’s life and 70-year-long career. A story of survival and migration, interspersed with a generous dose of family, art, food and love, this special exhibition gives fresh insight into Mirka’s remarkable creativity, resilience and legacy.

Jacob Hoerner Galleries www.jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 0412 243 818 [Map 5] Wed to Sat 12noon–5pm and by appointment.

See our website for latest information.

26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am–5pm, Sun 10am–5pm.

(Closed on Jewish holidays).

Mirka Mora, Friends under the tree, 1995.

Courtesy William Mora Galleries © The Estate of Mirka Mora.

Extended until 30 January MIRKA Mirka Mora

Rebecca Agnew, Infinite West, 2021, high definition stop motion video, 17 mins 39 seconds, limited edition of 5 + AP. 137

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VICTORIA Jacob Hoerner Galleries continued...

This exhibition is the outcome of a collaborative project between the artist and migrant women living in the suburbs of Melbourne. Together, they explore what ‘home’ means when living away from one’s country of birth and family and have narrated their stories in embroidery to form a collective textile artwork.

9 February—26 February Infinite West Rebecca Agnew 17 February—20 February Melbourne Convention and Exhibition Centre: Melbourne Art Fair David Palliser and Andrew Sibley.

The Johnston Collection www.johnstoncollection.org 192 Wellington Parade, East Melbourne VIC 3002 [Map 4] 03 9416 2279 Open Wed to Sun, with three tours daily at 10am, 12noon and 2pm.

We are closed on public holidays.

Pick up from the Pullman Melbourne on the Park. Bookings essential.

Thelma Beeton (Palawa), Galivanting Around, 2020, acrylic on canvas. Entrant 8th Koorie Art Show. Collection of the artist. This artwork was created through The Torch, a not for profit organisation providing art, cultural and arts industry support to Indigenous offenders and ex-offenders in Victoria.

Christine Huntley-Harris, Snow gums 2, 2020, acrylic and oil on canvas, 50 x 40 cm.

16 December 2021—22 January G3 Artspace: In Rhythym with Nature Presented by Christine Huntley-Harris.

Installation view, Blak Jewellery— Finding Past, Linking Present, Koorie Heritage Trust.

Sandy Hodge (Lardil), Sharn Geary (Bundjalung) and Aunty Suzanne Connelly-Klidomitis (Wiradjuri).

Kingston Arts Alice Clague, Castlemaine Branch, Octavia (one of a pair of angels), Castlemaine, 2007, 950 x 600 x dia 530 mm, collection of Alice and Geoff Clague, Castlemaine.

1 December 2021—27 February A TOUCH OF CHRISTMAS: Christmas/ Summer at The Johnston Collection Featuring a superb array of original works by members from among the 11 Branches and one Country Group of The Embroiderers Guild, Victoria.

Koorie Heritage Trust

www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 12noon–5pm. Free entry.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale Wed to Fri 9am–5pm, Sat 12noon–5pm.

In her first solo exhibition, Christine Huntley-Harris explores the diverse landscape of the Gippsland region, Wilson’s Prom, Kosciuszko and Magnetic Island. The travel restrictions of 2020 encouraged the artist to explore and paint ‘en plein air’ the beautiful coastal walking tracks close to her home in Bayside Melbourne. The artist states that: “When I look at the landscape I see rhythm and movement. Layers, textures and patterns formed over time by the elements. Nature bending, growing and pushing forward, adapting constantly to its environment.”

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

18 December 2021—20 March Scent Ingrid McGaughey Glass Collection.

www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information.

4 December 2021—20 February 9th Koorie Art Show Call for entry, various artists.

4 September 2021—27 February Blak Jewellery–Finding Past, Linking Present Ange Jeffery (Wiradjuri), Aunty Beverley Meldrum (Wirangu, Kokatha), Cassie Leatham (Taungurung), Hollie Johnson (Gunaikurnai, Monero Ngarigo), Isobel Morphy-Walsh (Taun Wurrung), Jenna Lee (Larrakia, Wardaman and Karajarri), Kait James (Wadawurrung), Lisa Waup (Gunditjmara and Torres Strait Islander),

Sofie Dieu, Women’s narratives by the river, 2019, embroidery on fabric.

25 November 2021—15 January Kingston Arts Centre Galleries: Longing for Home Presented by Sofie Dieu.

Kingston Arts Grants Recipient, artist Sofie Dieu in partnership with Kingston Arts, the City of Kingston and the Victorian Immigrant and Refugee Women Coalition presents Longing for Home.

David Cross, Lean, 2011, Inflatable installation. Courtesy of the artist.

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VICTORIA Latrobe Regional Gallery continued...

18 December 2021—3 April Lean David Cross 15 January—3 April Fibro Façade Catherine O’Donnell

Todd Fuller, Little Star, (still), animation, colour, sound, 6.44 mins. Courtesy of the artist and MAY SPACE, Sydney.

22 January—10 April Little Star Todd Fuller

Lauraine Diggins Fine Art www.diggins.com.au Matt Harvey, Hugo, digital photograph, Braeside Lakes, OptiKA 2020.

ENTRIES NOW OPEN!

Boonwurrung Country 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm.

Other times by appointment.

Gallery closed until 1 February.

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

See our website for latest information.

www.longallery.com 136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm.

See our website for latest information.

Linden Postcard Show 2020–21. Photograph: Theresa Harrison Photography.

3 December 2021—27 February Linden Postcard Show 2021–22 The iconic Linden Postcard Show returns for its 31st year. With over 1,000 mini masterpieces to see, every work measuring exactly 8 x 10”. This exhibition includes work by artists at all stages of their career, from across Australia.

As an open-entry art prize, the Linden Postcard Show continues to support living artists by presenting and selling their work, as well as acknowledging their wonderfully diverse and inspiring practices.

Grace Wood, Untitled, 2021, silk Crepe De Chine print, 60 x 40 cm.

3 February—26 January Grace Wood

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

OptiKA 2022 invites photographers, videographers and digital artists of all ages and skill levels to respond to the creative theme of FOCUS ON 2030: Inspiring a zero emissions future.

Tim McMonagle, All the Mornings of the World, 2020, oil on canvas, 84 x 84 cm.

Photo: Tobias Titz.

17 February—20 February Melbourne Art Fair Tim McMonagle

Anna Hoyle, Your Choc-Mint Pelvik Floor, 2021, gouache and acrylic on paper and wood. Image courtesy of the artist.

For full details and to enter visit: kingstonarts.com.au/OptiKA2022

3 December 2021—27 February Your choc-mint pelvik floor is so boring Anna Hoyle

Constance Stokes, My Young Mother, 1970s, oil on canvas, 44.5 x 34 cm.

ENTRIES CLOSE: 5pm, Monday 14 March

LON Gallery

January/February Constance Stokes

This exhibition presents a collection of recent ‘fictional’ book paintings and works on paper that have been inspired by social trends such as the self-help book and the wellness industry.

Margaret Lawrence Gallery www.mlg.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12noon–5pm. Free entry.

14 February—19 February The Alchemy of Auto//Mysticism: Exploring Subjectivity Beyond the Visible Kellie Wells 141

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VICTORIA Until 29 January METRO SUMMER

Margaret Lawrence Gallery continued...

A group exhibition of painting, sculpture, works on paper, and graphics by selected gallery artists.

Kellie Wells, Anchorite, 2021, digital video.

Drawing from a range of esoteric beliefs and technologies, Auto//Mysticism explores alternative strategies of subjective practice beyond contemporary hypervisibility.

Veronica Caven Aldous, Light and green, 2020, watercolour on linen, 137 x 137 cm.

Photo courtesy of the artist.

Valentina Palonen, Gregory Pryor, Annika Romeyn, Katika Schultz, Andrew Seward, and Louise Tate.

28 August 2021—6 February Senini Student Art Award, Ceramics Pattie Beerens, Claire Bridge, Mark Friedlander, Marion Harper, Debbie Hill, Saskia Muecke, and Narelle White.

Chelsea Coon, strangeness, 2021, performance to livestream.

28 February—5 March Enduramorphosis: A point of dynamic strangeness Chelsea Coon

Lilli Waters, Deep Hours, 2021, archival pigment print.

1 February—26 February Orpheus Lilli Waters An exhibition of recent photography-based and multi-media works.

Coon’s work suggests that the contingent interrelationships of space, time, and the body under duress can give rise to a state of enduramorphosis—a neologism that describes a point of emergence in which a barely perceptible strangeness opens in the continuation of a work despite its near breakdown.

1 February—26 February Recent Works Bettina Willner An exhibition of ceramic sculpture.

Mildura Arts Centre www.milduraartscentre.com.au

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

28 August 2021—6 February The Rick Amor Drawing Award Zoe Amor, Stephen Armstrong, Jacqueline Balassa, Lorraine Biggs, W. H. Chong, David Fenoglio, Jane Grealy, Pei Pei He, Domenica Hoare, Terry Matassoni, Anh Nguyen, Catherine O’Donnell, Lyn Raymer, Robert Scholten, Benedict Sibley, Joe Whyte and Joel Wolter.

28 August 2021—6 February Splash Contemporary Watercolour Award Alison Amaryllis, Joseph Anatolius, Matteo Bernasconi, Lee Bethel, Naomi Bishop, Eugene Carchesio, Chris Casali, Veronica Caven Aldous, Michelle Cawthorn, Louisa Chircop, Libby Derham, Chonggang Du, Louise Foletta, Alison Ford, Belinda Fox, William Goodwin, Domenica Hoare, Kris Kang, Martin King, Anne Kucera, Alex Linegar, Tania Mason, Megan McPherson,

Samara Adamson-Pinczewski, Around the Corner 7, 2021, acrylic, iridescent acrylic and fluorescent acrylic with UV topcoat on ABS resin (SLA), 52.5 x 19.5 x 49 cm. Courtesy the artist and Charles Nodrum Gallery.

21 February—5 June A thousand different angles

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

See our website for latest information.

Fiona Abicare, Samara AdamsonPinczewski, Marion Borgelt, Consuelo Cavaniglia, Natasha Johns-Messenger, Inge King, Sanné Mestrom, Noriko Nakamura, Nabilah Nordin, Louise Paramor, Kerrie Poliness, Norma Redpath, Meredith Turnbull.

Metro Gallery www.metrogallery.com.au 1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tue to Fri 10am–5pm, Sat 11am–5pm.

See our website for latest information.

Kerryn Sylvia, Mother, from Teen stacks: structures beyond words, 2020, bisquefired Murray River clay, wooden stands and seats. Image courtesy of the artist.

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ar t g ui d e .c o m . au Mildura Arts Centre continued...

12 November 2021—6 February Expressions from the Hill Broken Hill Potters Society Expressions from the Hill, a new exhibition by the Broken Hill Potters, will showcase the raw, nature inspired experience of wheel-thrown, hand-built and sculpted pottery, and reveal the diversity of their individual styles, which incorporates both traditional and conventional methods and firings.

VICTORIA journalist and author Ginger Gorman, On Thin Ice is an arts-documentary collaboration that asks: why do people really become addicted to ice? What stigmas do they face and how do they recover?

Missing Persons www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 Open 9am–5pm.

See our website for latest information.

He Pei Pei, Street Melody #2 街之韵律, 2020, oil on canvas, 105 x 155 cm.

14 January—16 January Silent Dialogue / 沉默的对话 何佩佩 / He Pei Pei, 匡再 / Kuang Zai, 珍妮喆 张 / Jenny Zhe Chang Opening event: 13 January, 6pm–8pm.

Mary Cecil Allen, Portrait of Hilda Elliott, nd, oil on canvas, Mildura Arts Centre Collection, Hilda Elliott bequest, 1970.

3 December 2021—12 February Hilda Elliott: a conversation Mildura Arts Centre Collection The eldest daughter of the prominent Melbourne politician and publisher Theodore Fink, Hilda Elliott grew up in an environment in which the arts were valued and supported. It is an experience that Hilda took with her into her marriage to RD Elliott who came to be an avid collector of Australian and international art in his own right. While much is written about the lives of Theodore and RD, little is documented of Hilda’s life. For this reason, the collection of works she bequeathed to Mildura Arts Centre upon her death in 1970 are important. Hilda Elliott: a conversation is an insight into the character of this fashionably elegant and poised woman whose voice is rarely heard.

21 January–23 January Silent Dialogue / 沉默的对话 关伟 / Guan Wei, 傅红 / Fu Hong, 欧阳昱 / Ouyang Yu, 子轩 / Echo Cai Opening event: 20 January, 6pm–8pm.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm.

19 February—1 May Southern Western Southern Western explores and connects with the particularity and peculiarity of this place, Mildura. Positioned in the Victorian Mallee, along the banks of the Barka/ Millewa/ Tongala (Murray Darling rivers), the very nature of this place has inspired this project as a means to reflect on and explore the rich complexity of Australia and its histories through an expansive lens. Curated by Gareth Hart and Jane Polkinghorne.

11 February—3 April On Thin Ice Commissioned by Tuggeranong Arts Centre (TAC) in 2019 in collaboration with 144

Chunni Lall & Co., Lala Deen Dayal, Francis Frith & Co., Gauri Gill, Khubiram Gopilal, Hamilton Studios Ltd, Johnston and Hoffmann, Willoughby Wallace Hooper, William Johnson, John William Kaye and John Forbes Watson, Karen Knorr, Annu Palakunnathu Matthew, Steve McCurry, Saché & Murray Studios, Pushpamala N with Clare ARNI, Nicolas & Company (attributed), Norman Parkinson, Anoli Perera, Suresh Punjabi, Marc Riboud, John Edward Saché, Charles Scott, Sawai Ram Singh II, Maharaja of Jaipur, Edward Taurines (attributed), Waswo X Waswo, Wiele and Klein Studio, Wilson Studios Bombay.

Since its invention in Europe in the 1840s, the genre of photography has played an integral role in the course of Indian art history. Although it is often quoted that India is the most photographed country in the world, the history of its representation is more complicated, and more political than initially meets the eye.

Visions of India: from colonial to the contemporary is the first major survey of Indian photography in Australia, and all artworks showcased are from the collection of Museum of Art & Photography (MAP), Bengaluru, one of the most celebrated collections of photographs relating to India in the world.

Monash University Museum of Art – MUMA www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission.

Karen Knorr, The Queen’s Room, Zanana, Udaipur City Palace, Udaipur, 2010, archival pigment print. Image copyright: Karen Knorr.

17 December 2021—20 March Visions of India: from colonial to the contemporary Darogah Abbas Ali, Indu Antony, Felice Beato, Mitter Bedi, Jyoti Bhatt, Bourne & Shepherd, Samuel Bourne, Michael Bühler-Rose, Henri Cartier-Bresson,

900 Dandenong Road, Caulfield East, VIC 3145.

Wed to Fri 10am–5pm, Sat 12noon—5pm during exhibitions.

Free entry.

See our website for latest information.

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus Building D, Ground Floor,

6 December 2021—August 2021 NGV Architecture Commission: Pond[er] | Taylor Knights with James Carey

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

See our website for latest information.

Maree Clarke, Mutti Mutti/Wamba Wamba/Yorta, Yorta/Boonwurrung born 1961, Jack Charles, 2012; printed 2018 inkjet print, 58 x 58 cm. National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2018 © Maree Clarke.

Until 13 March Wall Drawings

5 November 2021—20 February Sampling the Future

Curated by Danny Lacy and Ellinor Pelz.

Bringing together 11 leading contemporary artists from across Australia, this exhibition explores the expansive nature of wall drawings and paintings, situating newly commissioned wall-based works throughout the gallery. Artists include Penny Evans, Emily Floyd, Tony Garifalakis, Julia Gorman, Yuria Okamura, Jason Phu, Kerrie Poliness, Cameron Robbins, Gemma Smith, Lisa Waup and Jahnne Pasco-White.

Collection+ Jess Johnson / Eduardo Paolozzi Curated by MPRG Director Danny Lacy.

An ambitious new series Collection+ will pair newly commissioned work by leading artists represented in the MPRG Collection alongside select institutional loans.

The first exhibition in this series features new work by trailblazing artist Jess Johnson with one of the pioneers of the pop art movement Sir Eduardo Paolozzi.

The Thin grey line brings together the work of four highly skilled contemporary artists who incorporate fine detail into their drawing practices: Becc Orszag, Indigo O’Rourke, Laith McGregor and Natalie Ryan.

5 February—14 April On and through the Surface Vivienne Binns

25 November 2021—18 April Golden Shells and the Gentle Mastery of Japanese Lacquer

3 February—12 February Masters of Fine Art Exhibition Matthew Jones

Thin grey line – Contemporary Drawing

Vivienne Binns, Funky ashtray, 1971, vitreous enamel on copper, 33 x 35.5 x 15.2 cm irreg. Collection of the artist.

Photograph: Zan Wimberley.

25 June 2021—23 January Camille Henrot: Is Today Tomorrow

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

See our website for latest information.

12 March 2021—6 February Big Weather 25 June 2021—6 February Maree Clarke: Ancestral Memories

Rosalie Gascoigne, Flash art, 1987, tar on reflective synthetic polymer film on wood, 244 x 213.5 cm. Purchased with funds donated by the Loti & Victor Smorgon Fund, 2010. National Gallery of Victoria, Melbourne. © Rosalie Gascoigne Estate/Licensed by Copyright Agency, Australia.

30 October 2021—20 February Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey 6 May 2021—27 March We Change the World

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

See our website for latest information.

22 May 2021—30 January History in the Making

Naminapu Maymuru-White, Milŋiyawuy (River of Stars), 2020, earth pigments on Stringybark (Eucalyptus sp.), 140 x 70 cm.

National Gallery of Victoria, Melbourne Purchased with funds donated by Lisa Fox, 2021. © Naminapu Maymuru-White, courtesy of Buku-Larrŋgay Mulka Centre, Yirrkala.

17 December 2021—25 April Bark Ladies: Eleven Artists from Yirrkala An exhibition that celebrates the NGV’s extraordinary collection of work by Yolŋu women artists from the Buku-Larrŋgay Mulka Centre (Buku), in North-East Arnhem Land. Buku is the Indigenous community-run art centre located in Yirrkala, a small Aboriginal community, approximately 700 kilometres east of Darwin. Works by women from the Yirrkala region have been developing an appreciative audience, both nationally and internationally.

22 December 2021—25 April The Gecko and the Mermaid: Djerrkŋu Yunupiŋu and her sister Geckos, turtles, lizards and mermaids!

This summer’s exhibition introduces two significant contemporary Yolŋu artists from North-East Arnhem Land to our youngest of visitors. Award-winning artist Ms N Yunupiŋu and her sister Eunice Djerrkŋu Yunupiŋu share their stories, culture and language through displays of art and hands-on activities developed especially for the exhibition.

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Gabrielle Chanel (designer), Ensemble with dress and jacket, c.1926–27, silk, silk taffeta. Patrimoine de CHANEL, Paris Photo © Julien T. Hamon.

4 December 2021—25 April Gabrielle Chanel. Fashion Manifesto The first exhibition in Australia to focus exclusively on the significant contribution to twentieth-century fashion culture by the renowned French couturière Gabrielle Chanel (1883–1971).

Curated by the Palais Galliera, Paris and presented in partnership with the National Gallery of Victoria, Melbourne, the exhibition features over 100 outfits as well as jewellery, accessories, cosmetics and perfumes. Key designs are drawn from the rich holdings of the Palais Galliera and the Patrimoine de CHANEL, the heritage collections of the fashion house in Paris.

These are complemented by works from public museums, including the NGV, and further private collections, creating this rare opportunity to see a comprehensive display of Gabrielle Chanel’s works from the full span of her long career.

10 March—21 August Queer

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

Andrew Clapham, Altered A, 2021, acrylic silk-screen print on 300 GSM somerset satin, 54 x 73 cm.

10 February—24 February The Manufactured Landscape Andrew Clapham The Manufactured Landscape explores current research that engages the urbanised landscape and its influences on modernism, minimalism, labour, and the role of art and design in our society.

The material-driven printmaking allows the critique of the arts’ classical traditions to repurpose them through traditional mediums and a technologically driven lens. Juxtaposing with prints heritage to commercial and processes also traditionally used for advertising purpose.

Altogether, this series looks at the role humans play in the environment, mainly through urban space. It is a critique of the beauty and destructions we have on the altered landscape.

30 January—19 February Inge and Grahame King 23 January—12 February Julie Andrews

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery COVIDSafe policies and restrictions.

See our website for latest information.

www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm.

See our website for latest information.

Uncanny Valley, Beautiful the World, (still), 2020, video.

Until 26 February Future U Speculative and emotionally charged, Future U responds to the complex possibilities of the rapid acceleration and convergence of technologies and its impact what it means to be human.

www.pggallery.com.au

PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

9 January—29 January Ian Parry

QDOS Fine Arts

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

Ian Parry.

Rohan Robinson.

19 December 2021—8 January Rohan Robinson 2 January—22 January Peter Webb

Artists include: Bettina von Arnim, Holly Block, Karen Casey, Duckworth Hullick Duo, Peter Ellis, Jake Elwes, Alexi Freeman, Libby Heaney, Leah Heiss and Emma Luke, Pia Interlandi, Amy Karle, Mario Klingemann, Zhuying Li, Christian Mio Loclair, Maina-Miriam Munsky, Patricia Piccinini, Stelarc, Uncanny Valley, Deborah Wargon.

Curated by Jonathan Duckworth and Evelyn Tsitas.

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CONSTANCE STOKES Exhibition Now Showing A survey exhibition featuring important paintings and works on paper from private collections and the Estate.

VICTORIA

Sarah Scout Presents

Shepparton Art Museum

www.sarahscoutpresents.com

www.sheppartonartmuseum.com.au

1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes.

Thu to Sat 12noon–5pm and by appointment.

See our website for latest information.

530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm.

See our website for latest information.

Sofitel Melbourne on Collins www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information.

20 November 2021—13 March Lin Onus: The Land Within

Prue stent, Honey Long and Amrita Hepi, This may not protect You, 2017. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. © Amrita Hepi.

20 November 2021—1 May Amrita Hepi: A Call to Echo

Tim Johnson, Thredbo Valley, 2021, acrylic on linen, 1830 x 2240 mm.

Until 30 January Sofi’s Lounge, Level One: Creed Tim Johnson In collaboration with Tolarno Galleries, we are showing a collection of new large paintings by Tim Johnson. These dynamic pictures reference many of the things Johnson believes in, for example Buddhist imagery and philosophies, especially the idea that animism can apply to landscape giving it a spiritual presence.

Cate Consandine, Viraginis, 2021, polished cast bronze, 160 x 160 x 30 cm.

Photograph: Christian Capurro.

Jon Rendell, Foggy Sunrise, 2012.

Maree Clarke, Connection to Country – I Remember When...: Stories from elders about their connection to Country, culture, and place II, 2021. Courtesy of the artist and Vivien Anderson Gallery, Melbourne © Maree Clarke.

CONSTANCE STOKES 1906 - 1991, My Young Mother 1970s, oil on canvas, 44.5 x 34 cm.

Copyright the Estate of the Artist.

Specialists in Australian Art Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative Art. Sourcing European masterworks on request.

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

FOR UP-TO-DATE EXHIBITION DETAILS sign up to our mailing list at diggins.com.au Gallery closed 22 December 2021 - 1 February 2022

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

Gallery & Exhibition Hours: Tues – Friday 10 am – 6 pm other times by appointment

20 November 2021—13 March Maree Clarke: Connection to Country – I Remember When ...

Stephen Garrett, Podex II, 2021, archival print on Hahnemühle Photo 100% cotton, 192 x 112 cm.

20 November 2021—20 November Flow: Stories of River, Earth and Sky in the SAM Collection

28 January—5 March Animal Cate Consandine and Stephen Garrett.

20 November 2021—22 May Everyday Australian Design: Functional Design from the Ian Wong Collection 20 November 2021—17 July Brown Pots

Until 31 January Atrium Gallery, Level 35: Jon Rendell Thirty Seven Degrees Photographer Jon Rendell has recently returned to Melbourne after living the past 25 years in San Francisco. In this exhibition of black and white photographs Rendell compares San Francisco (37˚ above the equator) images with his home town Melbourne (37˚ below the equator).

STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Fri 10am–5pm, Sun 10am–4pm.

Until 22 January Splendide Mendax Daniel Boyd and Zac Langdon-Pole.

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VICTORIA STATION continued...

Located eight floors above Flinders Lane, on the Swanston Street corner, the Stephen McLaughlan Gallery was established in 1994 and is a proud occupant of Melbourne’s iconic Nicholas Building.

Regular exhibitions in our Main Display Area and in the South Gallery (Objects Space) showcase a committed group of contemporary artists in a welcoming and airy environment. Photographic archives provide an accessible overview of the depth and breadth of our endeavours, with both established artists and those at journey’s beginning sharing their visions across a variety of media.

Elynor Smithwick, Umbrellas outside, oil on canvas, 50 x 40 cm.

5 February—13 March The Mcfarlane Fund Group Exhibition 2022 Elynor Smithwick, Madeleine LesjakAtton, Anthea Kemp, Michael McCafferty.

Adam Lee, Name of Names, (detail), 2021, oil and synthetic polymer paint on canvas, 220 x 325 cm. Courtesy of the artist and STATION. 29 January—26 February World Sick Hermit Adam Lee

Sutton Gallery www.suttongallery.com.au omnusframing.com.au

mes.net.au

Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Wed to Sat 11am–5pm.

Jenny Loft, Other-wise, bronze sculpture, 250 x 260 x 120 cm.

19 January—5 February Attuned Curated by Stephen McLaughlan.

9 February—26 February Craig Barrett

Stockroom Kyneton

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

See our website for latest information.

www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–5pm.

See our website for latest information.

4 December 2021—9 January Intermission Becc Ország Domestic Jason Waterhouse Stephen Bush, The Lure of Paris #35, 2021, oil on linen, 183 x 183 cm.

In search of ordinary Honor Freeman

Until 20 January Re-imagined Narratives Wayne Elliott

29 January—26 February 30 Years of Sutton Gallery

Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment. e-artstore.net

Wayne Elliott, Full moon over the Barkly.

Image courtesy of the artist.

Amber Cronin, Dictionary of Animacy.

5 February—13 March Dictionary of Animacy Amber Cronin

Wayne Elliott explores familiar worlds from a multiplicity of perspectives.

From that of a bird, a walker, a ground hugging insect and a cartographer, as he walks through the painting, across the canvas, ultimately rendering the journey, surrounds and path taken. We see the inquisitive nature of the artist as explorer, contemplating place and space as he navigates and creates through paint, the emerging imagery from myriad viewpoints and re-imagined narratives.

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A Touch Of Christmas features a superb array of original works by members from The Embroiderers Guild, Victoria.

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Closed Christmas Day. Open 7 days a week from Boxing Day until the end of January.

This reimagined exhibition celebrates impressive contributions from Guild embroiderers who have exhibited work from over fifteen years or so of Christmas exhibitions at TJC and draws upon TJC’s own collection of pieces made especially for our annual ‘inspired by’ show.

Kate Tucker, Care Banner 1, 2021, calico, digitally printed cotton, bumph, acrylic, thread, linen, encaustic, acrylic mediums, board, earthenware, underglaze, bronze rod, 140 x 128 cm.

Courtesy of the artist and Daine Singer.

Photograph: Christo Crocker.

4 February—27March Notions of Care Notions of Care explores the ways in which art and nurture are interlinked, through the works of Arini Byng, Snapcat, Polly Stanton, Kate Tucker and Katie West.

The exhibition asks questions about the ways that art can care for both viewers and artists. Notions of care are unfolded, cultivated, and enforced.

Notions of Care is a Bus Projects exhibition touring with NETS Victoria. Curated by Kathryne Genevieve Honey and Nina Mulhall. This project is supported by the Victorian Government through Creative Victoria, and received assistance from NETS Victoria’s Exhibition Development Fund 2020, supported by the Victorian Government through Creative Victoria.

classical figurative sculpture is embodied in her use of fragmentation, repetition and mismatched scale.

Tolarno Galleries www.tolarnogalleries.com Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

Sidney Nolan, The Myth Rider, 1958–59, polyvinyl acetate on composition board 122 x 152 cm. Private Collection © The Trustees of the Sidney Nolan Trust / Bridgeman Images. Copyright is now managed by the Copyright Agency. Photo © Agnew’s, London / Bridgeman Images.

4 December 2021—6 March Sidney Nolan: Myth Rider Curated by Anthony Fitzpatrick.

Developed by TarraWarra Museum of Art, Sidney Nolan: Myth Rider brings together more than 100 works by Sidney Nolan from the period 1955–1966, during which the artist grappled with the subject of the Trojan War, its parallels with the Gallipoli campaign, and its origins in the myth of Leda and the Swan.

Benjamin Armstrong, Untitled (Bones), 2020, pigments and binder on polyester 173 x 142 x 3.5 cm.

12 February—5 March Pictures for Thinking Benjamin Armstrong 17 February—20 February Tolarno Galleries at Melbourne Art Fair Christopher Langton Solo exhibition.

Melbourne Convention and Entertainment Centre.

Town Hall Gallery www.boroondara.vic.gov.au/arts 4 February—27 March Near and Far Robert Cue Castlemaine artist Robert Cue is noted for his post impressionist style of landscape paintings, and in particular those of the Mallee and Central Victoria.

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL johnstoncollection.org

hello@johnstoncollection.org 03 9416 2515

The artist explores bold forms in the landscape, often in a high key colour scheme. In this exhibition of oil paintings Near and Far, Cue has included recent works inspired by his visits to the remote Marquesas Islands in French Polynesia.

Heather B. Swann, Waterfall, 2019, ink and wash on paper, 70 x 102.5 cm.

Courtesy of the artist. Photograph: Brenton McGeachie.

4 December 2021—6 March Heather B. Swann: Leda and the Swan Curated by Anthony Fitzpatrick.

An exhibition of new sculptures and paintings by contemporary artist Heather B. Swann, who is renowned for her largescale, meticulously crafted and highly expressive sculptural forms. Swann’s new installation at TarraWarra Museum of Art is a dream-like work, woven out of her own contemporary reading of the myth of Leda and the Swan and emerging from artist residencies in Rome and Athens.

The artist’s close study of Graeco-Roman antiquities and emulation of the forms of

360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

See our website for latest information.

Until 26 February Foyer Exhibition: Local Summer Exploring our enduring love affair with summer, Local Summer features selected works and historical photographs from the Town Hall Gallery and Boroondara Library Service Collections that celebrate the Australian sunshine, landscape and carefree days. This exhibition provides a nostalgic glimpse into summers past; a time of year for enjoying outdoor barbeques, sharing gifts, playing sports, burning our feet in the sand, and watching sunsets on balmy nights.

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VICTORIA

Sofi's Lounge, Level One

Angela Brennan Planet Abstract 9 April—28 April 2022 In collaboration with Niagara Galleries, Melbourne based artist, Angela Brennan, presents Planet Abstract, a suite of new abstract oil paintings. A gathering of planetary haloes, gentle fizzing endless explosions of energy, all spaced out in their own way. A party in a cool green world, a party for atoms, amoebas and angels. “When you make a shape of colour it makes space” observes the particle. “So many paintings to paint and they’re all there already” replies the wave. (Melissa Deerson, 2021)

Angela Brennan, Planet Abstract I, 2021, oil on linen, 125.5 x 146 cm.

Photograph: Mark Ashkanasy.

Sofitel Melbourne On Collins The exhibition programme at Sofitel Melbourne On Collins is managed

by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

25 Collins St Melbourne 3000

sofitel-melbourne.com.au

Ph 9653 0000 Open 24 hours sofitel-melbourne.com.au Town Hall Gallery → Jahnne Pasco-White, detail from Making Kin, 2020, natural dyed fabrics (avocado, black bean, sunflower, copper beech leaves, carrot, crab apple), earth pigments, violets, olives, crayon, pencil, recycled paper, linen, cotton, acrylic and oil stick on canvas, three panels; total 213 x 456 cm approx. Image courtesy of the artist and STATION. Photography by Christo Crocker.

Town Hall Gallery continued...

Victorian Artists’ Supplies

The Victorian Artists Society www.victorianartistssociety.com.au

Supplying artists for over 30 years

Sue-Ann Roll, Lockdown, 2021, graphite on Bristol paper, 44.5 x 58 cm. Image courtesy of the artist.

18 January—26 February Community Exhibition: Portraiture in Black and White Ali Choudhry, Irene Henning and Sue-Ann Roll.

A community exhibition featuring work by three artists who omit colour from their palette to create portraits rich in tonal complexity, drama, intimacy and mystery.

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 1pm–4pm, during exhibitions.

See our website for latest information.

With 150 years of history, the Victorian Artists Society (VAS) remains one of Australia’s preeminent art institutions.

19 January—25 January The Forth Australian The little Artist International Children’s Art Exhibition / 2022

The Victorian Artists Society welcomes back its members with our first major exhibition for 2021.

15 February—22 February Solo Exhibition Jeff Teng

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12noon–4pm.

See our website for latest information.

An exhibition by the Australia China Cultural Arts Education Exchange Association (ACCAE) displaying children’s art from aspiring artists age 5 to 17.

20 January–9 April Material Reverie Robert Brown, Teelah George, Dana Harris, Lou Hubbard, Shigemi Iwama, Cassie Leatham, Jahnne Pasco-White, and Louise Saxton.

A major group exhibition that explores the rich variety of materials contemporary Australian artists use in their practice.

Natural fibres, minerals, discarded everyday objects and household items are foraged and upcycled to create new forms that depart from their inherent purpose.

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Ron Reynolds, Billabong, Kew, oil on canvas, winner 2021.

9 February—1 March VAS Summer Exhibition

Maringka Baker, Minyma Kutjara Tjukurpa (Sun), 2021, synthetic polymer paint on canvas, 150 x 120 cm.

10 February—5 March Maringka Baker survey exhibition 155

ar t g ui d e .c o m . au Vivien Anderson Gallery continued...

VICTORIA through textile as a material and human experience as materiality.

26 February—3 April Gallery 2: The Red Line Sonic Adventurers Collective Sonic Adventurers are a collective of artists including those with intellectual disabilities working predominately with sound. The Red Line is a thread, a journey on a map, a threshold not to be crossed.

West End Art Space www.westendartspace.com.au 112 Adderley Street, West Melbourne, VIC 3003 [Map 6] 0415 243 917 Wed to Sat 11am–4pm.

All other times by appointment only.

18 November 2021—25 January WPACC: Wangaratta Art Gallery Collection – Summer Landscapes Patju Presley, Piltjitjara, 2021, synthetic polymer paint on canvas, 200 x 230 cm.

17 February—20 February Vivien Anderson Gallery presents Patju Presley at Melbourne Art Fair

This exhibition presents a selection of landscape paintings collected by the Rural City of Wangaratta over the last 40 years including works by John Colin Angus, Len Pawluk. All depict the Australian landscape in Summer, from the coast to the country.

Jenny Reddin, Everything Falls Away, 2021, mixed media on canvas, 120 x 140 cm.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

See our website for latest information.

The Gallery presents a diverse visual arts program of national, state and regional exhibitions. The program includes shows by regional artists, touring exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov. au/arts

20 January—20 February Gravity Revisited Jenny Reddin Opening 20 January, 5pm–8pm by guest speaker Ewen Jarvis.

27 November 2021—9 January Heading Out, Coming Home Andrea Kirkham-Hopgood

Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm.

See our website for latest information.

A selection of works.

27 November 2021—9 January Wellspring – Landscape as a Source of Inspiration Marisa Avano

The City of Greater Dandenong is a vibrant hub for Arts and Culture. From dynamic community led initiatives to high calibre professional presentations Greater Dandenong offers a host of artistic experiences for residents and visitors alike across range of artforms.

Timmah Ball, untitled, 2021.

Ella Baudinet, Ascent, 2021, oil on canvas, 122 x 122 cm.

23 February—12 March Duality Ella Baudinet

Yinarr Maramali, Weaving Warrabah, 2019 (Short Neck Turtle) lomandra, water vine, 1400 x 920 x 10 mm. Photography: Miranda Heckenberg.

20 November 2021—13 February Gallery 1: Tension[s] 2020Tamworth Textile Triennial Tamworth Textile Triennial Performance, Interaction and Material Futures Tamworth Textile Triennial, held every three years, showcases the best of textile art from across the country, attracting artist participation from all states in Australia. Tension(s) 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective. Tension(s) 2020: Tamworth Textile Triennial acknowledges that the world has long been a place under various tension(s), both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place 156

Yering Station Art Gallery → Andy Vukosav, The Moat, 2017, Lake Frome S.A. (Longitude Latitude Solitude River Series), pigment ink print on 350GSM fine art canvas, 240 x 140 cm.

Opening 3 March, 5pm–8pm.

Whitehorse Artspace Hung Lin, Untitled, 2021.

Until 28 January Past, Present and Future An exploration of the past, present and future of exhibitions in the City of Greater Dandenong, this show reflects on the role visual art has played in the community.

Visitors are invited to contribute to the exhibition by sharing their thoughts on the walls of the gallery. Artist Kenny Pittock will use these responses as inspiration to create a new work to be featured in the opening exhibition of Dandenong’s new contemporary art gallery. In preparation for this 2022 launch, artist Hung Lin has created a series of works documenting the construction of the new facility. Come immerse yourself in the art of the past, present and future.

www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

Restrictions may affect exhibition scheduling. Gallery will be closed over Christmas/ New Year and will be open summer hours in January.

See our website for latest information.

Until 12 February Where in the World? An Australian Quilters Association Exhibition

Linda Steele, Melbourne Malaise, (detail). © the artist.

Presented by Australian Quilt in Public Places (AQIPP), quilters from across Australia were given the opportunity to demonstrate their originality by creating quilts in response to a theme. The theme, Where in The World?, can be interpreted through time, space, form or meaning and has inspired some surprising and skilful quilts.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays.

20 January—6 March Rapid Eye Movement During sleep, our brains move through five different phases. One of these is rapid eye movement (REM) where our eyes move quickly in various directions. It is here

where most dreams occur, influencing our memory and mood. In an unexpected time of closure, separated from bodies, place and community, sleep has new meaning and materiality. It shapes our consciousness, movement, and social interactions.

As the city stops, our dreams have exploded, populating our minds with unlimited visions and utopic desire. Rapid Eye Movement asks how we imagine and live through time, space, and our bodies, even as bureaucracy contains us. Catch these ideas in your waking hours at Wyndham Art Gallery in an exhibition guest curated

by Timmah Ball and Raina Peterson, presenting the work of a range of artists exploring these possibilities. Curated by Timmah Ball and Raina Peterson. Opening 20 January, 6.30–8.30 pm.

Yering Station Art Gallery www.yering.com

Cliff Burtt, Optical Instrument, Solar Radiation, steel, glass, variable.

15 January—20 February Longitude Latitude Solitude Andy Vukosav and Cliff Burt 27 February—4 April 20th Anniversary Yarra Valley Arts/Yering Station sculpture exhibition and awards. Indoor and outdoor artworks by sixty Australian sculptors.

38 Melba Highway, Yarra Glen, VIC 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm.

See our website for latest information.

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A–Z Exhibitions

JANUARY/FEBRUARY 2022

New South Wales

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, by appointment only.

See our website for latest information.

16albermarle is a project space showcasing a range of international and Australian art within an intimate space in inner-city Sydney.

Dick Roughsey, Dancers of the Rainbow Serpent, 1971, acrylic on board, 60 x 90 cm. © Dick Roughsey Goobalathaldin/ Copyright Agency, 2021.

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

Discover the joy of Matisse through over 100 works spanning six decades. This Sydney-exclusive exhibition offers an extraordinary immersion in the range and depth of one of the world’s most beloved, innovative and influential artists.

29 January—12 March Exhibition #8: Goobalathaldin Dick Roughsey & Friends Goobalathaldin Dick Roughsey (c19201985) was a Lardil artist and writer, children’s author, illustrator and a leading political figure in the early years of the Aboriginal Arts Board and Indigenous self-determination. This exhibition celebrates Goobalathaldin’s work across styles and temporalities which were the hallmark of his transcultural practice.

It also features works by his peers and mentors - elder brother Lindsay Roughsey, lesser-known members of the Wellesley Island art movement and artists Percy ‘bush-pilot’ Trezise and Ray Crooke.

Goobalathaldin’s artistic legacy is a bridge between cultures, from master-bark painters at Yirrkala and rock art galleries in Cape York to modernist landscape traditions of the mid-20th century, all put to the service of Lardil pictorial storytelling.

The exhibition is a rare opportunity to view and acquire important artworks by Roughsey and his fellow artists.

Until 27 February The Purple House

Eugenia Lim, The People’s Currency (performance documentation), presented at Federation Square as part of the inaugural Asia TOPA, Melbourne. Image: Document Photography.

Currency. Taking its name from Renminbi (China’s currency), the work explores the social impacts of globalisation upon those who seek their fortunes in the factories of China – or the ‘workshop of the world’.

The People’s Currency turns Darling Harbour into ‘Renminconn’, a closed loop ‘special economic zone’. Dressed as a gold Mao-suited ‘Ambassador’, Lim will inhabit a factory printing counterfeit currency of her own design and act as floor manager to this ‘factory’ of workers. In exchange for basic menial work, the ‘employee’ will be remunerated in The People’s Currency.

Art Gallery of New South Wales www.artgallery.nsw.gov.au 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.

A celebration of leading Pintupi artists and their enduring legacy leading to the establishment of the Purple House.

Until 3 April Matisse Alive A vibrant gallery-wide festival of Matisse featuring new work, projects and art from the collection.

Isaac Julien, Western Union: small boats (The leopard), 2007, (video still), 16mm film transferred to digital video, colour, 5.1 surround sound. Art Gallery of New South Wales, Lawrence Hinchliffe Bequest Fund 2018. © Isaac Julien.

Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Until 13 February Family: Visions of a Shared Humanity Guest curated by Franklin Sirmans, the director of the Pérez Art Museum Miami (PAMM), Family: Visions of a Shared Humanity presents an important exhibition of video works by some of the most internationally renowned artists of our time.

Art Space on The Concourse www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri 11am–5pm, Sat and Sun 11am–4pm.

4A Centre for Contemporary Asian Art www.4a.com.au 4A programs are held online and offsite in January 2022.

See our website for latest information.

28 January—30 January 4A @ Australian National Maritime Museum 2 Murray St, Sydney NSW 2000 Eugenia Lim: The People’s Currency This Lunar New Year, Eugenia Lim will present the performance The People’s

Henri Matisse, Blue nude II (Nu bleu II), 1952, gouache on paper, cut and pasted on paper, mounted on canvas, 103.8 x 86 cm. Centre Pompidou, Paris, Musée national d’art moderne, purchased 1984 AM 1984-276. © Succession H Matisse/ Copyright Agency 2021. Photo: © Centre Pompidou, MNAM-CCI / Service de la documentation photographique du MNAM / Dist RMN-GP. Until 13 March Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris

Dapeng Liu, Mountain Pavilion, 2016, oil on Belgian linen.

27 January—20 February Parallel Wanderings 双行游 Thomas C. Chung, WeiZen Ho, Karen Lee, Pamela Leung, Ruth Ju-Shih Li, Dapeng Liu, Jayanto Tan, Laurens Tan, Catherine Woo and Tianli Zu. 159

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The Council curated exhibition Parallel Wanderings 双行游 explores how contemporary Australian artists with Chinese cultural roots reinterpret and draw from Chinese landscape traditions, and present the notion of ‘landscape’ through the contemporary mediums of sculpture, photography, installation and performance art. Through their different mediums, this group of artists reflect on the importance of nature and their own personal connection to the natural world.

As the parameters around contemporary art practices expand, the landscape genre continues to adapt with it, highlighting present-day issues, including climate change and urbanisation.

tology, to create sublime glazed artworks made from locally sourced materials, including calcium from the Cow Flat, rhyolite from Mudgee, kaolin from Mount Panorama / Wahluu, wood ash from yellow box trees, and blue metal (basalt) dust from the Stewarts Mount. A BRAG Foyer Space exhibition.

Bank Art Museum Moree (BAMM) www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information.

12 February—3 April CEL: The Artist as Animator CEL brings together the work of Australian and international artists working in what South African artist William Kentridge calls ‘stone-age animation’ using stop-motion techniques in which the hand of the artist is ever present. These simple, visually rich animations convey complex, poignant, and whimsical narratives through the seemingly simple medium of drawing that cuts through technology and forms a direct connection with the viewer.

Kathy Elliot, Bookmark.

Greg Weight, Portrait of Brett Whiteley, 1976. National Library of Australia © Greg Weight.

Grace Bu, Avaritia, 2021, photomedia.

23 February—20 March Smart Expressions 2022 Willoughby City Council presents an exhibition of student artworks selected from the 2021 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 high schools: Bradfield Senior College, Chatswood High School, Glenaeon Rudolf Steiner School, Mercy Catholic College, St Pius X College and Willoughby Girls High School.

Australian Design Centre

Tony Kenway, rocking chair in quilted Tasmanian blackwood.

10 February—15 March The Art of Making: Studio Woodworkers Australia Featuring exceptional Australian woodwork made by Australia’s finest designer-makers and artists working in wood.

Australian Galleries www.australiangalleries.com.au

This exhibition will showcase artworks produced during the inaugural Painted River Project held in April 2021, featuring a collaboration on art, science and culture to capture and explore the stories and health of our waterways. Opening Night with artist talks (free), Friday 14 January.

Bathurst Regional Art Gallery

10 January—20 February Group Exhibition

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm.

101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm.

Free entry, donation encouraged.

At the heart of Brett Whiteley’s extraordinary career was an exceptional talent for drawing. Drawing underpinned everything he did – from painting to sculpture to prints – and was fundamental to his imaginative and creative process. Whiteley’s drawing is richly expressive and his bold mastery of line is instantly recognisable.

Until 25 January Happy Objects

Ron Robertson-Swann, St. Albans Notebook, 2020, steel, painted, 68 x 61.5 x 37 cm.

22 February—13 March Ron Robertson-Swann and Pam Tippet.

imagery of Sydney’s Lavender Bay, offering a journey through the career that established him as one of the most prominent Australian artists of the 20th century. Don’t miss this rare opportunity to discover the very foundations of Whiteley’s creativity and process, as showcased in a collection of drawings, paintings, and sculptures suffused with the unmistakable personality of the great Australian master. An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition.

Featured artists include Todd Fuller, William Kentridge, Locust Jones, Genevieve Carroll, Harrie Fasher, Aleshia Lonsdale and Tom Buckland. A BRAG exhibition.

Blacktown Arts Centre www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

See our website for latest information.

This major exhibition from the Art Gallery of New South Wales is the first to explore the central place of drawing in Whiteley’s practice, featuring rarely seen early works from Sydney and Europe through to the great abstracts that brought Whiteley international fame in the 1960s. Also featured are lyrical landscapes, portraits, interiors and nudes and the iconic

Neelab Omar, Untitled, acrylic.

3 February—26 February My Life, My Story Presented by local producer and artist Maryam Zahid and Blacktown Arts.

Six leading artists have collaborated with women from the Afghan community to create a full-scale exhibition of mixed media artworks including the debut documentary feature from Maryam Zahid.

Featuring Arezo Aziz, Sara Barackzay, Lida Sultani Farahin, Neelab Omar, Fozia Zahid and Zahid Ahmed. The exhibition of paintings and film draw on interviews with women from the Afghan community in Blacktown and around the world, reflecting on shared lived experiences, triumphs and the strength of the female spirit.

Blue Mountains City Art Gallery

www.bathurstart.com.au

20 November 2021—6 February Brett Whiteley: Drawing is Everything

We produce exhibitions and events in Sydney and across Australia through ADC On Tour, along with a city-wide festival Sydney Craft Week. Object Shop features contemporary craft and design objects, homewares, and wearables.

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14 January—12 February Mehi Musings: The Painted River

15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm.

www.australiandesigncentre.com

The exhibition Happy Objects explores the value of objects. 21 people from diverse backgrounds were invited to share with us a ‘happy object’ and tell us their object story. Find out about the meaningful objects owned by William Yang, Kate Gaul, Rex Greeno and many others.

Lucy Culliton, Painted River Moree, 2021, oil on canvas.

young artists. A judging panel from the Councils Environment Section and Kids Early Learning will be selecting the winner of each year group.

www.bluemountainsculturalcentre. com. au

Anastasia Parmson in room installation.

20 November 2021—6 February I Drew A Line & Called It Home Anastasia Parmson Parmson creates site-specific immersive installations playfully extending drawing beyond the conventional 2D format.

Drawing upon childhood memories and responding to the Brett Whiteley: Drawing is everything exhibition, Parmson has transformed BRAG’s ceramic gallery into a fictional living room containing everyday items that people can engage with.

Parmson has exhibited nationally and internationally across Europe, America and Australasia. A BRAG Exhibition.

20 November 2021—6 February Peter Wilson: Luminosity Luminosity is Bathurst-based artist Peter Wilson’s response to 19th century British craftsman William Morris’s call to consider the design, the nuance of form, and the timeless sense of tradition and history within ceramics. Wilson draws inspiration from the natural landscape, and his studies in geology and palaeon-

27 November 2021—27 January Blacktown City Art Prize exhibition The 2021 Blacktown City Art Prize exhibition is now open. This is an openthemed exhibition with drawing, painting, printmaking, sculpture, ceramics, photomedia and mixed-media artworks from artists across Australia.

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.

The exhibition will be open at The Leo Kelly Blacktown Arts Centre, and at Max Webber Library (Blacktown), Dennis Johnson Library (Stanhope Gardens) and Our Library at The Mount Druitt Hub. Young Artists Prize exhibition The Young Artists Prize is an environmentally themed exhibition for ages 3 to 15 years and is held alongside the Blacktown City Art Prize at The Leo Kelly Blacktown Arts Centre. Prizes will be given to the winners of each age group and participation awards will be provided for all exhibiting

Claire Healy & Sean Cordeiro, Par Avion, 2011, 70 cut pieces from a Cessna 172 airplane, gaffa tape, postage paraphenalia, Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artists, 2013, in recognition of Andrew and Cathy Cameron. Image courtesy of the artists and Museum of Contemporary Art Australia © the artists.

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30 October 2021—16 January Claire Healy & Sean Cordeiro: Post Haste The exhibition Post-haste showcases the past decade of works by creative duo Claire Healy and Sean Cordeiro, exploring themes of obsolescence, collective endeavour, and the place of the individual within complex systems.

A Blue Mountains City Art Gallery exhibition curated by Rilka Oakley.

NEW S OUTH WALES 4 January—13 March Khaled Sabsabi: A Hope This survey exhibition is presented as part of Sydney Festival 2022 and in partnership with the Art Gallery of New South Wales.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Mon to Thu 9am–5pm, Fri and Sat 9am–9pm, Sun 9am–4pm.

Closed public holidays.

See our website for latest information.

An exhibition highlighting music communities as spaces of intimacy, nourishment, and social connection.

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry.

Mon to Fri 10am–5pm, Weekends 12noon–4pm.

Tohby Riddle, Afternoon light Waratah Street, 2018, acrylic on board, 30 x 40 cm.

Courtesy of the artist.

15 January 2021—27 February Tohby Riddle: Silent Light

Chau Chak Wing Museum → Jean Tinguely, Bascule no 1: Sisyphus (See-saw no 1: Sisyphus), 1965, synthetic polymer paint on metal, electric motor and rubber belt, 101.8 x 152 x 83.5 cm. Power Collection, Chau Chak Wing Museum, The University of Sydney PW1967.25.

Silent Light presents small, simply stated paintings depicting commonplace scenes that often pass unnoticed. The subjects are largely derived from the artist’s long-term observations, day and night, of locations in Katoomba on foot and from a car. A Blue Mountains Cultural Centre Exposé Program exhibition.

Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units, 182.9 x 182.9 cm. Power Collection, Chau Chak Wing Museum, The University of Sydney PW1967.22.a-b.

22 January—20 March Blue Mountains Portraits 2022 Celebrating its 5th anniversary this year, Blue Mountains Portraits is the Cultural Centre’s annual celebration of the local community and its diverse members. A Blue Mountains City Art Gallery exhibition.

Campbelltown Arts Centre www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm.

See our website for latest information.

Khaled Sabsabi, 40, 2021. 2 channel UHD video installation, stereo sound, enamel and oil stick on acrylic glass and paper (detail). Commissioned by Campbelltown Arts Centre with support from Australia Council for the Arts. Courtesy of the Artist and Milani Gallery, Brisbane.

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10 January—September Light and Darkness

Ms N Yunupingu, Untitled 5861-18, 2018, paint pen on clear acetate, 86 x 62 cm detail. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

18 October 2021—23 January Looking at Painting Nell, Carmen Glynn-Braun, Jody Graham, Rochelle Haley, Kirtika Kain, Hayley Megan French, Claudia Nicholson, Judy Watson, Ms N Yunupingu Looking at Painting features artists that push the boundaries of the canvas.

This evocative exhibition unites more than 70 artworks from the University of Sydney’s Power Collection, exploring luminosity, colour, movement, race, and politics across three decades of late modernism. The exhibition spans the luminal, op and kinetic works of the 1960s; the political and conceptual art of the 1970s, and art from Australia and New Zealand in the 1980s. Electric and kinetic light works are a major feature of the 1960s, with a planetary grammar of solar discs, spheres and orbs a common vocabulary for many of the artists who employ light, whether literally or in abstract forms.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 11am–6pm.

See our website for latest information.

Chalk Horse exhibits a range of work by Australian and international artists. The Directors of Chalk Horse are committed to producing curatorial projects in Australia and Asia as well promoting Australian artists internationally.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm.

Admission Free.

The Cowra Regional Art Gallery is located in Cowra’s cultural precinct together with the Cowra Library, World Peace Bell and the Cowra Civic Centre. The gallery opened in October 2000 and aims to foster an appreciation, awareness and enjoyment of the visual arts in the community and prides itself as an important part of the cultural life of the region.

Super Critical Mass (Julian Day and Luke Jaaniste), AURA, 2012, performance and photographic series, images by Alex Wisser.

4 December 2021—27 February Jamming with Strangers Julian Day, My Le Thi and Azo Bell, Gillian Kayrooz, Kevin Diallo, Kerry Toomey, Carla and Lisa Wherby.

Using a variety of media, including embroidery, appliqué, and sculpture, Doig playfully explores intimate aspects of her life, from having a cup of tea to performing mundane housework.

Embedded within her practice are layered responses to universal themes that have social, environmental and political narratives. By manipulating, reworking and combining imagery from multiple sources, Doig records her own experiences within a larger context.

Hence, It’s All About Me! A Bathurst Regional Art Gallery touring exhibition curated by Emma Collerton.

6 February—6 March Behind the Lines

13 November 2021—July Pacific Views Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation.

Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices and songs of Pacific peoples connect contemporary culture to the histories captured in these photographs.

Through the lens of self-portraiture, Blue Mountains-based artist Adrienne Doig (b. 1963), tackles the everyday with good humour and wit. Her survey Adrienne Doig: It’s All About Me! draws upon the past three decades of the Artist’s practice, which fuses historical references and humour to respond to the everyday and reflect on now.

Oliver Watts, Camille in the Paperbark Swamp, 2021, acrylic on canvas (detail).

20 January—12 February Felling the Boundary Pines Oliver Watts

Adrienne Doig, YOLO, 2018, embroidery and appliqué on tapestry, 42 x 45 cm.

Collection of Lloyd Harris and David Collins.

On tour from the Museum of Australian Democracy at Old Parliament House Behind the Lines celebrates the role of political cartoonists in Australia and highlights the power that their drawings have in contributing to our daily political and social discourse. The works in this thought-provoking exhibition are unique, vibrant and fearless in the tradition of political cartooning. No politician, party or policy is safe from the nation’s best cartoonists; witty, powerful or ribald, their images offer an astutely observed journey through twelve months in our political life.

14 December 2021—30 January Adrienne Doig: It’s All About Me! 163

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Defiance Gallery

Flinders Street Gallery

www.defiancegallery.com

www.flindersstreetgallery.com

12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann.

Wed to Sat 11am–5pm.

See our website for latest information.

61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment.

See our website for latest information.

Marianna Ebersoll, The Harvest, 2021.

– Lærke Skovhøj and Aoife Coleman.

Curated by Mara Schwerdtfeger.

Tony Slater, Meeting Up, 2020, oil on canvas, 150 x 180 cm.

19 January—5 February Young Street Musicians, Open Air Cafe Tony Slater Opening Sunday 23 January.

Fairfield City Museum & Gallery

8 February—26 February Domino Drew Bickford

www.fairfieldcity.nsw.gov.au/fcmg 364 The Horsley Drive, Smithfield NSW 2164 02 9725 0290 Tue to Fri 9am-4pm, Sat 10am-2pm.

Closed Sun, Mon & Pub hols.

See our website for latest information.

23 October 2021—12 February In the fibre of her being

Tony Slater, Three Newcastle Houses, 2016-2017, oil on canvas.

Drew Bickford, Tourist Trap, 2021, oil on canvas, 30 x 40 cm.

In the fibre of her being contemplates the role of women as anonymous carriers and preservers of heritage. Collaborating artists: Atong Atem, Crossing Threads, Monika Cvitanovic Zaper, Julia Gutman, Nadia Hernández, Kate Just, Paula do Prado, Linda Sok, Tjanpi Desert Weavers.

Guest curator: Sarah Rose.

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm.

See our website for latest information.

19 January—5 February The suburbs to Uluru Tony Slater Opening Sunday 23 January.

13 February—5 March Defiance 2022

Penny Van Hazelberg, Temple Of Tesla, 2020, acrylic, oil paint stick, pencil on canvas, 120 x 148 cm.

13 January—14 January Fluffy

Opening Sunday 13 February.

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Garden I, 2021, oil and acrylic on linen, 152 x 122cm

Darren Knight Gallery

Artbomb – In partnership with Sydney Festival.

www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm.

See our website for latest information.

29 January—26 February Gathering Geographies Arini Byng; Jessie Gall; Rebecca Jensen; Marianna Ebersoll; Lisa Lerkenfeldt; Nina Nowak; Mardi Reardon-Smith; Lydia Trappenberg; oceanfloor.group

Re-right, For the record, 2021. Graphic design by Laura la Rosa.

23 October 2021—9 April Extra/Ordinary Extra/Ordinary presents a creative response to Fairfield City Museum & Gallery’s museum collection through art installations and prose. Collaborating artists and writers: Make Or Break, Liam Benson, Dacchi Dang, Re-Right, Jennifer Leahy, Hajer, Sheila Ngoc Pham, Deniz Agraz, Masako Fukui.

27 January—7 February 360 in 360 Scott Portelli 10 February—21 February The So Called Almighty Dollar Penny Van Hazelberg Ark Rat Bedlington Screen As____ Joanna Shuen Happily Ever Afterthoughts Andrew Ensor 165

kendone.com

NEW S OUTH WALES Gaffa Gallery continued...

29 January—27 February Pinned with Thread Rachel Gooden Pinned with Thread pays homage to the historical tradition of entomology collections housed in Wunderkammerns, rooms of wonder and discovery.

Gooden’s intricate insects are painstakingly recreated in delicate embroidery, and are themselves objects full of magic and wonder.

Liz Bradshaw, Smalltown Boy, 2021, Darlinghurst install.

24 February—7 March All that glisters Ian Thomas Nell, I SING both WAYS, 2020, hand blown glass, oil paint, 41.7 x 35.4 x 35.7 cm.

Image courtesy of the artist and STATION, Melbourne and Sydney.

Photo by Jenni Carter.

Smalltown Boy Liz Bradshaw Good Grief: Contemporary Mourning Rebecca Kilpatrick All Our Children Kitty Calvert

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 Wed to Sat 11am–5pm, Sun 1pm–5pm or by appointment.

See our website for latest information.

Gallery76 www.embroiderersguildnsw.org.au/ Gallery76

76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays.

Fully wheelchair accessible.

Street parking and easy public transport access.

See our website for latest information.

Jo Steele, Wildflower, (detail). Photograph: Jo Steele.

29 January—27 February Wildflower Jo Steele Wildflower is a collection of floral works by Sydney based artist Jo Steele. Steele’s contemporary embroideries and assemblages are worked with a minimal palette of embroidery techniques and machine stitch, using predominately found materials.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Sat 10am–4.30pm.

Gallery closed until 4 January.

See our website for latest information.

muswellbrookartscentre.com.au

Curated by Dr Kath Fries and Rachael Kiang. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, the NSW Government through Create NSW and its annual organisation grant, and partnership support from 4A Centre for Contemporary Asian Art.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

11 December 2021—29 January Presence of Mind Cindy Yuen-Zhe Chen, Jeremy Chu, Lada Dedić, Kath Fries, Lindy Lee, Jason Lim, Kristina Mah, Aryadharma Aaron Matheson, Alecia Neo, Nell, Shirley Soh, Phaptawan Suwannakudt, Lachlan Warner.

Presence of Mind examines the intersection of mindfulness, Buddhism and the creative process of visual artists in Australia and Singapore. For artists in this exhibition, mindfulness is foundational to their creative processes and can take many forms, from embodied processes to playful humour, as well as technological and traditional motifs.

Rachel Gooden, Pinned in Thread, (detail).

Photograph: Rachel Gooden.

spirituality can bring to art. The exhibition is accompanied by a full suite of public program events, including gallery and online artist panels, talks, meditation sessions and workshops. Details of these will be announced on the gallery website and social media channels.

In bringing together diasporic artists from Australia and Singapore, Presence of Mind examines intersections of Buddhist lived experience and cultural differences, highlighting the rich perspectives that

Gloria Muddle, Spot fires, 2021, textile; Rose Burke, Beneath the Surface, 2021, float glass and enamels; Yvonne Kiely, Ode To The Flannel Flowers, 2021, acrylic and graphite on canvas.

18 December 2021—30 January CLOTH, CANVAS and GLASS A Response to Recent Environmental Events Rose Burke, Yvonne Kiely and Gloria Muddle 167

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Glasshouse Port Macquarie continued...

As the Mid North coast recovers from the past recent major environmental events - the black landscapes, the dense smoke and flames, the floating embers, apocalyptic skies, and then the rain - these three artists visually map memories and experiences through each of their given mediums. Transforming and documenting what has been left behind, what was present in the skies and sand and the new life that came after.

Cloth, Canvas and Glass breathes new life into an impossible time, celebrating the beauty, chaos, and resilience of our local landscapes and in the end the growth and regeneration that comes after.

Sophie Howarth, PJ Harvey at Splendour in the Grass, 2004.

11 December 2021—6 February Behind the Lens Sophie Howarth Behind the Lens diarises and celebrates the anthology of imagery, telling individual stories, capturing experiences, culture, and land. Guided by intuition, openness, risk taking, and the constant search for that moment that sits ‘in between’, Sophie’s lens has not only captured moments that would be published and celebrated for years to come, but would also be the guide to a wonderful journey of learning, new experiences and the quest for authenticity. Sophie’s lens has become a prolific tool that has guided her career into sweaty mosh pits of the Big Day Out and festivals, featuring in publications like the Rolling Stone, working for some of the biggest advertising campaigns, travelling to far off lands and selling over 8,000 copies of her self-published book Peace Love and Brown Rice.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm.

See our website for latest information.

21 January—5 March Yours Harriet Body 168

Grace Cossington Smith Gallery www.gcsgallery.com.au

Harriet Body, Barebones Landscape, 2020, copper nails, cotton thread, ceramic fingerprints with mud and pulverised rocks sourced from Collector/ Colegar in Gundungurra language, NSW. Image courtesy of Silversalt Photography.

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm.

See our website for latest information.

A major new solo exhibition from Harriet Body that embeds collaborative ways of making into the Goulburn community.

Throughout 2021 Body worked with a group of local seniors and children, participants at opposite stages of life. She facilitated a series of creative workshops which focussed on the rural landscape to inspire storytelling, connection, and collaboration. Body’s workshops have forged a close connection between the local community and the Gallery which can be seen in the resulting exhibition, Yours. This exhibition sensitively explores life cycles, our connection to nature and our relationships with one another. Body in her practice works across painting, textiles and ceramics. Her creative process is slow and meditative. Through the repetition of mark-making or form-shaping, her work is all about watching something gradually grow over time, and then end. This project has been supported by the NSW Government through Create NSW. Thanks to Pejar Local Aboriginal Land Council for sharing their knowledge and providing significant consultation and advice.

Hazelhurst Arts Centre www.hazelhurst.com.au

2018 Winner Catherine O’Donnell, Yates Court, pencil on paper, 46 x 65 cm.

Courtesy of the artist and Dominik Mersch Gallery, Sydney.

Exhibition of finalists for the Grace Cossington Smith biennial art award for two dimensional artworks. Winners selected by Katrina Cashman, Gallery Manager & Senior Curator at the National Art School and Oliver Watts, Senior Curator of Artbank, Sydney and artist.

Awards are: $15,000 acquisitive award; $2,500 Local artists award; and $2,500 early career artist. Winners announced on Saturday 5 February at 2pm–4pm.

www.cumberland.nsw.gov.au/arts

21 January—5 March Forced Abstractions Robbie Howard

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 See our website for latest information.

A work of improvisation and rediscovery, Forced Abstractions feels like a new beginning.

4 December 2021—16 January Archibald Prize 2021 at Hazelhurst Arts Centre Hazelhurst welcomes visitors to see the Archibald Prize 2021 in person for the first time in NSW. Celebrating its 100th anniversary this year, the Archibald Prize is Australia’s oldest and most loved portrait award.

A touring exhibition from the Art Gallery of New South Wales presented by ANZ.

Exhibited concurrently with the Archibald Prize, the Young Archie invites budding artists aged 5-18 from southern Sydney to submit a portrait for the Young Archie competition. Finalist works will be on display in the Hazelhurst Foyer simultaneously with the Archibald Prize 2021 exhibition.

Shireen Taweel, Devices for Listening, 2020, engraved and pierced copper.

22 January–27 March Hazelhurst Art on Paper Award 2021

10 February—1 May Destiny Disrupted Curated by Nur Shkembi

The biennial Hazelhurst Art on Paper Award celebrates works on paper while supporting and promoting artists working with this medium. The 2021* exhibition featured the works of 93 finalists from across Australia including painting,

A group exhibition that brings together artists who each explore narratives that contain the criticality, fragility, beauty,

Winner of the Hazelhurst Art on Paper Award 2019. Robert Ewing, Chaos and Consequence, 2017, coloured pencil on cotton paper. © the artist. photography, printmaking, drawing, sculpture and video with a total prize value of over $25,000. *Rescheduled to early 2022 due to the NSW Covid-19 lockdown.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—2pm, Sun 2pm—5pm.

See our website for latest information.

Owen Leong, Raina, 2010, pigment print on archival cotton paper. Courtesy of the artist and Artereal Gallery, Sydney.

27 January—20 February The World That Feels Warm 有温度的世界 Ginger Jingzhe Li, Tim Johnson, Owen Leong, Tracey Moffatt and Huajie Zhang Curated by Artist and Independent Curator, Guan Wei, this exhibition is presented by the Institute for Australian and Chinese Arts & Culture at Western Sydney University in partnership with Willoughby City Council. Featuring a diverse range of practices, including painting, photography, sculpture, installation and video art, each piece in this exhibition provides a distinctive lens through which visitors can feel and experience the harmony between art, nature and humankind. Inspired by the Chinese Taoist philosophy that “human beings and nature are one 天人合一”, this group of artists use their mediums to inspire passion and strength to ease and heal the trauma brought by the global pandemic.

Winner Archibald Prize 2021, Peter Wegner Portrait of Guy Warren at 100, oil on canvas, © the artist.

4 December 2021—16 January Young Archie

Canberra-based artist Robbie Howard presents a new series of work Forced Abstractions in Gallery 2.

Forced Abstractions sees Howard return to screen printing after a 30 year hiatus from the medium. During this period, the artist predominantly produced detailed oil paintings. In these fresh and vibrant screen prints, Howard simplifies shape and form as she is ‘searching for an essence’. The screen printing process encourages abstraction by necessitating a reduction of detail, with the resulting works appearing as bold, graphic and vital.

782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

Free admission.

See our website for latest information.

5 February—26 February Grace Cossington Smith biennial art award

Granville Centre Art Gallery

Robbie Howard, Waratahs 1 and 2 (diptych), 2021, silk screen print, 111 x 178 cm.

Image courtesy of the artist.

and brutality of the inherent nature of humanity. The role of the artist can be as a witness, changemaker, agitator, disruptor and social agent and in the act of such disruption, we find the innate desire to grapple with our destiny, an action which breaks open the possibilities of the future. The artist as the interlocutor and provocateur in all its wonderous forms is alive and beckoning the future to be reimagined, for destiny to be disrupted, and that itself is indeed a commitment to our humanity and to our future history.

Georges River Art Prize 2021.

13 November 2021—20 January Georges River Art Prize 2021 The Georges River Art Prize is a biennial prize with a prize pool over $20,000, hosted by Hurstville Museum & Gallery and the Clive James Library and Service Centre, Kogarah. This art prize provides a platform for local emerging artists to exhibit side by side with well-known national artists.

See the finalists and winning works of the Georges River Art Prize, Sculpture Prize and Local Artist Prize at Hurstville Museum & Gallery, and view the vibrant works of local young people aged 7 to 17 at the Clive James Library and Service Centre, Kogarah.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm.

See our website for latest information.

Tracy Stirzaker, A Moment, Sitting Up There Like Jackie, 2021, acrylic on canvas with hand embroidery.

23 February—13 March More Myself - A Journey of Self Love Tracy Stirzaker This solo exhibition explores themes of self-worth, self-love and self-care which resonate strongly with current times.

Featuring textiles, painting, encaustics, works on paper and immersive installations, More Myself provides a commentary on society through an investigation of the body and human experience from a female perspective. Drawing on her lived experience, Tracy Stirzaker’s thought-provoking artworks take visitors on a journey of self-discovery and self-love.

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The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

duces the means by which these uniquely creative minds convey sports and its ‘sense of movement’ through twodimensional printed media. The compositional beauty, dynamism and humour expressed within the posters, from the perspective of sports, serves to summon the viewer to the world of Japan’s rich graphic design culture.

18 February—2 July Continuum: Australian and Japanese Independent Animation Our humanity is a continuum of consciousness. Of being-time. Of being. In space and time. It is the only perception that changes and it is this wondrous complexity of this perception that is at the heart of this curation of Australian and Japanese animation. Continuum showcases the next generation of animators across Australia and Japan, curated by Deborah Szapiro and Honami Yano, advised by Koji Yamamura. Featuring over 10 animations and process works, the exhibition engages in the concept of continuum and the universal human experience.

The Ken Done Gallery www.kendone.com

Shigeo Fukuda, Victory, 1976. © DNP Foundation for Cultural Promotion.

22 October 2021—22 January A Sense of Movement: Japanese Sports Posters Katsumi Asaba, Shigeo Fukuda, Yusaku Kamekura, Ikko Tanaka, Yuri Uenishi and Tadanori Yokoo.

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

See our website for latest information.

This exhibition, co-presented by The Japan Foundation, Sydney and the DNP Foundation for Cultural Promotion, explores the connection between Japanese graphic design and sports. Featuring a considered selection of 24 posters by six graphic designers, from young professionals who are currently active in the field to great masters who led the dawn of graphic design, the exhibition intro-

twentytwentysix.gallery

An exhibition from The Real DMZ Project, which was conceived in 2011 to explore the (in)visible borders of the DMZ (demilitarized zone) through the critical lens of contemporary art and to raise awareness about the division of Korea. After the pandemic hit the world, this exhibition showcased in Sydney reflects a new question of ‘what if?’ What if South and North Korea unified and the border was opened?

This is the question that unifies the works selected by HAM Kyungah, JUN Sojung, Daejin CHOI, Jane Jin KAISEN and more, which seeks to suggest the importance of imagination, positive thinking and new possibilities. This exhibition is presented in partnership with the Korean Cultural Centre Australia and the Real DMZ Project, and supported by the Ministry of Culture, Sports and Tourism of Korea and the Korean Foundation for International Cultural Exchange as part of the Travelling Korean Arts Project.

www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm.

See our website for latest information.

Korean Cultural Centre Australia www.koreanculture.org.au

10 February – 3 March

hello@twentytwentysix,gallery

28 January—29 March Negotiating Borders

16 December 2021—16 February Recent Works Ken Done

Maria Gorton Primordial Silence 0415 152 026

Jane Jin Kaisen, Apertures Specters Rifts, 2016, triptych handcrafted oak light box, 36 B&W photographs. Courtesy of the artist.

King Street Gallery on William

Ken Done, Garden I, 2021, oil and acrylic on linen, 122 x 152 cm.

Primordial Cradle, 153 x 137cm, oil on linen, Maria Gorton (2021)

Our activities include art exhibitions, film screenings, culinary events and numerous performances for anyone who is interested in Korean culture to become more familiar with Korea.

17 O’Brien Street, Bondi, NSW, 2026

Film still from Life Blood, by Ample Projects.

Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

See our website for latest information.

Paul Selwood, Sextet, 2020, painted steel, 28 x 46 x 19 cm.

27 January—19 February Blue Note Paul Selwood 171

8 February—26 February Domino Drew Bickford

NEW S OUTH WALES King Street Gallery continued...

Macquarie University Art Gallery www.artgallery.mq.edu.au

John Peart [estate], Rhythmweb, 2007, acrylic on canvas, 60 x 90 cm.

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 10am–4pm. Group bookings must be made in advance.

See our website for latest information.

22 February—19 March Formations and Rhythms John Peart [estate]

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm.

4 December 2021—24 January Elements Sam Smith 29 January—20 March Scar Craig Bary, Alexandra Ford, Jesse Murray, Mikayla Nangle and Kyle Ramboyong.

Directed by Cadi McCarthy and Ashley de Prazar.

Alexander McKenzie, Within the Lotus Garden, 2018, oil on linen, 137 x 197 cm.

Donated through the Australian Government’s Cultural Gifts Program

by Alexander McKenzie. Photography Effy Alexakis, Photowrite. Courtesy of the artist and Martin Browne Contemporary, Sydney.

10 January—16 February The Art of Giving Established in 1967, the Macquarie University Art Collection remains dynamic and relevant to Australian contemporary society. Hand in hand, the art collection has grown with the University, achieved

primarily through the ongoing generosity of our supportive donors. The collection adorns the entire campus inclusive of the library, the faculties, the hospital, the clinics, and the administration buildings, where staff, students and visitors collectively encounter art as part of the everyday life of Macquarie’s expansive campus.

The paintings and sculptures add robust vitality, freshness and bursts of colour to the physical environment of the campus − its visual presence is certainly much felt, discussed and enjoyed.

In supporting and nurturing the visual arts in Australia, Macquarie University, in its shared values with our donors, recognises the intrinsic worth of the University Art Collection to higher education and research − it underpins and strengthens Macquarie University’s scholarly investigation and sociocultural enrichment of our society and nation. The Art of Giving celebrates this wonderful achievement.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm.

Free entry, donations always welcomed.

18 September 2021—16 January National Art (part one) 50 Australian artists.

Drew Bickford, Tourist Trap, 2021, oil on canvas, 30 x 40 cm.

61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com

The Lock-Up → Sam Smith, NOTES, 2021, installation view at UNSW Galleries, Sydney. Photograph: Zan Wimberley.

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Presence of Mind

Maitland Regional Art Gallery continued...

National Art (part one) is a National Art School Touring exhibition.

11 December 2021 - 26 February 2022

16 October 2021—6 February A Conspicuous Object – The Maitland Hospital G.W. Bot, Linda Greedy, Oliver Harlan, Anita Johnson, Adrian Lockhart, Catherine Neilson, Susan O’Doherty, Peter O’Doherty, Peter Poulet & Lesley Salem

Curators: Dr Kath Fries & Rachael Kiang Cindy Yuen-Zhe Chen . Jeremy Chu . Lada Dedić Kath Fries . Lindy Lee . Jason Lim . Kristina Mah

A Conspicuous Object is presented in partnership with Hunter New England Local Health District (HNELHD) and Health Infrastructure (HI).

Aryadharma Aaron Matheson . Nell . Alecia Neo Shirley Soh . Phaptawan Suwannakudt . Lachlan Warner

27 November 2021—20 February Lost Property Office Daniel Agdag

Manly Art Gallery & Museum www.magam.com.au

www.martinbrownecontemporary.com

West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm.

15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm.

See our website for latest information.

Manly Art Gallery & Museum presents innovative, distinctive and creative cultural programs alongside its extensive collections of Australian visual art and beach ephemera. Established in 1930, MAG&M is the oldest metropolitan regional gallery in NSW .

15 December 2021—20 March Aleta Wassell: Burumerring Nura (Wedge-Tailed Eagle Country)

15 December 2021—20 March Sydney Harbour: Treasures from the Vault

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, the NSW Government through Create NSW and its annual organisation grant, and partnership support from 4A Centre for Contemporary Asian Art.

A focus exhibition featuring highlights from MAG&M’s collection of works depicting Sydney Harbour. It features recent acquisitions by Geoff Harvey, Rodney Pople, Wendy Sharpe, Nick Hollo and Richard Ashton.

Gallery Lane Cove + Creative Studios will be closed over the holiday period from 25 December 2021 - 3 January 2021.

Gallery Lane Cove + Creative Studios | 164 Longueville Road Lane Cove NSW 2066 | www.gallerylanecove.com.au

gallerylanecove.com.au Tim Andrew, High Court Judges Wall, detail, 2019. Image courtesy of the artist.

Neridah Stockley, Hermannsburg, 2019, oil on paper, 76 x 56 cm. Image courtesy of the artist.

20 November 2021—27 February Hermannsburg and Paint Neridah Stockley 22 January—6 March 2021 Archibald Prize An Art Gallery of New South Wales touring exhibition.

26 February—24 April Young Archie 29 June 2021—22 May Marge’s Story

hamleystudio.com.au

Michael Vale, Little Green Lights, 2021, oil on linen, 137 x 102 cm.

3 February—27 February Morning Came and Morning Went Michael Vale

4 December 2021—27 February Storylines Curated by Todd Fuller and Lisa Woolfe.

fyregallery.com.au

6 January—30 January Summer Group Show Part 2

Experience a contemporary expression of dance, sound and art inspired by the natural landscape by young Aboriginal woman Aleta Wassell. This immersive exhibition is at the crossroads of traditional and contemporary artistic expression using percussive rhythms and synthetic sounds which accompany film.

Nell, I SING Both WAYS, 2020, Photo: Jenni Carter

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Martin Browne Contemporary

Fiona Lowry, The waste, memory-wastes, 2015, acrylic on canvas, 198 x 168 cm.

Courtesy of the artist.

4 January—20 March Destination Sydney: The natural world This third exhibition between three Sydney public galleries, MAG&M, Mosman Art Gallery and the S. H. Ervin Gallery, showcases works responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for landscape and the environment. One exhibition, three venues, nine artists. Artists at MAG&M are Merran Esson, Fiona Lowry and Joan Ross. Part of the 2022 Sydney Festival.

Catalogue sponsored by the Gordon Darling Foundation.

Freddie Timms, Pipe Creek Plain Cattle Camp, 2012, pigments and acrylic binder on canvas, 150 x 188 cm.

3 February—27 February Paintings Freddie Timms Estate

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–5pm, closed public holidays.

See our website for latest information.

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Works on Paper J Kelly, B Whiteley, P Booth, E Mcleod, C Canning, M Olley, T Maguire, M Luccio, R Amor, M Woodward, G Proud, G Baldesin & F Williams

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only.

(02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au John Kelly, Cow Stack, mixed media, 52 x 24 cm.

fmelasgallery.com.au

Janet Laurence, The force that through the green fuse drives the flower, 2021, plinths, lab glass, live indoor plants.

Image courtesy the artist and Dominik Mersch Gallery, Sydney, Arc One Gallery, Melbourne © the artist.

26 November 2021—6 February SIMMER A collaborative project between artists, local cooks, chefs and family members, centred on the experiences of preparing and sharing food. Cooking enables us to stay connected to culture while the repetitive steps of food preparation can be a meditative outlet. Food plays an important role in evoking nostalgia while the history and materiality of food can also be quite political or playful. MAMA’s summer exhibition considers how food can bring us together, breaking down barriers and opening us up to new experiences.

4 January—20 March Upacara: Ceremonial art from Southeast Asia Destination Sydney: The natural world is the third in a series of exhibitions planned between Manly Art Gallery, Mosman Art Gallery and S. H. Ervin Gallery. The natural world will showcase artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of major Australian women artists, all connected by their concern for landscape, the natural world and the environment. This collaborative exhibition presents the work of a select group of key artists whose art practice has become synonymous with the natural world including: Merran Esson, Jennifer Keeler-Milne, Juz Kitson, Janet Laurence, Fiona Lowry, Bronwyn Oliver, Joan Ross, Caroline Rothwell and Robyn Stacey.

Tommy McRae, Kwatkwat, Untitled (Man Hunting), c. 1885, ink on paper.

10 December 2021—21 February on the bank on the brink A gathering of significant drawings from nineteenth-century, Aboriginal artist Tommy McRae and new works by First Nations artists Mia Boe and Phil Murray.

Through simple yet expressive line, Tommy McRae’s drawings document a time when traditional Aboriginal life was first intersected by colonial invasion in the Upper Murray River region. McRae’s vivid scenes of ceremony, corroboree, hunting, and fishing cast a retrospective lens on cultural life when his Country along the banks of Lake Moodemere, Wahgunyah was in rapid dispossession from his people.

10 December 2021 – 30 January 2022

Murray Art Museum Albury (MAMA) www.mamalbury.com.au Presented by:

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Supported by:

artgallery.tweed.nsw.gov.au

546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

The National Photography Prize offers an opportunity to consider the vital role of photography in contemporary art, bringing together artists from across Australia who are developing and challenging photographic language and techniques.

Including Amos Gebhardt, Caitlin E. Littlewood, Dean Cross, Dennis Golding, Guy Grabowski, Janet Laurence, Kate Mitchell, Kiron Robinson, Luke Parker, Robert Fielding, Sara Oscar, Tiyan Baker.

www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays.

See our website for latest information.

Doug Aitken, NEW ERA, 2018, installation view, Museum of Contemporary Art Australia, Sydney, 2021, courtesy the artist; Museum of Contemporary Art Australia, Sydney; 303 Gallery, New York; Galerie Eva Presenhuber, Zurich; Victoria Miro, London; and Regen Projects, Los Angeles. © the artist, photograph: Daniel Boud.

4 January—20 March Full Circle Lisa Sammut

Tweed Regional Gallery & Margaret Olley Art Centre Murwillumbah

25 February—5 June National Photography Prize 2022

Museum of Contemporary Art Australia

Lisa Sammut, Full Circle (detail), 2021.

Courtesy of the artist.

Full Circle is an exhibition of new work including objects and moving image that consider the length of a human life in connection to transitions and cycles in the cosmos; the circular, orbital, elliptical and eclipse. Drawing on historical astronomical diagrams and illustrations documenting the movements and appearance of comets, Full Circle loops between the earthly and otherworldly, bringing the human condition and cosmic forces into close relationship.

sculptural intervention into the gallery’s architecture highlights lasting change to topologies that will take generations to stabilise.

20 October 2021— 6 February Doug Aitken: New Era In this Sydney-exclusive exhibition, see installations, objects, photographs, and vast immersive multi-screen environments that will envelop you within a kaleidoscope of moving imagery and sound.

Kirrily Anderson, Exquisite Growth, 2021, ink and watercolour on paper. Image courtesy of the artist.

10 December 2021—30 January Kirrily Anderson: And tomorrow the beauty returns A reflection on the recovery of individuals and the environment after the 2019/20 Black Summer bushfires. A selection of new works on paper by the NE Victorian artist chart both the severe impact of the devastating fire season and the renewal that follows, while a significant

Sam Gold, Contact between us, 2021, stoneware, liquid quartz. Image courtesy of the artist and Hugo Michell Gallery, Adelaide © the artist, photograph: Grant Hancock.

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Margaret Builder Cosmology 10 – 24 February

Margaret Builder, Cosmology #1, cold wax on watercolour paper, 80 x 100 cm.

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com

Museum of Contemporary Art continued...

26 November 2021—13 June Primavera 2021: Young Australian Artists Elisa Jane Carmichael, Dean Cross, Hannah Gartside, Sam Gold, Justine Youssef February 2021—13 March 2023 Collection: Perspectives on place Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, David Malangi (Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, Justin Trendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Cardoso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, Minnie Manarrdjala, Nicholas Mangan, Peter Maloney, Raquel Ormella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith, Yukultji Napangati.

Museum of Sydney

Iridescent by queer photographic artist and costume maker Gerwyn Davies, playfully reimagines the museums, archives, historic houses and gardens under the care of Sydney Living Museums and NSW State Archives.

Two Artists Tour Muswellbrook is the culmination of the 2019 Muswellbrook Artist in Residency Program. Illustrator Liz Anelli, along with artist and educator Mario Minichiello, interpret a sense of place, exploring how ‘the visitor’ views the diverse Muswellbrook local area. Each artist brings their own perspective and approach to the subject allowing an expansive depiction of the landscapes and settlements across the region. Through studying in the field and creating works ‘en plein air’, the exhibition encapsulates the Artists’ impression of the Upper Hunter with added wit and whimsy.

Discover each flamboyant character in 12 large-scale photographic works and costumes inspired by the whispers and fragments of our lesser-known histories.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre. com.au Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

Corner Phillip and Bridge Streets, Sydney NSW 2000 [Map 8] 02 9251 5988 Thur to Sun 10am–5pm.

Max Watters, Shed Rouchel Road, oil on board, 60 x 90 cm.

18 October 2021—15 March Max Watters: Art Is

Illustration © olliedavisillustration, 2021.

Until 24 April How to Move a Zoo Join the parade of animals in the new interactive family exhibition, How to Move a Zoo on now at the Museum of Sydney!

Discover the incredible story of Sydney’s favourite animals who, in 1916, left Moore Park Zoo and travelled through the city and across Sydney Harbour to their new home at Taronga Zoological Park.

Specially commissioned illustrations, coupled with rarely seen historical photographs from the NSW State Archives Collection, re-create this story in a playful, thought-provoking exhibition.

Gerwyn Davies, Elizabeth Bay House, 2021. Sydney Living Museums. © Gerwyn Davies.

Until 24 April Iridescent

artvango.com.au

Liz Anelli and Mario Minichiello.

www/sydneylivingmuseums.com. au

brendacolahanfineart.com

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Gerwyn Davies

Max Watters was known not only for his artistic talent, but also his generous philanthropic nature. At the same time as beginning his own painting career, Watters began collecting art, amassing one of the largest collections of contemporary art in rural Australia. In March 2004, Watters signed over his collection to the Muswellbrook Shire Council so that residents and visitors alike could enjoy in perpetuity his vision; to provide art education for generations to come, to inspire visual awareness and curiosity, and promote culture as a tool for tourism in the region. In his continued generosity to the arts and the gallery, Max gave 61 of his own paintings and drawings to the Muswellbrook Regional Arts Centre on the condition that all proceeds from the sales be directed to the acquisition of new work for the collections.

10 January—5 March From Manawatu to Muswellbrook Jess Dugan Local Photographer Jess Dugan provides the audience with an intimate lens in which to view both New Zealand and Australia. Manawatu to Muswellbrook juxtaposes these regions, combining images of the environment to create an unexpected visual harmony. Manawatu is often referred to as the heartland of New Zealand, with undulating, green hills, and vast, rugged ranges. Jess’s early years were surrounded by this idyllic landscape.

However, it wasn’t until she moved to Melody Farm in Kayuga that she was called to capture the views across Muswellbrook and the neighbouring regions.

N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Tue to Sat 10am–5pm, or by appointment.

6 January—22 Januuary Sentimental Ornaments Casey Chan

Liz Anelli, untitled Sketchbook Illustrations. Muswellbrook Artist in Residency 2019.

10 January—15 March Two Artists Tour Muswellbrook

Kyra Mancktelow, Blue jacket – Blak skin, 2021, ink impression on Hahnemühle paper, 120 x 80 cm.

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NEW S OUTH WALES N.Smith Gallery continued...

26 January—26 February Gubba Up Kyra Mancktelow

Located at the heart of the National Art School’s historic campus, NAS Gallery presents up to four major exhibitions per year as well as annual graduate and postgraduate student exhibitions.

The Gallery enhances the National Art School’s role as a leading centre for visual arts education in the Asia-Pacific, with ambitious group and solo exhibitions by Australian and international artists that foster critical appreciation of art and innovative art practice.

NAS Graduate Exhibition. Photo: Peter Morgan.

22 January—30 January National Art School Post Grad Show Dylan Mooney, On the Edge I, digital illustration printed on 320gsm smooth cotton paper, hand signed and inscribed.

2 February—26 February On the Edge Dylan Mooney

Discover Australia’s next crop of emerging artists at the National Art School’s annual Grad Show’s, featuring graduating Bachelor, Master and Doctor of Fine Art students.

Nanda\Hobbs

Newcastle Art Gallery

www.nandahobbs.com

Through the lens of self-portraiture Adrienne Doig tackles the everyday with humour and wit.

Her survey draws upon three decades of the artist’s practice, which fuses historical references and humour to respond to the everyday and reflect on the now.

11 February—20 February National Art School Grad Show

12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

www.nag.org.au 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 Tue to Sun 10am–5pm.

Open every day during school holidays. Open public holidays.

See our website for latest information.

A Bathurst Reginoal Art Gallery touring exhibition curated by Emma Collerton.

Image: Adrienne Doig, AD in Arcadia Ego (detail) 2012, embroidery and applique on tapestry, 151 x 181cm. Courtesy of the Artist and Martin Browne Contemporary.

features politically engaged artists past and present responding to disaster and injustice and calling for change.

Comprising works of art from Newcastle Art Gallery’s collection and key additions from contemporary politically engaged artists, this exhibition explores how far we’ve come and how far we still have to go.

13 November 2021­—30 January Jam Factory Icon Angela Valamanesh: About Being Here JamFactory’s Icon celebrates the achievements of South Australia’s most influential artists working in craft-based media.

Inspired by the symbiosis between science and poetry, Angela Valamanesh’s artworks elicit intrigue and a strong sense of personal investigation as she manipulates seemingly familiar botanical and parasitic forms in beguiling and unusual ways.

New England Regional Art Museum

14 DECEMBER 2021 TO 30 JANUARY 2022

www.neram.com.au

Jun Chen, Blue Sky, 2021, oil on canvas, 136 x 160 cm.

17 February—20 February Melbourne Art Fair Jun Chen At the Melbourne Convention and Exhibition Centre, stand K6.

National Art School Gallery www.nas.edu.au

cowraartgallery.com.au

Jemima Wyman, Mass Monument (Yellow and Black), 2018, hand-cut digital photo collage, 125 x 89 cm. Les Renfrew Bequest 2020 Newcastle Art Gallery collection. Courtesy of the artist.

Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.

Michael Zavros, The Mermaid, 2015, oil on board, 22 x 30 cm. Purchased 2015 Newcastle Art Gallery collection.

Courtesy of the artist.

19 October 2021—30 January INSTRUMENTAL CAUSE Developed in response to the KILGOUR PRIZE 2021, Guest Curator Donna Biles Fernando examines artistic modus operandi through portraits from Newcastle Art Gallery’s collection.

30 October 2021—30 January THE ART OF PROTEST From community activism to global social movements, THE ART OF PROTEST

106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

See our website for latest information.

5 November 2021—30 January First Nations Art at NERAM Various First Nations Art at NERAM puts a spotlight on Aboriginal art in the New England Regional Art Museum’s collections. A small but critical collection of work predominately created in the 1980s and 1990s and donated to NERAM in 1996, the exhibition details the critical shift that occurred in the perception of Aboriginal art in Australia, from 181

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NEW S OUTH WALES New England Regional Art Museum continued...

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat 10am–5pm.

Closed Sun and Mon. See our website for latest information.

daniel weber 2022

Gallery founder and director Tim Olsen has cultivated a stable of artists that he feels presents a comprehensive and poignant view of the contemporary arts in Australia. With a continually changing exhibition calendar we showcase the work of both emerging and established artists. We have nurtured the careers of artists from their first exhibition out of art school and proudly see them now as leading lights in the Australian art scene.

ABSTRACT DECONSTRUCTIVISM

Dick Nguleingulei Murrumurru, Totemic kangaroos, 1985, earth pigments on bark. Gift of Anthony Renshaw 1996.

NERAM Collection.© estate of the artist licensed by Aboriginal Artists Agency Ltd.

PIERMARQ* Gallery www.piermarq.com.au 76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 Mon to Sat 10am–5pm, Sun 10am–2pm.

See our website for latest information.

We specialise in exhibiting the forefront of international and Australian contemporary art, with a focus on showcasing bold and significant work, as well as exciting emerging talent from around the world.

PIERMARQ* takes pride in fostering a global network of artists who support each other with practical advice and creative opportunities.

19 January—5 February 63 Jersey Road, Woollahra: Jose Louis Puche 9 February—26 February 63 Jersey Road, Woollahra: Melissa Coote

being viewed through an ethnographic and anthropological lens, to being highly regarded within the realm of fine art.

5 November 2021—30 January Gorge Country Stuart Boggs, Ross Laurie and Angus Nivison.

Yvonne Robert, Untitled 27, 2021, acrylic on canvas, 200 x 170 cm.

Quietude Elouise Roberts 11 February—8 May Contemporary Art from the Collection Various artists.

Dani McKenzie.

2 February—19 February Annexe Queen Street, Woollahra: Dani McKenzie

Detail of Outback by Daniel Weber

23 February—12 March Annexe Queen Street, Woollahra: Literally Spilt Group show curated by Benjamin Clay.

Doug Argue, Footfalls Echo In Memory, 2019, oil on canvas, 252 x 242 cm.

Gabrielle Collins, Early Walker, 2021, oil on birch panel

Or by appointment:

11 February—27 March Cemented Gabrielle Collins, Michelle Hungerford and Sandra McMahon.

74 Brandling Street, Alexandria – Sydney

It’s all in the detail Australian Society of Miniature Art.

panaxea paintings: 0413 889167

A Land of New Beginnings Natasha Soonchild

Online: panaxeapaintings.com

16 December 2021—23 January The Summer Show An exhibition of new paintings from a diverse roster of international and Australian contemporary artists. The show focuses on bright, bold, large-scale works to celebrate the colour and vibrancy of the season.

Stephen Ormandy and Louise Olsen.

17 February—20 February Offsite: Melbourne Art Fair Stephen Ormandy and Louise Olsen.

@danielweber_paintings

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drdanielweber.com

NEW S OUTH WALES

Rochfort Gallery

Rusten House Art Centre

www.rochfortgallery.com

qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten

317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 Wed to Fri 10am–5:30pm, Sat and Sun 10am–4pm, Closed Mon and Tues.

See our website for latest information.

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

Note: Exhibition schedule may be impacted on by any Covid lockdown restrictions. Please see our website for latest information.

Shane Forrest, Duel-Dual, 2008, decollage of street posters.

Graham Gall, Eucalyptus Stellulata, 40 x 50 cm.

13 January—19 February Our Forest in Focus

Ken Knight, 11th February - Half Moon Island Antarctica II, 128 x 125 cm, oil on board.

2 February—20 March ‘Frontier’ Antarctic Exhibition Ken Knight

thesydneyartstore.com.au

For over four decades Ken Knight has painted en plein air, capturing landscapes in his impressionist style. After painting what he calls “all the accessible” spots, Knight wanted to push his conceptual and formal limits; and so, he went to Antarctica. In early 2020, Knight and his wife boarded a ship with 90kg of painting materials, and set sail southward to a landscape almost devoid of human development. With seven days docked at Antarctica, Knight set up on the ship’s deck and painted an astonishing 75 paintings, which he says are imbued with his immediate reactions. “It wasn’t so much the topographic reality that I was trying to capture,” he clarifies, “but it was more that emotional response of being there and the excitement and jubilation.”

Rogue Pop-Up Gallery

Catherine Hearse, Young Tree, 2020, watercolour on paper.

2 February—27 February Catherine Hearse: Adaption Watercolours and ink on paper, crocheted sculpture. Opening Saturday 5 February, 11am–6pm.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au

The Canberra Tree Network is proud to present a photography exhibition called Our Forest in Focus, showcasing some of the ACT region’s most spectacular trees and the unique stories behind them.

This exhibition is a collaboration between ACT Government and Government House, Parliament House, Australian National Botanic Gardens, National Capital Authority, and the ANU. The stunning photos were taken by ACT local photographer Graham Gall. The Photographer will give an artist talk on Saturday 5 February at 11am, all welcome. There will be 2 short films on trees and wildlife in trees playing on a monitor, supporting the stunning photos.

8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

www.roguepopup.com.au 130 Regent Street, Redfern, NSW 2016 [Map 9] 0404 258 296 Wed to Sat 11am–5pm, Sun 11am–5pm.

See our website for latest information.

5 January—30 January Third Time Lucky!

michaeljeffery.com.au

3 February—26 February The 40+ Project Yasmin Idriss

2 February—27 February Neil Evans: Reflections

Isaac Julien, O que é um museu? / What is a Museum? (Lina Bo Bardi - A Marvellous Entanglement), 2019, Endura Ultra photograph facemounted, 180 x 240 cm, edition of 6 + 1 AP.

Paintings. Opening Saturday 5 February, 11am–6pm.

28 January—26 February Isaac Julien

Group exhibition. Opening Saturday 8 January, 11am–6pm.

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Yasmin Idriss, Welcome to the Carnival, digital print.

The 40+ Project is a series of photographs celebrating who we are as women in our forties and over. The entertainment industry and fashion magazines make it clear they think we are too old and we become invisible. We will NOT be invisible!

Moreover, we are certainly never too old 185

NEW S OUTH WALES Rusten House Art Centre continued... to be pampered, photographed, loved, admired and adored.

3 February—26 February Liquid Light A study of the natural world around us, while playing with the lines between painting and photography.

Yasmin will be offering tea and photo sessions on each Saturday during the exhibition period.

Saint Cloche www.saintcloch e .com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm.

See our website for latest information.

19 January—30 January Deep Water Ella Dunn 2 February—13 February Georgia Bell and Valeryi Yong.

S.H. Ervin Gallery www.shervingallery.com.au 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.

See our website for latest information.

Jennifer Keeler-Milne, Callistemon, 2021, charcoal on prepared paper, 114 x 180 cm. Private Collection, Sydney.

4 January—20 March Destination Sydney: the natural world Jennifer Keeler-Milne, Juz Kitson and Bronwyn Oliver.

Carissa Karamarko, Triumph, oil on cotton framed in Tasmanian oak, 46 x 36 cm.

Image courtesy of the artist.

15 December 2021—16 January Grotto

DESTINY DISRUPTED 10 FEB - 1 MAY 2022 curated by Nur Shkembi

The third exhibition in a special series of collaborations between three Sydney public galleries, Manly Art Gallery & Museum, Mosman Art Gallery and the National Trust’s S. H. Ervin Gallery. Like its preceding exhibitions, it will showcase artworks responding to the theme of Sydney as a place of creative endeavours, with a strong focus on the work of nine Australian women artists, all connected by their concern for the organic and the environment. Destination Sydney: the natural world at the S.H. Ervin Gallery will present the work of Jennifer Keeler-Milne, Juz Kitson and Bronwyn Oliver whose art practice is synonymous with the natural world. Supported by the Gordon Darling Foundation and part of Sydney Festival 2022.

Paul Yore, FUCK OFF WE’RE FOOLS, 2021, wool needlepoint, 45 x 49 cm. Courtesy the artist and STATION.

Nell, HOT in the CITY, 2021, earthenware, glaze, gold lustre, 27 x 22.5 x 21.5 cm.

Courtesy of the artist and STATION. 19 February—19 March The WAY Home Nell

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment.

STATION www.stationgallery. com.au

Granville Centre Art Gallery 1 Memorial Drive Granville NSW 2142

Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Wed to Fri 12noon–6pm, Sat 10am–4pm.

See our website for latest information.

Tues-Fri 10am - 4pm Sat-Sun 11am - 4pm www.cumberland.nsw.gov.au/arts Ella Dunn, Layers, oil on canvas, 42 x 32 cm. Image courtesy of the artist.

Image: Shireen Taweel, Devices for listening, 2020. Credit: Zan Wimberley.

15 January—12 February THIS WORLD IS NOT FOR YOU Paul Yore

Annette Bukovinksy, Guarding Nature, 2021, Glazed ceramic, 13 x 13 x 13 cm.

Photograph: COTA. 9 February—5 March Souçon Group exhibition.

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cumberland.nsw.gov.au/arts

ar t g ui d e .c o m . au

Sturt Gallery & Studios www.sturt.nsw.edu.au Cnr Range Road and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm.

See our website for latest information.

NEW S OUTH WALES

Sullivan+Strumpf www.sullivanstrum pf.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.

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm.

Until 30 January Experimenta Life Forms International Triennial of Media Art Featuring 26 contemporary Australian and International artists working across diverse artforms — including robotics, bio-art, screen-based works, installations, participatory and generative art.

grapples with the passing of time and the importance of bringing our stories to the fore. Incorporating photography, video work and new marble carvings alongside an original musical work, the solo exhibition captures Seton’s deep love of his childhood landscape and presents poignant and often humorous reflections on the fallibility of memory. A Tweed Regional Gallery initiative. Alex Seton is represented by Sullivan+Strumpf, Sydney and Singapore.

Until 1 May The Supers Craig Tuffin

www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

10 December 2021—6 February Gesture of Narrative Celebrating the strength and imagination of the human spirit with sculpture, drawing, textiles and printmaking by Andrew Antoniou, Veronica Cay, Vince Vozzo, Jane Theau, Victoria Pitel, Amanda Shelsher and Slavica Zivkovic.

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12–5pm.

Closed public holidays.

Baden Pailthorpe, MQ-9 Reaper 1, 2014, HD digital video, colour, sound, 4 mins 38 sec, Edition of 5 + 2AP. Image courtesy the artist and Sullivan + Strumpf, Sydney.

23 October 2021—16 January Baden Pailthorpe: MQ-9 Reaper I-III

Elizabeth Pulie, Decorated Wall, 1995, acrylic paint on canvas. Museum of Contemporary Art, purchased with the assistance of Dr Edward Jackson AM and Mrs Cynthia Jackson AM, 1996.

Image courtesy: the artist and Museum of Contemporary Art Australia.

15 January—10 April Elizabeth Pulie: #117 (Survey) A three-decade survey featuring works from Elizabeth Pulie’s conceptual projects: Decorative Paintings, Relational Art and End of Art, alongside ancillary Interim Works. Curated by James Gatt.

Natalya Hughes, Marzella, 2021, acrylic on poly with fabric backing, steel stand, 177 x 120 x 40 cm. Photography by Aaron Anderson.

27 January—29 January Annual Group Show Sullivan+Strumpf artists

www.artdesign.unsw.edu.au/unswgalleries

Until 5 June Making their mark Australian artist prints from the collection.

Twenty Twenty Six Gallery

Amanda Shelsher, ceramic.

UNSW Galleries

Featuring all three works from his MQ-9 Reaper (2014-2016) series, this exhibition of large scale video works from Canberra-based artist Baden Pailthorpe explores how military technologies shape our experience of the world, and in particular, how military technologies such as drones create deeply surreal experiences of time and space.

6 November 2021—30 January Void Void explores the multiple ways in which artists visually articulate the unknown as space, time and landscape. The work of the included artists does not simply define the void as presence and comparative absence, but rather they utilise form to represent the formless.

6 November 2021—23 January Ink in the Lines Behind every tattoo is a story. The photographic exhibition Ink in the Lines shares the stories of Australia’s military veterans through their tattoos.

Ben Quilty (b. 1973), Multi Vitamins and Surface Spray, 2020, oil on linen, 132 x 112 cm. Tweed Regional Gallery collection. Gift of the Tweed Regional Gallery Foundation Ltd. 2021. © The artist.

Until 20 February At Home Margaret Olley and Ben Quilty.

4 February—17 April Habitat Megan Puls and Jo Norton.

SOS Belle Raine

Jess Baker, Garden Party, 2021, acrylic and spray on canvas, 150 x 150 cm.

13 January—30 January Vivid Jess Baker

Izabela Pluta, Variable depth, shallow water, 2020, silver gelatin photographs, pigment prints on aluminium, dye-sublimation prints, polyester waddling straps, two-way acrylic, aluminium, polyester resin. Image courtesy: the artist and Gallery Sally Dan-Cuthbert, Sydney.

15 January—6 March Izabela Pluta: Nihilartikel Featuring new and recent works from Polish-born Australian artist Izabela Pluta that reconceptualise the function of photographic images.

Alex Seton, Installation view, Meet Me Under the Dome, 26 November – 23 December 2020, Sullivan+Strumpf, Sydney.

Image courtesy of the artist.

Laura McCusker, Barcode Screen.

13 February—3 April Beyond Ordinary Showcasing 32 of the Southern Hemisphere’s most inspiring female fine furniture designer/makers.

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Naminapu Maymuru-White, Milŋiyawuy River of Stars, 2021, bark painting, 162 x 78 cm. Photography Mark Pokorny.

17 February—12 March Milŋiyawuy—The River of Heaven and Earth Naminapu Maymuru-White

Wagga Wagga Art Gallery

11 February—17 April A History of Forgetting Alex Seton A History of Forgetting continues Alex Seton’s interrogation of the unreliability of memory, both personal and collective.

Centred on the idiosyncratic memories of his own childhood growing up in rural NSW, the show is a deeply personal elegy to the place of his upbringing that

www.waggaartgallery.com.au

Maria Gorton, Primordial Cradle, 2021, oil on linen, 153 x 137 cm, 10 February—3 March Primordial Silence Maria Gorton

Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

See our website for latest information.

Blanche Tilden, Flow 03 (necklace), 2016, flameworked borosilicate glass and titanium, Toowoomba Regional Art Gallery, Queensland. Photographer: Grant Hancock © Blanche Tilden.

11 December 2021—13 February Ripple Effect: a 25 year survey Blanche Tilden This 25 year survey of the work of Melbourne-based jeweller and maker Blanche Tilden reveals her remarkable and critically acclaimed practice. Tilden has a unique approach to her materials, in particular, glass, which she explores both as a material for jewellery making and 189

ar t g ui d e .c o m . au Wagga Wagga Art Gallery continued... deploys as a metaphor for the connections between making, industry, the wearable object and the body.

5 February—1 May Face to Face - The New Normal Vic McEwan A major new exhibition by Vic McEwan developed while in residence at The Sydney Facial Nerve Clinic, where Vic is working on the front lines of clinical treatment with patients experiencing facial nerve paralysis. This work examines what impact a contemporary artist might have on the clinical experience.

NEW S OUTH WALES

Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

Closed Good Friday, Christmas Eve & Day, Boxing Day and New Year Day. See our website for latest information.

video work, accompanied by glass forms that entwine a choreography of performance, breathing and sculpture. Curated

by Alexie Glass-Kantor and Michelle Newton, Artspace. Toured by Museums & Galleries NSW.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm.

Harold Cazneaux, A study in Curves, 1931, gelatin silver print, Australian National Maritime Museum Collection.

13 November 2021— 6 February Through a Different Lens: Cazneaux By The Water

Johnny K, A Beautiful Story, 2021, oil and aerosol on board, 60 x 60 cm.

27 January—10 February Summer Group Show At Martin Place Gallery.

Emily Persson, Sometime in September, impasto oil on linen, 39 x 39 cm.

17 February—24 February The Australian Landscape Group Show featuring Ken Knight, Mel Brigg, Emily Persson, Johnny K At Phillip Street Gallery.

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Harold Cazneaux (1878-1953), was a giant in the history of Australian photography. Through a Different Lens takes us back in time to Cazneaux’s soft focus Australia and gives us an insight into this significant photographer’s life. This exhibition of more than 50 original pieces presents this aspect of Cazneaux’s art, reflecting how water and Sydney Harbour fits within his work, his signature pictorial photographic style and his foray into modernism and abstract form. Curated

by Daina Fletcher, Australian National Maritime Museum.

20 November 2021—6 February Mel O’Callaghan: Centre of the Centre Centre of the Centre investigates breath as the central origin of life and as a vital function that connects humans at a cellular level.

The exhibition is inspired by a small mineral containing a tiny pocket of water, possibly millions of years old, which was gifted to the artist by her grandfather, renowned Australian-mineralogist, Albert Chapman. To create this body of work, O’Callaghan has engaged some of the world’s leading scientists. Filming deep underwater in a submersible vehicle called an ‘Alvin’ with the support of the Woods Hole Oceanographic Institution, the team observed microscopic ‘extremophiles’ – organisms that thrive in extreme environmental conditions. The footage captures these organisms moving in and out of gases from simultaneously freezing ocean temperatures and superheated hydrothermal vents.

O’Callaghan has translated these investigations into an immersive exhibition experience that features a large-scale

Scott Howie, self-portrait (bloke in mask) #1, 2021, digital video still. Image © artist.

4 December 2021—6 February Scott Howie: how good is unaustralia “How good is Australia! How good are Australians!”- ScoMo how good is unaustralia is an exhibition of work by Wagga Wagga-based artist, Scott Howie featuring a series of screenbased performances, sculptures and installations that offer a cheeky and provocative view to imagining the possibility of an unaustralia. Howie adopts a satirical lens as he questions the nationalistic values associated with being Australian, revealing a body of work that allows us to question those unfulfilled promises and hopes of being Australian. Curated by Mariam Abboud.

This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

See our website for latest information.

11 December 2021—22 May Big in China What does it mean to make it Big in China?

It is no easy feat to captivate the attention of over a billion wandering eyes and minds.

How do we draw the focus of so many unique individuals and make them move in unison? The 12 artists in the exhibition show us that it is not simply brute force that drives a nation and its people. Rather, it is the grand and overarching narratives,

White Rabbit Contemporary Chinese Art Collection → Xu Zhen®, ““Hello””, 2018-19, robotic mechanisms, styrofoam, polyurethane foam, silicone, pain, sensors, electronic controls, 390 x 750 x 800 cm. outstanding creativity and unique art practices that have the power to move this population en masse.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

Glenn Barkley, Barbara Campbell, Fernando do Campo, Eugene Carchesio, Ashley Eriksmoen, Emily Floyd, Liam Garstang, Danie Mellor, NOT, Bilinyarra Nabegeyo, Djawida Nadjongorle, Raquel Ormella, Debra Porch, Marie Celine Porkalari, Joan Ross, Laurens Tan, Hollis Taylor, John Tonkin, Jenny Watson, Louise Weaver and John Wolseley explore the language of birds. Curated by Madeleine Kelly.

11 December 2021– 20 February SNAPPED! Street photography in the Illawarra Anne Zahalka (with Sam St Jon and residents of the Illawarra).

A historic portrait of local life mapped across the streets and beach scapes

16 October 2021—13 March FLOW: Wollongong Art Gallery Contemporary Watercolour Prize $20,000 biennial acquisitive competition open to artists from around Australia.

Curated by Agnieszka Golda and Jo Stirling, the exhibition traces stories of coastal changes across the Illawarra, South Coast and New South Wales with 50 key historical and contemporary works from Wollongong Art Gallery and University of Wollongong collections, as well as original artworks and interactive augmented reality.

20 November 2021—13 February Birds & Language

A contemporary iteration of street photographs will also be presented based on these historic images.

26 February—29 May Illawarra Pavilion Gary Carsley and Renjie Teoh (The ARThitects) The Illawarra Pavilion can be experienced as part stage set, part multi-perspectival illusion and part Hortus Conclusus, combining some of the natural and cultural treasures of the Illawarra most notably the distinctive and iconic Flame Tree and selected furniture elements from Wollongong Art Gallery’s Mann-Tatlow Collection into a spectacular, immersive visitor experience.

27 February—24 April Suspended Moment: The Katthy Cavaliere Fellowship

Wayne Davis, Botticelli Columns, watercolour, 2021. FLOW 2021 winner.

6 November 2021—6 February Ways To Water

of the Illawarra. Photos by commercial street photographers from 1930’s – 60’s, sourced from local residents, have been assembled to provide a tangible trace of the city allowing us to reimagine how this city once looked.

The ARThitects (Gary Carsley & Renjie Teoh). Qing Dynasty China carved cabinet in red lacquer and gilded pine, Ming dynasty China pair of Longquan stoneware vases with celadon crackle glaze, Ming Dynasty China pair of lidded stoneware jars with celadon crackle glaze from Wollongong Art Gallery’s Mann-Tatlow Collection of Asian Art; pair of IKEA white ceramic plates with sublimation-printed irises, and wall mounted, tiled A4 Colour Photocopy print courtesy of KYOCERA.

Suspended Moment brings together new works by artists Frances Barrett, Giselle Stanborough and Sally Rees – the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy. A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project is assisted by the Australian Government’s Visions of Australia program.

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QUEENSLAND

A–Z Exhibitions

JANUARY/FEBRUARY 2022

Queensland

Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm.

See our website for latest information.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

22 October 2021—9 January Cont.ained Jenna Lee

Brisbane Powerhouse. pre-war industrial building and a hub for creativity, art and cultural innovation, Brisbane Powerhouse offers an array of performing arts, visual arts, festivals, and free community events.

Petra Meikle de Vlas, By the Sea. Until 5 February Summer A refreshing look at contemporary experiences of the Summer Landscape.

Lindy Lee, Love (An Unbounded Heart), 2017, from The Immeasurables, mirror polished stainless steel, LED, image courtesy of the artist and Sullivan+Strumpf, Sydney and Singapore. © the artist.

5 November 2021—16 January Moon in a Dew Drop Lindy Lee

Brunswick Street, Doggett Street,

Caloundra Regional Gallery

Hasking Street, Russell Street,

Jonathan McBurnie, A SEARCH FOR TRUTH, detail, 2020, ink and watercolour on paper, 29.7 x 42 cm. Courtesy of the artist.

Bundall Road, Fernberg Road,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

Brisbane Powerhouse nowadays is surrounded by family homes and apartment buildings, and makes a significant impact on Brisbane’s economic and cultural landscape as an iconic arts centre.

The industrial red brick facade, interior steel beams, preserved graffiti and cement floors are remnants of a once-bustling power station now a much-loved centre for storytelling through art and culture.

Brookes Street, Macalister Street,

Fortescue Street, Abbott Street,

Surviving two decades of neglect and a partially completed demolition project, the building was reacquired by Brisbane City Council in 1989, envisioned as a space for arts and culture. The redeveloped Brisbane Powerhouse was designed

by Brisbane City Council architect Peter Roy and was opened on 10 May, 2000 by Lord Mayor Jim Soorley.

Charli Savage, Fields of Time.

12 February—3 March Absurd Exploring themes of humour and surrealism, Absurd exhibits a wildly imaginative multi-media collection from artists across Australia. From funny and chaotic, to cerebrally challenging and mysterious, this collection taps into the darker and more hidden part of the subconscious, to present you with a series of works that are at times illogical and irrational, and ultimately, absurd. Opening Saturday, 12 February.

5 November 2021—16 January BIRDLAND Jonathan McBurnie 14 January—20 March Queer, Blak & Here Dylan Mooney

www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

28 January—27 March Hom Swit Hom Jasmine Togo-Brisby

Brisbane Powerhouse www.brisbanepowerhouse.org Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] Tue to Sat 10am–late, Sun 10am–6pm. Closed Mon. Brisbane Powerhouse is Queensland’s home for contemporary culture, a magnificent power station of the 1920s reborn as an arts centre on the Brisbane River.

A distinct landmark, both as a striking

Lena Yarinkura, Camp Dogs. Photo by Scott Burrows. Image courtesy of the artist and UAP. 10 December 2021—30 January The Art of Making: art in public places 193

QUEENSLAND Caloundra Regional Gallery continued...

HOTA www.hota.com.au

Robert Andrew, Elisa Jane Carmichael, Lyndon Davis, Fiona Foley, Emily Floyd, Lindy Lee, Brent Miller, Judy Watson and Lena Yarinkura.

N O R T H

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am–8pm.

See our website for latest information.

Celebrating creativity in public places and the public art journey - from concept to completion.

Sylvia Ditchburn, Lily Pond, acrylic on canvas, 100 x 100 x 4 cm.

15 January—26 February Torrid Zone Painters Vincent Bray, Sylvia Ditchburn and Anne Lord.

Gallery Raye Clare Poppi, Bio-headpiece, 2021. Image courtesy of artisan. Photograph by Michelle Bowden.

4 February—20 March Dystopia/Utopia: 2070 Russell Anderson, Christine Atkins, Archie Moore, Charlotte Haywood, Susan Lincoln, Claire Poppi and Rebecca Ward.

www.galleryraye.com Brisbane based.

Presently online only.

See our website for latest information.

Are we heading for a dystopian or utopian future? Artists and writers imagine the world in 2070.

27 November 2021—18 April Dumpling Dreams from YEAHYEAHCHLOE A whimsically vibrant dumpling dreamscape full of fun, discovery, and adventure. Brought to life by the wonderfully imaginative YEAHYEAHCHLOE, Dumpling Dreams plops youngsters (and the youngat-heart) into a wildly colourful world complete with delicious new sidekicks.

Featuring Augmented Reality experiences and interactive activities, you’re only limited by your imagination.

From 18 December 2021 Art Mixtape: Yours for Summer Retro-infused moments, enchanting other-worldly scenes, streaks of mythology and pop culture, and nods to the spirit of a Gold Coast summer – HOTA Gallery’s major exhibition Art Mixtape: Yours for Summer is bold, beautiful, a bit cheeky, and created with love.

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

Gallery reopens 27 January.

See our website for latest information.

Dumpling Dreams from YEAHYEAHCHLOE.

Chanel Sohier, Emu Swamp Road, 2021, oil on canvas, 25 x 30 cm.

January—February Etude of Impressions Chanel Sohier

HOTA Collects: Highlights from HOTA’s Collection, installation view. Image courtesy of Fullframe Photographics & Film.

Rosella Namok, Unchii Night fire, 2021, acrylic on canvas, 240 x 90 cm.

Open Now HOTA Collects: Highlights from HOTA’s Collection

11 February—19 March Rosella Namok: Growth

Showcasing over 100 works from HOTA’s Collection across three galleries HOTA Collects reflects key developments in Australian art over the past 50 years including abstraction, feminist art, Indigenous art, ceramics, and twentyfirst-century photography.

WHAT’S ON

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed and Sat 12noon–5pm, and Fridays by appointment.

See our website for latest information.

Michele Burder, Remnant, Hinterland, 2021, oil on linen, 61 x 61 cm.

The Green Dream Michele Burder 195

northsite.org.au

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Institute of Modern Art www.ima.org.au Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm.

See our website for latest information.

QUEENSLAND

Logan Art Gallery

Montville Art Gallery

www.loganarts.com.au/artgallery

www.montvilleartgallery.com.au

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm.

See our website for latest information.

138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm.

See our website for latest information.

from frangipanis to pineapples and bikini-clad leisure-lovers.

City in the Sun uncovers and reimagines Brisbane’s subtropical image. Showcasing large-scale new contemporary artworks alongside historical imagery, the exhibition will reveal how the city’s history of migration, tourism, climate, environment and geographic location has contributed to the images of a subtropical oasis of leisure and abundance.

language, displacement and reclaiming history as an opportunity for growth and healing. Part of BrisAsia Festival, BrisAsia Stories is an initiative designed to explore Brisbane’s evolving cultural identity through exhibitions, panel discussions and community engagement activations.

The program shares stories that foster deeper cultural awareness and provides contexts for meaningful intercultural discourse, knowledge sharing and learning.

Presented by Brisbane City Council in partnership with Museum of Brisbane (MoB). MoB’s Artist in Residence program is supported by Tim Fairfax AC.

Wayne Malkin, Sunshine and Squalls.

January Wayne Malkin

Lia Pa’apa’a, Untitled, 2021, (detail).

12 February—6 March Volume: Bodies of Knowledge Curated by Torika Bolatagici for The Community Reading Room. Featuring new work by Denise Chapman; Ema Tavola; Emele Ugavule; Jane Chang-Mi; Kelly Ka-Lai Chan; Laniyuk; Lia Pa’apa’a; Shivanjani Lal and Stéphanie Kabanyana Kanyandekwe.

Edouard Glissant. Courtesy l’Institut du Tout-Monde.

11 February–16 April This language that is every stone Curated by Hans Ulrich Obrist, Asad Raza, and Warraba Weatherall.

Vernon Ah Kee, Robert Andrew, Daniel Boyd, Megan Cope, Manthia Diawara, Taloi Havini, Koo Jeong A, Sancintya Mohini Simpson, Phuong Ngo, The Otolith Group, Philippe Parreno, Raqs Media Collective, Anri Sala, Khaled Sabsabi, Shireen Taweel, Yhonnie Scarce, Latai Taumoepeau.

Curated by Hans Ulrich Obrist, Asad Raza, and Warraba Weatherall, This language that is every stone is the fourth iteration in a series of exhibitions conceived by Obrist and Raza that surveys the life and work of Martinique writer Édouard Glissant.

The exhibition examines the concept of creolisation, an idea brought to prominence by Glissant, defined as a constant state of cultural transformation, whereby endless local difference emerges from recurrent contact between people—with one another—as well as the natural world.

Developed specifically within an Australian context, This language that is every stone explores cultural synthesis and permeability through the works of Australian First Nations and diasporic artists, with contributions from international counterparts.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

Closed until 27 January.

27 January—26 February Summer hang 17 Febuary—20 February Summer hang 196

Euan Macleod, Borderlands – Between NSW and QLD, 2020, pastel on paper, 156 x 120 cm, National Art School Collection, Dobell Drawing Prize winner, 2021. Image courtesy the artist and King Street Gallery on William © the artist, photograph: Michele Brouet.

Wendi Leigh, Intrigue.

February Wendi Leigh

2021 Dobell Drawing Prize #22 Toured by the National Art School, Sydney.

Leigh’s colour palette is unique and uses contemporary hues and a style called O.D.O.R.I.—acronym for Overt Distortion Of Real Imagery. This style treats each shape and space individually to enhance its own merits, combining Australian flora and fauna, domestic animals and urban living.

The Creative Pod: Portraits of our life 18 January—26 February Logan Art Gallery is closed for airconditioning upgrade. Reopening 2 March.

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, VIC 4101 [Map 15] 07 3002 7100 Mon to Fri 9am–5pm, Sat 10am–10pm.

See our website for latest information.

www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm.

See our website for latest information.

Paul Davies, Centenary Pool Brisbane, Yellow/Grey, 2008, acrylic on canvas.

Donated through the Australian Government’s Cultural Gifts Program, 2021, Museum of Brisbane Collection.

The works in Volume ask us to consider how we hold knowledges that resist the limits of the written word and how these embodied frequencies, cadences, and densities guide our movement through colonial spaces.

3 December 2021—15 January Logan treasures: art, craft and design pop-up store

Noosa Regional Gallery

Malkin is a seascape, landscape and portrait artist who specialises in oils.

His paintings are an expression of a single moment or subject which has captured his attention. The effect of light is a constant theme across his body of work.

Opening February Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Jane Grealy, Danie Mellor, Kenneth Jack, Sam Fulbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more.

What makes a place? Which sites are significant for individuals and communities and why? Are the landmarks we recognise as characterising the city today the same landmarks we’ll see in the future? And can memories make a place?

Museum of Brisbane www.museumofbrisbane.com.au Alannah Dair, Contortion IV, (close up view), 2020, lycra, metal poles, metal clamps, steel wire, safety pins, LED lights.

4 December 2021—9 January 777-Eleven Joaquin Gonzales

15 January—5 February Lotion Curated by Taylor Hall. Featuring work from Alannah Dair, Bella Deary, Molly Smith and Zara Rose Dudley.

This site-specific installation transforms Metro Arts’ window gallery and surroundings to a Catholicised convenience store composed of a series of sculptural artworks. Food for thought and the soul, 777-Eleven explores the theme of religious doubt and uses humour as a tool to playfully criticise outdated traditions and objects.

Lotion brings together the artworks of four artists who use embodied and soft forms to consider the materiality of healing, empathy, and well-being in relation to the skin. Revealed are expanded notions of our surface as a permeable, porous entity that exists between the self and our experience of the physical world around us.

Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm.

Free entry.

June 2021—February City in the Sun Kinly Grey, Christopher Bassi, Laura Patterson, Rachael Sarra, Sam Tupou, Sebastian Moody, Holly Anderson and Rachel Burke are coupled with works by Gerwyn Davies, Michael Zavros, Tracey Moffatt, Scott Redford and Olive Ashworth and more.

As Queensland’s gateway to the tropics, Brisbane has adopted imagery of all things subtropical over the last century,

Rhanjell Villanueva (San Pablo, Laguna, Phillipines b,1998), Halo Halo, 2020, panoramic print. Courtesy of the artist.

Opening February In Transit Rhanjell Vilanueva, Naavikaran Celebrating the limitless potential to transform and adapt. In Transit will transform Museum of Brisbane’s (MoB) entry into a colourful celebration of cultural diversity and creativity. Presented in partnership with BrisAsia Festival, the exhibition and residency aim to provide a platform for conversation and reflection, using themes of intersectionality,

Guogu Zheng (China b.1970), Grand Visionary Transformation of Hevajra, 2016, oil on canvas, 197 x 134 cm. The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2017 with funds from Michael Sidney Myer through the Queensland Art Gallery | Gallery of Modern Art Foundation. Photograph: Natasha Harth, QAGOMA. © Guogu Zheng.

10 December 2021—27 Febuary Asia Pacific Contemporary; Three Decades of the APT QAGOMA touring exhibition. This exhibition celebrates the tenth edition of the Asia Pacific Triennial of Contemporary Art (APT) with a selection of work by artists featured in the triennial over almost three decades. Since its inception, the APT has been a pre-eminent platform for the art of Asia, Australia and the Pacific, surveying a vast and dynamic region through a series of exhibitions, forums and cultural exchanges.

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NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information.

QUEENSLAND North Island Printmakers, Pachamama, Perspectives, Printmakers East to West, Sympoiesis and Te Wai Pounamu.

proliferated,

5 November 2021—5 February Just Not Australian Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey , Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Raquel Ormella, Ryan Presley, Joan Ross, Tony Schwensen and Soda Jerk.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

See our website for latest information.

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment.

See our website for latest information 18 January—29 January Katsugi Zoe Porter and Aiko Ohno

Dian Dahmansjah, Vulnerable, 2021, engraving and etching, 30 x 20 cm.

17 December 2021—29 January NorthSite Art Market–Print Edition Arone Meeks, Billy Missi, Brian Robinson, Claudine Marzik, Danish Quapoor, Darren Blackman, David Jones, Dian Dahmansjah, Girringun Aboriginal Art Centre, Hannah Murray, Hannah Parker, InkMasters Cairns, Joel Sam, Jonathan Mcburnie, Laura Castel, Laurel Mckenzie, Lenore Howard, Lynelle Flinders, Michael Marzik, Moa Arts, Mollie Bosworth, Napolean Oui, Neil Binnie, Peter Morrison, Rhi Johnson, Rhonda Stevens, Tommy Pau and Tamika Grant-Iramu.

Katsugi (ancient term from Ijika, Japan which can be translated as ‘dive’ in English) is a two-person exhibition that brings together Japanese Ama diver Aiko Ohno’s documentary style photography, and recent works by Zoe Porter featuring depictions of the ama (female free divers) and other plant-human, animal-hybrid forms within otherworldly landscapes.

The two artists have collaborated on a series of photographs taken by Ohno, whereby Porter has transformed the ama divers into hybridised, future beings dislocated from their recognisable coastal environment.

The exhibition connects these two artists from different backgrounds and different continents during a time when global travel isn’t possible. Within these new works

by Porter, there exists imaginary hybrid plant-human creatures and oceanic monsters that coalesce within strange sci-fi, underwater scenes that refer to film, dream states and the impacts of ocean pollution and degradation. The individual works by both artists, and their collaboration, aims to emphasise the significance of the continuation of the ama divers ancient fishing practices, despite current ecological damage. Katsugi also highlights the possibilities for cultural exchange and collaboration, despite being unable to travel internationally.

Elisabeth Cummings, Idris Murphy, Sally Ogg, Joe Furlonger, Lyn Laver Ahmat, Hugh Sawrey, Bailey Donovan, Christopher Trotter and Eddie Hackman.

Daniel Sherington, bullshit landscape painting, 2021, UV inkjet print on perforated vinyl, stretched, 217 x 180 cm. Photo: courtesy of the artist and Onespace Gallery. leveraging the relationship with the imagery he reproduces and makes.In his most recent body of work, Sherington depicts computer-generated ‘spaces,’ which challenge the traditional mode of painting often associated with colonial Australian landscapes. Reframing these historical modes of production is essential to countering the primacy that ‘landscape painting’ purports to hold in the canon in our contemporary era.

10 December 2021—13 February Fresh Material: New Australian Textile Art Featuring the work of Julie Bradley, Regi Cherini, Leah Emery, Marion Gaemers & Lynnette Griffiths, Emma Gardner, Hannah Garside, Julia Gutman, Vivienne Haley, Michelle Hamer, Talitha Kennedy, Sheree Kinlyside, Nicole O’Loughlan, Susan Nampitjin Peters, Kate Scardifield, Ema Shin, Hiromi Tango, Sonia Ward, Jenny Watson and Paul Yore. Curated by Jonathan McBurnie.

Philip Bacon Galleries www.philipbacongalleries.com.au

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

See our website for latest information.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

See our website for latest information.

4 February—12 March Thinking of Place III Anatolian Printmakers, Big Ink Studio, Funen Printmakers Group, Goldfields Printmakers, InkMasters Cairns, Intermountain West, Kamloops Printmakers Society, Limerick Printmakers, Material Encounters, Melbourne Printmakers Group, 198

Onespace Gallery is pleased to launch our 2022 program with a solo exhibition of recent works by Daniel Sherington.

Utilising drawing as a traditional framework for his practice to operate within, Sherington often uses the medium as a means of facilitating an interdisciplinary approach to making. His work considers how historical conventions of production can be critically reframed by our digital capacities. Sherington’s work is often reiterated, reworked, and

Featuring works by Ken Done, Margaret Campbell, Kathy Ellem, Lucy Culliton,

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information.

26 November 2021—22 January Arryn Snowball: Slack Water Slack Water brings together several strands of Arryn Snowball’s studio practice, responding to a series of poems

by Nathan Shepardson. The Slack Water project, as it has come to be known, is an ongoing meditation on the splendour and vastness of the Pacific Ocean. The comparatively accessible Fisherman’s Bible, Ern Grant’s Guide to Fishes (1924), used as a conceptual start point for Shepardson’s 77 poems. Snowball initially responded through fragments, cutting them up, taking poetic images, and transforming them into paintings, eventually developing the work into a vast series encompassing drawing, sound and performance.

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat 12noon–4pm, Sun 10am–3pm.

Slack Water is a poetic and introspective exhibition about the act of fishing, abstract poetry, physics, light and water, sky and horizon, surface and depths and the meaning and dissolution of being.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Elisa Jane Carmichael, Dabiyil wunjayi (water today), 2020, cyanotype on cotton. Technical assistance: Renata Buziak.

Courtesy of the artist and Onespace Gallery. Photo: Louis Lim. QUT Art Museum: 9 October 2021—27 February Thinking into Being: QUT Alumni Triennial Kyle Bush, Elisa Jane Carmichael, Jessica Cheers, Emma Coulter, Benjamin Donnelly, Amy Grey, Anthony Hearsey, Wei Jien, Clare Kennedy, Jennifer Marchant and Dylan Sheppard.

Lee Paje, The Philippines b.1980, The stories that weren’t told, 2019 , oil on copper mounted on wood, 243.84 x 300 cm. Collection: Queensland Art Gallery, Purchased 2021 with funds from Terry and Mary Peabody and Mary-Jeanne Hutchinson through the Queensland Art Gallery | Gallery of Modern Art Foundation , Photography courtesy the artist and Tin-aw Arts Management Ltd.

Lucy Culliton, CJ, 2015, oil on board, 40 x 40cm. Part gift of the artist and acquired by the Outback Regional Gallery 2020.

Image courtesy: King Street Gallery on William, Sydney.

13 November 2021—2 February Collection Exhibition, Outback Regional Gallery

www.townsville.qld.gov.au

Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

4 February—12 March Recent Works Daniel Sherington Lucy Parris, Edgelands, 2020, stone lithograph on hahnemühle etching paper 285gsm.

Pinnacles Gallery

together. It’s rich with stories of how to navigate through time and space, reimagine histories and explore connections to culture and place. The 10th Asia Pacific Triennial of Contemporary Art (APT10) will include 69 projects with new and recent work by more than 150 emerging and established artists, collectives and filmmakers from more than 30 countries. It includes works of art that are by turn highly personal, deeply political, and full of joy.

Michael Zavros, Sunflowers looking away, 2021, (detail), oil on canvas, 123 x 121 cm.

27 January—5 March The Summer Exhibition

4 December 2021—25 April The 10th Asia Pacific Triennial of Contemporary Art (APT10) For this landmark tenth edition, QAGOMA’s Asia Pacific Triennial looks to the future of art and the world we inhabit

The fourth in a series of triennial alumni exhibitions, Thinking into Being explores QUT’s unique cross-disciplinary and collaborative approach to teaching and learning. The exhibition brings together work by QUT graduates from the Schools of Architecture and Built Environment, Creative Practice, and Design, who have become leading creative practitioners both nationally and internationally.

Thinking into Being is a wide-ranging exploration of the often-unseen creative processes that bring into being the objects, products and experiences of our culture and how they may bring about social, political, ecological, and economic change.

William Robinson Gallery: 17 September 2021—11 September William Robinson: Nocturne 199

ar t g ui d e .c o m . au QUT Art Museum continued...

The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

QUEENSLAND 12 December 2021—23 January Suzanne Danaher: Tide and Time

13 November 2021—27 February Patricia Piccinini: Curious Affection on Tour

USC Art Gallery www.usc.edu.au/art-gallery

Patricia Piccinini: Curious Affection on Tour invites audiences to think about their place in a world where advances in biotechnology and digital technologies blur the lines between human, nature and the artificial world. Patricia Piccinini’s lifelike hybrid creatures seamlessly blend human, animal and machine elements to reveal life forms that are extraordinarily familiar.

USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm.

See our website for latest information.

Patricia Piccinini: Curious Affection on Tour is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.

Redland Art Gallery, Capalaba

Arryn Snowball, Steadily expanding editions of time, 2020, tempera on canvas, 190 x 190 cm. Courtesy of the artist and Jan Manton Gallery.

www.artgallery.redland.qld.gov.au

18 February—7 May Arryn Snowball: Slack Water

Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899

Slack Water is a collaboration about the Pacific Ocean between artist, Arryn Snowball and poet, Nathan Shepherdson.

Kelly Bianchi, Against tomorrow’s sky, 2021, oil on canvas, 150 x 100 cm. Image courtesy of the artist. landscapes of classic paintings, seeking to interrupt the romantic ideal and suggest a counter narrative of relational challenges.

Barbara Cleveland, Performance Art (15 Actions for the Face), (still), 2009, dual channel video, 15:35 minutes.

Image courtesy the artists and Sullivan+Strumpf, Sydney.

Lesley Kendall, Wallum, 2020, watercolour and ink on paper. Courtesy of the artist.

13 November 2021—11 January Wallum: Lesley Kendall 22 January—8 March Fishing for Landscape: Karen Stephens

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

12 December 2021—23 January Barbara Cleveland: Thinking Business 30 January—13 March Radical Localism: Elizabeth Shaw 30 January—13 March Zanny Begg: These Stories Will Be Different

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10.30am–3.30pm, Sun 1pm–4pm. Closed Mon and Public Hols. Free entry.

Emanuel Phillips FOX, Déjeuner [Mother and child no. 1] n.d. c.1910-11, oil on canvas / 171 x 131cm frame / Lionel Lindsay Gallery and Library Collection 006.

Inspired by the unnamed maid who is portrayed in Emanuel Phillips Fox’s Déjeuner [Mother and child no. 1] (c.191011), but is not acknowledged in the painting’s title, this exhibition recognises that women hold up more than half the sky.

Umbrella Studio Contemporary Arts www.umbrella.org.au

28 January—6 March Groundless Kelly Bianchi

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Patricia Piccinini, Teenage Metamorphosis, 2017, silicone, fibreglass, human hair, found objects, 25 x 71 x 52 cm. Purchased 2018. Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art. © Patricia Piccinini.

20 November 2021—15 January Safe Space contemporary sculpture Abdul-Rahman Abdullah, Claire Healy and Sean Cordeiro, Franz Ehmann, Keg de Souza, Rosie Miller, Will French, Alex Seton, David Cross, Karla Dickens, Michelle Nikou and Tim Sterling.

8 January—27 March More than Half the Sky

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

See our website for latest information.

Suzanne Danaher, Iron ocka 1, 2020, mixed media on paper. Courtesy of the artist.

Alex Seton, Someone Else’s Problem, detail, 2015, marble dust, epoxy resin, Tasmanian oak, cable ties, dimensions variable (approximately), 300 x 200 x 200 cm. Photography by Mark Pokorny.

Image courtesy of the artist and Sullivan+Strumpf, Sydney.

Influenced by her tattooing practice, Kelly Bianchi’s exhibition furthers her exploration into alternative representations of the human form. She examines the figure as a cultural, historical and reflective entity. Bianchi juxtaposes discordant fragments within the picturesque

Narelle Delle Baite, Untitled, 2021, Digital photographic print.

28 January—6 March Breathing Bodies Narelle Delle Baite Baite’s exhibition explores feminist aesthetics and alternative theories of beauty applied to photographic portraits of women. The works extend her focus of female beauty from the physical to the metaphysical. The artist employs masking strategies and hybrid configurations in her portraits, contributing to correcting deformed misrepresentations of women in the 21st Century.

Safe Space contemporary sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It features a range of figurative elements and narrative themes with social, and sometimes political, resonances.

Many of the works in this exhibition take as their point of departure: the human body, its dimensions, the spaces it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.

At the end of 2017, Shepherdson made 77 poems in response to the ‘fisherman’s bible’, Grant’s Guide to Fishes. Slack Water brings together new and recent paintings, gouache studies, and experimental performance-based drawings

by Snowball inspired by the poems as well as a growing understanding of what scientists have dubbed the Anthropocene—an unofficial term used to describe the present epoch in which humans have significantly impacted the planet’s climate and ecosystems.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm.

Closed Sunday and public holidays.

18 February—7 May Sandra Selig: exploring giant molecules exploring giant molecules is the largest solo exhibition of Australian artist Sandra Selig, bringing together key examples of her interdisciplinary projects from the past two decades.

Selig works at the intersection of visual art and experimental music, using humble materials such as thread, paper, light and sound to articulate intangible notions of form, space and time. Rather than a chronological overview, the exhibition responds to Selig’s site-specific and iterative practice.

Kate Geck, rlx:tech – defrag popup, detail, 2021. Installation view, Don’t Be Evil, UQ Art Museum, 2021. Photo: Louis Lim. 30 July 2021—22 January Don’t Be Evil Zach Blas & Jemima Wyman, Kate Crawford & Vladan Joler, Simon Denny, Xanthe Dobbie, Sean Dockray, Forensic Architecture, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Eugenia Lim, Daniel McKewen, Angela Tiatia, Suzanne Treister, and Katie Vida.

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A–Z Exhibitions

JANUARY/FEBRUARY 2022

Australian Capital Territory

Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening.

See our website for latest information.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm.

Gallery reopens Tuesday 18 January.

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm.

Closed until 3 January.

See our website for latest information.

Jacqueline Bradley, Apple Sticks, 2021, apple sticks and glass. Image courtesy of the artist. of entangled systems and meticulous processes of which she is only a part.

This new body of work was developed as part of the Artist in Residence program at Canberra Glassworks in 2021-22, which is supported by the Australia Council for the Arts.

Margaret Hadfield, Long Cold Winter Of 2021, oil.

Canberra’s largest private gallery.

On display is the fine art of Margaret Hadfield-Zorgdrager and rescued, revamped art and craft in the Artistic Vision Gallery.

M16 Artspace Cathy Franzi, Tasman Flax Lily, 2021, porcelain, sgraffito, 54.6 x 17.7 x 16.7 cm.

10 February—27 February High country Cathy Franzi Porcelain.

Sarah Tomasetti

Australian National Capital Artists (ANCA) Gallery

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm.

See our website for latest information.

London Circuit, Blaxland Crescent,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

Jonathon Zalakos, Self Portrait, 2021, digital photograph, 1000 x 1500 px.

19 January—30 January Human, Jewellery, Human Jonathon Zalakos

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

See our website for latest information.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Built and supported by the ACT Government, Canberra Glassworks is a dynamic, professional artists facility, dedicated to contemporary glass art, craft and design.

February—March Jacqueline Bradley

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

Paintings.

www.m16artspace.com.au

Jacqueline Bradley makes sculpture, drawings and assemblages that investigate our physical and visceral relationships to the outdoors. Questioning the engrained belief that we can control the landscape within the backyard by applying social boundaries. In these sites the cycle of eating and feeding and growing and rotting continues to unfold in our close proximity. She explores these notions through a deep connection to material, from found plant matter and garden detritus to textiles, bronze and now glass. In these works, the outdoors becomes a manifestation, a collection

Del Cooley, Heaven On Earth, 2021, oil on canvas, 183 x 122 cm. Courtesy of the artist.

21 January—6 February Interweaving Passion Caroline Deeble and Del Cooley.

Di Broomhall, Interplay, 2021, pigment on linen, 182 x 122 cm. Courtesy of the artist.

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AUSTRALIAN CAPITAL TERRITORY M16 continued...

21 January—6 February Interplay Di Broomhall 21 January—6 February Sunset at the Furniture Store Lousia Giffard 11 February—27 February Counterpart Ali Aedy & Tess Horwitz 11 February—27 February Oak Trees David Attwood 11 February—27 February Up Dörte Conroy

National Gallery of Australia

assembled in this country. Shown in two parts, this major exhibition tells a new story of Australian art. Know My Name looks at moments in which women created innovative forms of art.

It examines cultural commentary, such as feminism, and highlights the creative and intellectual relationships that have existed between women artists throughout time.

Lucas’s sculptural work is exhibited alongside rarely seen images of the artist’s first self-portrait, Eating a Banana (1990).

This work will be reproduced to more than seven metres high, covering the exhibition walls from floor to ceiling.

Know My Name is not a complete account; instead, alternative histories are proposed. The exhibition challenges stereotypes and reveals the stories and achievements of all women artists.

Curated b y Peter Johnson, Curator, Projects.

Know My Name: Australian Women Artists 1900 to Now is part of the National Gallery’s vision to increase representation of all women in our artistic program, in our permanent collection and within the organisation itself.

Curated by Deborah Hart, Henry Dalrymple Head of Australian Art and Elspeth Pitt, Curator of Australian Art.

www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

See our website for latest information.

The National Gallery is home to the most valuable collection of art in Australia, including the world’s largest collection of Aboriginal and Torres Strait Islander art.

Our significant collection of modern art includes late 19th and early 20th century works from Europe, as well as American art from the mid 20th century onwards.

The collection also features works across form and era, from Surrealism to Abstract Expressionism.

‘I think art should be amateur… It should be done for love. I’ve never seen art as a career—and I still don’t.’ – Sarah Lucas.

‘After my first show, a critic warned me that my work looked “feminine”. I was horrified at this description and felt very vulnerable and angry at myself for not hiding my “femaleness” better; but I was also incredibly relieved that now the secret was out, I wouldn’t have to pretend anymore.’ – Elizabeth Gower.

Drawn from the National Gallery’s collection and with loans from across Australia, Know My Name: Australian Women Artists 1900 to Now is one of the most comprehensive presentations of art by women 204

Ongoing Towards Abstraction

Building on the foundational work already undertaken on Smart, this exhibition will bring fresh perspectives to his artistic contribution so that his remarkable legacy will be kept alive in the present.

‘There are no rules. That is how art is born, how breakthroughs happen.

Go against the rules or ignore the rules.’

— Helen Frankenthaler.

Curated by Deborah Hart, Henry Dalrymple Head of Australian Art and Rebecca Edwards, Sid & Fiona Myer Curator, Australian Art.

The works in Towards Abstraction are gathered around themes of landscape and human presence within the landscape. This display charts the journey of some of the worlds most celebrated artists towards abstraction including Willem de Kooning, Helen Frankenthaler, Fred Williams, Emily Kame Kngwarreye, Donald Judd, Jackson Pollock and Rosalie Gascoigne – and more. From 19th century Europe when artists such as Monet began painting outdoors, capturing a more impressionistic view of the landscape, to Australia’s Rosalie Gascoigne and her deeply personal works informed by her natural environment, Towards abstraction is inspired by the landscape and humans’ impact upon it.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

See our website for latest information.

‘An artist can show things that other people are terrified of expressing’ — Louise Bourgeois.

Until 18 April Sarah Lucas

Until 26 January Know My Name: Australian Women Artists 1900 to Now: Part Two

Smart said of his practice, ‘Suddenly I will see something that seizes me – a shape, a combination of shapes, a play of light or shadows, and I send up a prayer because I know I have seen a picture.’

Ongoing Emotional Body

Sarah Lucas, Eating a Banana, 1990, image courtesy Sadie Coles HQ, London © the artist.

Anne Wallace, She is, 2001, National Gallery of Australia, Canberra. purchased 2002.

Sarah Lucas is the first of the National Gallery’s Project Series and a Know My Name project.

These potent and intriguing images have become emblematic of 20th and 21st century urban experience.

Sarah Lucas brings together recent work by one of England’s most influential and unapologetic artists. Over the past 30 years, Sarah Lucas has transformed everyday materials, such as vegetables, cigarettes and stockings through sculpture, photography and performance. The human body recurs in her practice as a site of potential desire and failure, as the artist explores the ways in which gender and sexuality are performed.

Known for her use of crude and humorous imagery, this exhibition explores the representation and experience of gender and confronts the realities of bodily existence. Two recent sculpture series will be featured, including new works from the Bunny series, which Lucas has been making since 1997. A new series of bronze sculptures depicts similar figures that incorporate both masculine and feminine elements; gender stereotypes are challenged and conventions of representation humorously played with.

Emotional Body spans more than 1000 years of art making, bringing together works that are carved, cast, assembled and adorned, painted with natural pigments, oils or synthetic paints.

This display explores the human condition, and the ways devotion, spirituality and the powers of love or desire are all embedded in art.

See works by Francis Bacon, René Magritte, Brett Whiteley, Patricia Piccinini, Fernand Léger and new acquisition, artist Huma Bhabha’s sculpture Waiting for another game, among others.

11 December 2021—15 May Jeffrey Smart ‘Suddenly I will see something that seizes me – a shape, a combination of shapes, a play of light or shadows, and I send up a prayer because I know I have seen a picture.’ — Jeffrey Smart.

The year 2021 marks one hundred years since the birth of acclaimed Australian artist Jeffrey Smart. To celebrate and commemorate this significant centenary, the Gallery will hold a major exhibition of his work.

One of Australia’s most celebrated artists, Smart sought inspiration from the world around him – looking to the environment of urban and industrial modernity – which he transformed through his imaginative sense of theatre and intimate understanding of geometry and composition.

travelling to Australia for an exclusive exhibition with us this year. Start planning now to visit famous faces from the sixteenth century to today.

Think Mandela, Malala, Churchill, Diana, Bowie, Sheeran, Westwood and more. And iconic artists like Warhol, Hockney, Emin, van Dyck, Rubens and Freud. There’ll be fame, power, love, loss, innovation and the downright inspirational – it’s going to be incredible.

PhotoAccess Huw Davies Gallery www.photoaccess.org.au

PhotoAccess Community Photographic Centre was converted from a derelict building in Kingsley Street in 1984.

Following an initiative by Lesley Goldacre, a lecturer in photography at the Canberra School of Art, Huw Davies, Sue Ferrari, Sef Geale, Annie Jacobs, Margaret Newton and Kerrie Ruth established PhotoAccess with support under the Commonwealth Government’s Community Employment Program. Gerry Orkin, Babette Scougall and Iain Dawson were among others instrumental in the founding of PhotoAccess.

31 July 2021—16 January Living Memory: National Photographic Portrait Prize 2021 The Living Memory National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects. This edition of the prize incorporates a year like no other: 2020.

Accordingly, the title - Living Memory acknowledges the period’s seismic events. The winner for 2021 is Drought Story by Joel B. Pratley.

12 March—17 July Shakespeare to Winehouse: Icons from the National Portrait Gallery, London From Shakespeare to Winehouse, Darwin to Dickens, the Beatles, Brontë sisters and Beckham, the National Portrait Gallery London holds the world’s most extensive collection of portraits. While they undergo the largest renovation of their building in 125 years, we’re thrilled to say that over 80 treasures from their collection are

www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

See our website for latest information.

For more than 25 years, the Tuggeranong Community Arts Association has delivered artistic programs and events, with a focus on participation and accessibility, and helped shape a sense of pride in the local community.

Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm.

Gallery closed January.

See our website for latest information.

Joel B. Pratley, Drought story, 2020.

The Highly Commended Award goes to Julian Kingma for Tom at the Drain.

The Distinction Awards go to R.J Poole for Great conjunction and Jessica Hromas for Mark and Saskia cool off. The Art Handlers’ Award goes to I’m just a suburban fashionista by Kristina Kraskov.

Tuggeranong Arts Centre

VIEW 2022.

3 February—5 March VIEW 2022 Various artists VIEW is PhotoAccess’ annual exhibition showcasing work from emerging artists and photographers in the ACT and region. The show curates innovative and thought-provoking works that demonstrate conceptual and material innovation, and an adventurous engagement with contemporary issues and art practices. Works may be in any medium using or incorporating photographic processes, including still and moving images developed through digital and/or analogue techniques, multimedia, photo-sculptures and 3D installations.

Christina Lowry, New Normal, 2021.

5 February—2 April Memento Vivere Christina Lowry

James Farley, Untitled, diptych from Walking in Isolation, 2021, variable.

5 February—2 April Walking in Isolation Photography by James Farley.

Poetry by Lachlan Brown.

5 February—26 February Secure Escape Elspeth Rowell and Emma Crocker.

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A–Z Exhibitions

JANUARY/FEBRUARY 2022

Tasmania

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000.

03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm See our website for latest information.

Contemporary Art Tasmania

22 February—14 March The River and The Town Glen Preece

www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm.

See our website for latest information.

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

Nicola Gower Wallis, Smoke Trail, 2021, gouache on paper, 64 x 85 cm.

14 January—5 February Stars Puddled Underfoot Nicola Gower Wallis

Tess Campbell and Sam Mountford, Untitled, 2021. Photo: Peter Puskic.

29 January—6 March Boundaries Tess Campbell, Sam Mountford Curated by Lucy Bleach.

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm.

See our website for latest information.

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

Nadège Philippe-Janon, At the Core is Another, 2018, various materials inc. salt, glass prisms, motors, animation, sound.

Dimensions: Variable.

20 November 2021—29 January Systematic Curator: Dr Eliza Burke. Artists: Tega Brain, Ian Burns, Bill Hart, Jacob Leary, Nadège Philippe-Janon, Patrick Pound, Tricky Walsh, Laura Woodward.

Systematic explores current artistic approaches to concepts of ‘the system’ showcasing eight Australian artists whose works constitute self-contained, interactive systems in their own right, or engage with systems principles at conceptual and material levels. Curated by Dr Eliza Burke.

David Stephenson, 2021/33 (near Miena, Tasmania), archival pigment print, 102 x 76 cm.

14 January—5 February Survivors David Stephenson 18 February—12 March Water[shed] Group exhibition involving 50 artists marking the 50 year anniversary of the damming of Lake Pedder.

Kylie Elkington, Heathland, West Coast, 2021, oil on linen, 46 x 36 cm.

14 December 2021–3 January Locals Kylie Elkington 4 January—24 January The Mountain Robert Brown

Systematic is a Plimsoll Gallery exhibition toured by Contemporary Art Tasmania.

The Plimsoll Gallery is supported by the University of Tasmania. Contemporary Art Tasmania is assisted by the Australian Government through the Australia Council, its principal arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments, and is assisted through Arts Tasmania by the Minister for the Arts. This project has been assisted by the Australian Government through the Contemporary Touring Initiative program, through Arts Tasmania by the Minister for the Arts, the Hobart City Council’s ‘Creative Hobart’ grants 207

ar t g ui d e .c o m . au Devonport Regional Gallery continued... scheme and by the Contemporary Art Tasmania Exhibition Development Fund.

TASMANIA

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm.

See our website for latest information.

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

Queen Victoria Art Gallery, Royal Park: Permanent Display Royal Park: we’ve changed The reinterpretation of the QVMAG’s collection at Royal Park reflects our histories, identities and stories in a fresh and contemporary context. Focusing on local Aboriginal cultures, colonial history and modern diversity, this exhibition encourages us to contemplate the ever-changing cultural landscape and our sense of belonging within it.

Stephen Lees, Cradle in the Wind, oil on linen, 198 x 305 cm.

4 December 2021—29 January Painting Places: Past and Present Stephen Lees Lees has been devoted to painting the Tasmanian landscape since he arrived in Devonport 45 years ago from Sydney to teach drawing, painting and art history at the local TAFE in Devonport as well as the college in Burnie. With Painting Places: Past and Present Lees returns to the town where this whole venture began.

The exhibition is not a survey show as such but some key paintings from the past are included to illustrate how his vision of the Tasmanian landscape has evolved. Painting Places: Past and Present is highly representative of Lees’ working practice and his pursuit of Tasmanian colour and light. Curated by Trudi Curtis, Colville Gallery.

Curated by MCA Director Elizabeth Ann Macgregor OBE, Lindy Lee: Moon in a Dew Drop is the largest survey exhibition of Lindy Lee’s works to date. The result of a close collaboration between the artist and curator, the exhibition features key artworks from the 1980s to the present, including several new works created specifically for the exhibition tour.

Lindy Lee works across painting, sculpture, installation and public art.

She draws on her Australian and Chinese heritage to develop works that engage with the history of art, cultural authenticity, personal identity and the cosmos.

Key influences are the philosophies of Daoism and Ch’an (Zen) Buddhism.

Lindy Lee: Moon in A Dew Drop is organised and toured by the Museum of Contemporary Art Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

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Queen Victoria Museum, Inveresk: 19 December 2021—19 April ArtRage An annual initiative of the Queen Victoria Museum and Art Gallery that exhibits the top works from young Tasmanian artists in year 11 & 12 studying Art Production or Art Studio Practice as part of their Tasmanian Certificate of Education.

These artworks have been selected by QVMAG from works shortlisted by the art teachers of the various colleges. The works exhibited reflect the originality of the individual students and the creativity that is encouraged by these schools.

Tasmanian Museum and Art Gallery Garry Greenwood, Skin. Image by Melanie Kate.

Faridah Cameron, There’s always a way, 2021, acrylic on linen, 102 x 112 cm.

7 January—28 January Faridah Cameron

Sophie Witter, untitled.

10 December 2021—7 January Just Wait Sophie Witter

Queen Victoria Art Gallery, Royal Park: 5 December 2021—22 May Skin Garry Greenwood Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood at QVMAG Royal Park.

12 February—19 April Lindy Lee: Moon in a Dew Drop Following a successful season at the Museum of Contemporary Art Australia (MCA) in Sydney, the Lindy Lee: Moon in a Dew Drop exhibition, is touring nationally to five venues across Australia: Western Plains Cultural Centre (NSW, Lismore Regional Gallery (NSW), Artspace Mackay (QLD), Devonport Regional Gallery (TAS) and John Curtin Gallery (WA), supported by the Australian Government’s Visions of Australia program.

Smibert; many of which will be revealed to the public for the first time.

Jock Young, Marieville Sunlight, 2020, oil on linen, 90 x 120 cm.

28 January—14 February Jock Young

Deep underground: a red landscape transforms the gallery. There you will find a pair of insect-like ‘mobile sculptures’ going about their mechanical choreography, digging and marking the earth. Inspired by the movement of insects and evolution of vertebrae in walking species, Capper uses his ability as a steel fabricator and mobile hydraulics engineer to make sculptures that walk across landscapes.

TMAG is proud to present a travelling exhibition featuring some of Australia’s best-known and most beloved artworks, Sidney Nolan’s Ned Kelly series from the National Gallery of Australia.

Sidney Nolan’s 1946–47 paintings on the theme of the 19th-century bushranger Ned Kelly are one of the greatest series of Australian paintings of the 20th century.

Nolan’s starkly simplified depiction of Kelly in his homemade armour has become an iconic Australian image. In 1977, Sunday Reed donated 25 of the 27 paintings in Nolan’s first exhibited Kelly series to the National Gallery of Australia. The series was first painted while Nolan was living with Sunday and her husband John Reed at their homestead, Heide in Heidelberg, Victoria.

This exhibition is supported by the National Collecting Institutions Touring and Outreach Program and Visions of Australia, both Australian Government programs aiming to improve access to the national collections for all Australians.

This summer, TMAG presents photography and video works from its collection across its temporary exhibition galleries, highlighting three artists: Ricky Maynard, Anne Ferran and Joan Ross.

Queen Victoria Art Gallery, Royal Park: 5 December 2021—13 February Herself

www.mona.net.au

Prototypes of Speculative Engineering James Capper

Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians.

Herself. Image by Melanie Kate.

Museum of Old and New Art (Mona)

17 December 2021—9 May Jean-Luc Moulène and teams

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Daily 10am–4pm.

Free entry.

See our website for latest information.

29 October 2021—20 February Sidney Nolan’s Ned Kelly series

26 November 2021—20 February Works from the TMAG Collection

18 February—7 March Nick Glade-Wright

655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm.

See our website for latest information.

www.tmag.tas.gov.au

Sidney Nolan, Ned Kelly, 1946, from the Ned Kelly series, 1946 – 1947. National Gallery of Australia, Canberra, gift of Sunday Reed 1977.

Joshua Santospirito, Glimpse.

4 February—21 February The Quoll Josh Santospirito

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm.

Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the 19th century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries.

Lucienne Rickard at work in TMAG’s Link Foyer.

31 March 2021—23 January Ecology Studies (Adrift Lab)

The latest temporary exhibition to feature at the Art Gallery at Royal Park, bringing together the vast knowledge of painting practice from internationally renowned Tasmanian artist Tony Smibert.

Ecology Studies (Adrift Lab) is a long-term performance in which Tasmanian artist Lucienne Rickard will draw a large tableau of flesh-footed shearwater and her family memories, embedded alongside the landscape of Lord Howe Island, continuing her expression of urgent concern for the natural world and our impacts on it. She will be drawing in TMAG’s Link Foyer four days per week. It is a progression from Extinction Studies – Lucienne’s 2019–21 performative artwork that drew attention to species we have lost – and continues her expression of urgent concern for the natural world and our impacts on it.

Built from refined skill and dedication to landscape painting spanning a career of 40-years, Tao Sublime showcases a collection of emotive and striking works by

Ecology Studies (Adrift Lab) has been commissioned by Detached Cultural Organisation and presented by the Tasmanian Museum and Art Gallery.

Queen Victoria Art Gallery, Royal Park: 4 December 2021—6 November Tao Sublime

In Argyle Gallery 1, visitors will be able to see Ricky Maynard’s photography series Moonbird People (1985-88), and Portrait of a Distant Land (2005-07), which document his life on the Flinders Island archipelago.

In Argyle Gallery 2, TMAG presents Joan Ross’s video work I give you a mountain (2018), which touches on both the magnificence and tragedy of museums and is a reinvention of Sir Ashton Lever’s London museum, which opened in 1775.

Finally, in Argyle Gallery 3 visitors can see Anne Ferran’s photography series Lost to worlds (2008), which features images taken where the prison for women convicts once stood in Ross, Tasmania.

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S OUTH AUSTRALIA

A–Z Exhibitions

JANUARY/FEBRUARY 2022

South Australia

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

See our website for latest information.

artists and through collaborative projects. In addition, dozens of partner venues around Adelaide and across South Australia present diverse and original exhibitions of works by hundreds of First Nations artists.

Flinders University Museum of Art www.flinders.edu.au/museum-of-art

2021 Helpmann Academy Graduate Exhibition, ACE Open. Photo by Thomas McCammon. Courtesy of Helpmann Academy.

1 February—19 February Helpmann academy graduate exhibition Over twenty emerging artists from Flinders University and the University of South Australia showcasing their graduate works.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt.

Thurs until 7pm. Closed weekends and public holidays. Closed until 10 January. Free entry.

FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

See our website for latest information.

Art Gallery of South Australia

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street 210

260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm.

See our website for latest information.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Mon to Sat 10am–5pm.

See our website for latest information.

Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149

10 December 2021—13 February Fortified

r e a, Gamilaraay, Wailwan and Biripi people, Iron from the series Look Who's Calling the Kettle Black, 1992, digital dye sublimation print, 19 x 25 cm, on loan from the artist, © r e a, 2021.

11 October 2021—8 April Sovereign Sisters: domestic work

Mulberry Road, North Terrace, South Road, Porter Street,

www.hugomichellgallery.com

Alexandra Hirst, Secret Recipe, 2021.

Photograph: Michael Haines.

www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry.

See our website for latest information.

Hugo Michell Gallery

John Prince Siddon, Walmajarri people, Western Australia, born 1964, Derby, Western Australia, Australia: Mix it all up, 2019, Fitzroy Crossing, Western Australia, synthetic polymer paint on canvas, 120.0 x 240.0 cm; Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide, © John Prince Siddon | Mangkaja Arts Resource Agency.

15 October 2021—30 January Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art This year’s Tarnanthi Festival is an opportunity to experience Aboriginal and Torres Strait Islander art in all its diversity.

AGSA presents dozens of new works from around the country, created by individual

A Flinders University Museum of Art exhibition. Curated by Ali Gumillya Baker with Madeline Reece. Presented in association with Tarnanthi Festival and APRON-SORROW / SOVEREIGN-TEA curated by Dr Natalie Harkin at Vitalstatistix.

Featuring Paola Balla, Destiny Deacon, Julie Dowling, D Harding, Natalie Harkin, Leah King-Smith, Tracey Moffatt, Clinton Naina, r e a, Yhonnie Scarce, Ellen Trevorrow and Unbound Collective.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online.

Gallery open by appointment only.

See our website for latest information.

Stephanie James Manttan, Reverse Flow #2, 2019. Photograph: Sven Kovac.

10 December 2021—13 February Sort Sol Stephanie James-Manttan 17 December 2021—13 February JamFactory at Seppeltsfield: Made/Worn: Australian Contemporary Jewellery Australian Design Centre national touring exhibition.

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ar t g ui d e .c o m . au Jamfactory continued...

10 December 2021—9 February Collect: A Thing For Bling Bridget Bodenham, Sarah Gardner, Manuela Igreja, Clairy Laurence, Annemieke Mulders, Ruby Pilven, Tae Schmeisser and Kim Victoria.

30 October 2021—30 January Carrick Hill: FUSE Glass Artist Residency The Study of the Sky Alex Valero

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm.

Closed Mon and public holidays.

S OUTH AUSTRALIA with the natural world and the complexities of humankind’s influences on our environments. SPUR2022 is presented

by Country Arts SA in collaboration with Murray Bridge Regional Gallery.

12 February—10 April Rural Strength A group exhibition by local artists from Bridge Arts.

Inspired art drawn from the inner strength of our rural community, their resilience in adversity, their aspirations for the future and their love for their lands.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thu 9am–7pm, Sat 9am–4pm, Sun Closed.

28 January—26 February The Hoyleton Studio Collective John Hayward and Will Powrie We are interested in how materials and objects convey meaning and a sense of place, while exploring narratives within different contexts and juxtapositions.

Nexus Arts www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

See our website for latest information.

13 January—11 February STAUNCH: An Exploration of Aboriginal Queer Liberation Curated by Dominic Guerrera, featuring works by Peter Waples Crowe, Natalie Harkin and Arika Waulu as part of Tarnanthi 2021.

STAUNCH will juxtapose work created by more than a dozen queer Aboriginal artists and poets, many of whom explicitly explore queer subjects, exposing the diversity of possibilities that reside within Aboriginal identities.

17 February—18 March Aisle 8 Chiranjika Grasby Reflecting on her childhood from a mixed diasporic background, Chiranjika Grasby responds to the sensorial aspects of Asian Supermarkets and how they helped her form a connection to her cultural heritage in this multimedia visual arts exhibition.

yells ‘Marco’ in which case the responders yell ‘Polo’ until they reach out and touch a responder. Similarly, this exhibition will see Breda collaborate with award winning leader in VR, Brennan Hatton to showcase an interactive VR experience inspired by these childhood thematics.

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Tim Gruchy, STORM (Stochastic Translator of Resonant Morphology) V2, 2021, immersive installation.

13 November 2021—30 January Remembering the Future Tim Gruchy Tim Gruchy’s extensive career spans the exploration and composition of immersive and interactive multimedia through installation, music and performance.

12 December 2021—30 January CLEVERMAN An ACMI Touring Exhibition that invites you to listen-first and immerse yourself in a powerful and contemporary expression of origin stories. Go behind the scenes of the groundbreaking sci-fi series, to explore First Nations storytelling, language and creativity in production design, costumes and props, including designs

by Weta Workshop and artwork from the original comic book series. This project has been assisted by the Australian Government’s Visions of Australia program.

Jasmine Crisp, self-portrait in Reykjavik, (detail), oil on canvas, 135 x 120 cm. Winner of the 10th Prospect Portrait Prize.

10 December 2021—25 January 11th Prospect Portrait Prize

In Remembering the Future Tim asks the audience to slow down and observe the collision between nature and technology prompting us to consider, what is real?

Kym Wanganeen, Untitled, mixed media, synthetic polymer paint on canvas, © estate of Kym Wanganeen, photo by Sia Duff.

Making and exhibiting work since the 80s, Gruchy draws on memory, speculative futures, science fiction and combines it with the creative possibilities of digital and analogue technologies to invite audiences into his works. Working across sound and vision, he taps into slow movement focusing on the interplay between humans, nature and the ever evolving technology they create.

The longest running portrait prize in South Australia, the Prospect Portrait Prize is a non-acquisitive juried exhibition of contemporary portraits in any medium.

12 February—10 April SPUR 2022

Daniel Breda, Blue Crush, 2021, acrylic on canvas, 193 x 120 cm.

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www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

11 December 2021—29 January Water Meter Reader Emmaline Zanelli, with Louis Zanelli, Paul Zanelli, Will Nolan, Banjo Weatherald and Kaspar Schmidt Mumm.

Influenced by her father’s work for SA Water and her brother’s trade as a plumber, Water Meter Reader collaboratively delves into the role water plays in the artists familial relationships.

10 March—5 March Marco Polo Daniel Breda This interactive exhibition examines contemporary space through the juxtaposition of physical and virtual spaces with virtual reality, installation and traditional painting. In this exhibition, Breda extends his practice through a bold, bright and fun abstract adaptation of the classic Australian swimming pool game Marco Polo.

Valerie Sparrow, Strelitzia, (detail), 2021.

Sauerbier House culture exchange

Influenced by her father’s work for SA Water and her brother’s as an apprentice plumber, Water Meter Reader collaboratively delves into the role water plays in the artists familial relationships.

Chris de Rosa, Lara Tilbrook, Ellen Trevorrow, Clancy Warner, Laura Wills SPUR 2022 brings together five diverse artists with strong connections to regional SA, whose practices draw attention to our inherent interconnectedness

This exhibition showcases the amazing efforts and tremendous talents of students from Relish Art Room, encompassing drawing, painting, ceramics and mixed media.

An initiative of the Commissioner for Children and Young People, Space to Dream is a design challenge that encourages anyone under 18 to design a toy or gadget for someone their age who is moving to Mars. This touring exhibition showcases the top-rated entries from the challenge.

www.praxisartspace.com.au

CLEVERMAN.

11 November 2021—9 January Relish Art Room: Celebrating Children’s Creativity

15 January—18 April Space to Dream

praxis ARTSPACE 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm.

Comprising a series of 25 thought provoking images accompanied with poignant quotes sourced from Australia’s archives, the exhibition lays bare the plight of Australia’s war widows, grieving mothers and traumatised returning soldiers. This series also captures the Belgian army’s ongoing collection of the lethal legacy of unexploded ordinance from the Great War, routinely unearthed in Belgium’s fields, construction sites and backyards to this day.

John Hayward, Art Died, 2014, wood, string, paper, mobile phone, 80 x 18 x 18 cm. Photo by M. Kluvanek.

Image by Chiranjika Grasby, courtesy of the artist.

Nostalgically a childhood game, Marco Polo is an imaginary game where players are metaphorically blindfolded in a body of water. Traditionally, the blindfolded

Ian Alderman, #Flanders 6950, 2018, digital photographic print on archival paper.

11 November 2021—9 January Recovering the Past Ian Alderman This timely photographic exhibition documents the physical and psychological consequences of the Great War.

Elyas Alavi. Untitled, (detail), 2021, ink on canvas, 110 x 76 cm. Image courtesy of the artist.

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ar t g ui d e .c o m . au Sauerbier House Cultural Exchange continued...

Elyas Alavi Responding to themes of displacement, memory, time and space, Alavi uses the act of walking to reflect on new landscapes while contemplating his birth hometown of Dainkundi.

metaphor. Based in London and California, Isaac Julien (CBE RA) is recognised for his screen film installations and photographs incorporating different artistic disciplines, including dance, photography, drawing and sculpture.

Informed by his film background, Julien’s art installations form fractured narratives that critically reflect on themes such as identity, history, globalisation and social representation.

Site Interrupted (working title) is the result of a 5-week studio residency by multi-media artist, Inneke Taal. In conceiving architectural structures and language as fluid and embodied, Taal promotes constant change or flux as inherent in the experience of site and self. Infusing Sauerbier House with localised and introduced remnants, the artist interrupts the narrative and offers up a poetic renewal of site as a reflection upon impermanence, further considering the very basis of ‘heritage’ as a way of navigating these concepts materially. Adelaide Fringe Festival 2022.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

4 March 2021–27 May Helen Fuller Samstag is proud to present new work by Helen Fuller with the ambitious exhibition design of Khai Liew.

Over a long and extensive career, Fuller has established an accomplished multidisciplinary practice encompassing painting, sculpture, installation and in recent years, ceramics. Materially driven, she approaches ceramics in a manner she likens to painting, centred about characteristics of form rather than the function of the vessel. Developed for the Adelaide Festival, Fuller’s new body of work will see a series of hand-built terracotta objects exploring connections to geological and social time, and the object as a cultural and anthropological artefact.

South Australian Museum www.samuseum.sa.gov.au

The South Australian Museum has been committed to making Australia’s natural and cultural heritage accessible, engaging and fun for over 150 years. It is a place where families can learn and grow together.

4 March 2021–27 May Isaac Julien An exhibition of works by Isaac Julien, an internationally acclaimed UK artist and filmmaker with career links to Australia, presented concurrently for the 2022 Adelaide and Perth Festivals. Julien is world-renowned for arresting works that bring together baroque pageantry and 214

Western Australia

Helen Fuller, pots, 2021. Photo by Grant Hancock courtesy Samstag Museum of Art, Adelaide.

North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Thin Ice VR – A Monkeystack and Shackleton Epic Expedition Production.

JANUARY/FEBRUARY 2022

greatest stories of leadership and survival; the ill-fated Imperial TransAntarctic Expedition. Over 100 years later we follow in the footsteps of Shackleton, experiencing the adventure first-hand to see the effect climate change has had on the Antarctic region through immersive VR.

Inneke Taal, Untitled (WIP), 2021, dimensions variable. Image courtesy of artist.

5 February—19 March Site Interrupted Inneke Taal

A–Z Exhibitions

Today the Museum is one of the most visited museums in Australia and holds collections of national and international significance. It is a leader in remote and regional community engagement, and in Australian Aboriginal heritage and scientific research.

20 November 2021—6 February Thin Ice VR Immerse yourself in a 20-minute historical virtual reality experience presented by Tim Jarvis AM. In 1914, polar explorer Sir Ernest Shackleton led one of History’s

Sunfly Tjampitjin, Untitled, 1982.

15 October 2021—6 February Balgo Beginnings 2021 marks the 40th anniversary of the Balgo art movement’s beginnings. It also marks the first time many of the earliest Balgo paintings have ever been publicly displayed. Lost for over four decades, the founding artworks of Balgo were rediscovered in 2019. Lovingly restored and displayed for the very first time at the South Australian Museum, along with contemporary works from Warlayirti Artists, don’t miss your chance to view an extraordinary moment in Australian art history.

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

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Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment.

WESTERN AUSTRALIA

Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

See our website for latest information.

Jack Ball, Paint box mid-blue, 2019, photographic rag, 110 x 160 cm. © Jack Ball.

Helen Smith, Upcycle 11, 2020, oil on found packaging, 16.5 x 14 x 4 cm.

5 February—5 March Less and More Helen Smith Helen Smith explores the binary of minimalism and complexity in a new painting series. Minute details appear secondarily to the large, geometric shapes that seem to flip or vibrate, expand and collapse as a viewing experience. Small works painted on recycled packaging accompany the larger paintings.

Until 31 January The View From Here A Celebration of Western Australian art.

The View From Here, the Gallery’s largest-ever exhibition of Western Australian art, with 30 new commissions, exhibitions and acquisitions by leading Western Australian artists and creatives.

Until 18 April Ever Present: First Peoples Art of Australia

Language encompasses words, symbols, non-verbal sounds, and actions. Where language expresses cultural hierarchies and values, translation becomes a process of transferring these cultural meanings from one language to another, mediating between cultures and negotiating difference. Featuring video, soft sculpture, zines, and print works, artists Alter Boy, Fayen d’Evie, Nastaran Ghadiri, Zou Mat Je, and Josh Ophel navigate between languages with empathy and creativity, exploring what language can tell us about the world and our place in it.

Ever Present: First Peoples Art of Australia surveys historical and contemporary works by over 80 Aboriginal and Torres Strait Islander artists from across Australia. Drawn from the collections of the National Gallery of Australia and Wesfarmers Arts, the powerful works in this touring exhibition reveal the contemporary views and lived experiences of Aboriginal and Torres Strait Islander people, bridging time and place, and connecting through the perspectives of identity, resilience and cultural legacy.

Only on show in Perth.

Presented by Perth Festival in association with DADAA. What languages do you speak? Do you speak the language of your parents? Your grandparents?

Zac Bruce, Fictions, 2020, 35mm film slide viewed through vintage photo slide viewer, 3.5 x 2 cm.

22 January—20 March The Light Gleams (and is Gone) Zac Bruce

Fremantle Arts Centre www.fac.org.au

Artitja Fine Art Gallery www.artitja.com.au 330 South Terrace, South Fremantle, WA 6162 0418 900 954 See our website for latest information.

Pierre Auguste Renoir, Tete de Venus, 1915. Bronze with black patina. State Art Collection, Art Gallery of Western Australia. Purchased with funds presented

by Swan Portland Cement Ltd, 1980.

Part of the Freighting Ideas series by Art on The Move and the Art Gallery of WA.

DADAA Gallery www.dadaa.org.au Bob Gibson, Patjantja, 178 x 48 cm.

Courtesy of the artist, Tjarlirli Arts and Artitja Fine Art Gallery.

Artitja Fine Art Gallery established in 2004 invites you to view art in a home environment by appointment. Specialising in art from remote Aboriginal art centre communities, the gallery’s focus has been in making cultural connections through art. Since its inception the gallery has become one of Perth’s most reputable and accessible Aboriginal art galleries, holding up to six exhibitions in public spaces annually details of which can be found on the website.

92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm.

See our website for latest information.

Julie Dowling, Badimaya people, Self-portrait: in our country, 2002. National Gallery of Australia, Canberra. Purchased 2002. Courtesy of Artplace.

64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm.

Follow us on Facebook to keep upto-date with our latest information.

Rosie Deacon, Pom Pom: Children’s Contemporary Art Space, 2017, Carclew, Adelaide. Photography by Sam Roberts.

20 November 2021—23 January Hundreds & Thousands: An Immersive Kids’ Colour Adventure

www.brag.org.au

5 February—5 March Mono no aware Theo Koning

1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm.

Free admission.

See our website for latest information.

27 November 2021—7 March There Were Moments of Transformation

Bunbury Regional Art Gallery

Theo Koning, Untitled 3, 2021, metal and acrylic paint, 20 x 12 x 4.5 cm.

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5 February—9 April Our Language

The exhibition captures the perspectives of a diverse group of artists, from the state’s renowned and iconic western desert and Kimberley artists to emerging artists—many from non-traditional arts backgrounds—to established Western Australian artists working here and elsewhere.

Including Sarah Bahbah, the WA-raised, LA-based artist with over 1 million Instagram followers; Tim Meakins, whose giant 3D-printed sculptures of weightlifters, posers and grinning weights, offer a playful interpretation of modern fitness culture and occupy AGWA’s new interior rooftop gallery; Bruno Booth’s ‘Adidas’-wearing cats appearing in unexpected places; a sprawling, 34-metre

Theo Koning brings awareness to the ephemeral nature of all things through attentive new object assemblages. A new artist book of the artist’s collage works will be launched to accompany the meticulously constructed works in the exhibition.

light-based artwork by Christopher Pease which wraps the exterior walls of the new AGWA Rooftop and recent works by Abdul Abdullah, Ngarralja Tommy May, Yok & Sheryo, Danielle Freakley, Tyrown Waigana and Tarryn Gill.

Fayen d’Evie with Anna Seymour, Vincent Chan, and Trent Walter, Care is a cognate to grief, 2021, screenprint and tactile UV prints, (detail).

Following on from the blockbuster 2018 kids’ exhibition Animaze, Fremantle Arts Centre presents an even bigger and more colourful creative experience for kids with Hundreds and Thousands. This immersive colour exhibition will transform the galleries and grounds into colour-filled worlds, with vibrant interactive artworks created and displayed specifically for children and families to enjoy. Across a spectrum of colour-themed spaces, Hundreds and Thousands will create rich sensory experiences for kids of all ages, including kinetic colour machines, giant golden soft sculptures, cool blue optical illusions and mysterious multicoloured dimensions.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

See our website for latest information.

22 November 2021—23 January 2021 York Botanic Art Prize Botanical art in the expanded field. 52 works by established and emerging artists from across Australia, celebrating the diversity of Western A ustralia’s unique flora. Winner announced 21 November.

Finalists: George Aitken, Bryce Anderson, Luke Barlow, Natalie Blom, Jack Buckley, Claire Bushby + Donna Franklin, Sophie Carnell, Jacky Cheng, Erin Coates, Jennifer Cochrane, Sue Codee, Jane Coffey, Jo Darvall, Joanne Duffy, Sarah Elson, Audrey Fernandes-Satar, Angela Ferolla, Leah Gale, Jenny Gilbertson, Hannah Goggs, Sohan Ariel Hayes, Joanne Hayward, Sam Hopkins, Rebecca Jensen, Leahlani Johnson, Megan Juresa, Aleisha King, Sophie La Maitre, Camilla Loveridge, Lucille Martin, Shauna Mayben, Rebecca Mayo, MKTicks, Mark Mohell, Annette Nykiel, Holly O’Meehan, Pamela Pauline, Krystle Ricci, Tracy Robinson, Judy Rogers, Gai Saunders, Bella Scharfenstein, Valerie Schoenjahn, Doug Schofield, Bruce + Nicole Slatter, Colleen Southwell, Joanna Sulkowski, Louise Wells, Robin Wells, Laura Williams, Jude Willis, Peter Zappa.

Sponsored by Wildflower Society of Western Australia, York branch of the Wildflower Society of Western Australia.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies.

See our website for latest information.

1 February—18 February SHINE Works of excellence by NMTAFE’s best Creative Industries students from 2021 show the fruits of studies in Visual Art, Jewellery, Photography, Graphic, Interior and Product Design, Fashion plus animation/games and screen.

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Gallery Central continued...

Jordy Hewitt, Kieron Broadhurst, Kyle Hughes – Odgers, Nigel Laxton, Stephen Brameld X Jay Staples and others.

We are pleased to present our annual holiday season exhibition, celebrating the best Western Australian contemporary art and inviting viewers to acquire holiday season gifts.

Leigh Hewson-Bower, Canal Rocks, acrylic on canvas, 200 x 120 cm.

Wayne Warples, Hillarys Boat Harbour, digital print.

18 February—26 February Perth The Neon City and Western Australia by Drone Wayne Waples presents his NFT collections (Non-fungible token) marking both the works and the commerce as innovative.

Kaye Warrie, Thurlawirdingbirding, 2021.

Copyright of the artist.

Marianne Burton, Elsie Napanangka Granites, Melissa Sandy, Michelle Lewis, Rachel Martin, Queenie McKenzie, Natasha Nakamarra Oldfield, Matilda Oxtoby, Cherie Pickett, Curtis Taylor, Tjunkaya Tapaya, Edwin Ward, Kaye Warrie, Julie Renita Woods.

my work....I will rarely create a painting that does not include a representation of it. The first time I visited Rottnest back in the nineties was the beginning of my involvement with realism as an artist. It was a liberating experience to simply try my best to represent something in paint.

And I shall continue to do exactly that” — Leigh Hewson-Bower.

Yolande Barker, Daisies on Blue, acrylic on canvas, 51 x 51 cm.

20 January—ongoing Yolande Barker Annette Peterson, Through the Streets, oil on board 2021, 30 x 40 cm.

26 February—19 March Through the Streets and Other Adventures by Annette Peterson An exploration of the suburban driving experience, centred on a series of stop-motion films that emulate the “Live” option on an Apple iOS smartphone.

Each film still is rendered as a painting and each painting is then photographed to create a stop motion film – individual moments stringed together seamlessly into a constant moving image that is all too familiar.

Kelsey Ashe, Mooro Boodjar 29 December 1696, 2021, (detail). Courtesy and copyright of the artist.

Holmes à Court Gallery @ No.10: 12 February—12 March Strangers on the Shore Kelsey Ashe, Johnny Bulun Bulun, Jo Darbyshire, Sandra Harbern, Sandra Hill, Cherish Marrington, Laurel Nannup, Anna Nazzari, Lea Taylor, Michael Jalaru Torres.

JahRoc Galleries www.jahroc.com.au

Holmes à Court Gallery www.holmesacourtg allery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm.

Holmes à Court Gallery @ Vasse Felix: 30 January—1 May Collection Focus: Indigenous Art Sandy Aileen, Biddy Bunawarrie, 218

83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm.

See our website for latest information.

27 December 2021—17 January Cape To Cape Vistas Leigh Hewson-Bower “For this show I have chosen scenes from the South West of the state, an area of unparalleled natural beauty. I chose locations that best express the grandeur of the ocean in this part of the world. I guess you could say that water flows through

Artist Yolande Barker is constantly inspired by the vibrant colours and interesting patterns in her environment.

Whether it be in a shop, magazine or in nature, Yolande’s creative ideas are often sparked by these moments and material things that to many would seem ordinary.

Her early passion was ignited by her Granddad Addison Barker when visiting his studio where his pots of watercolour looked like candy. Yolande completed a diploma in Fine Art in 1996 and has not stopped painting since.

John Curtin Gallery Curtin University

Isaac Julien, The Lady of the Lake (Lessons of The Hour), 2019. installation artist, Julien is widely recognised for exquisitely crafted film work and photography of arresting beauty, underpinned by a penetrating interrogation of the universal concerns for social justice, equity and freedom. His multiscreen film installations and photographs create a poetic and unique visual language. Featured in this exhibition at the John Curtin Gallery will be two seminal works: Ten Thousand Waves and Lessons of the Hour being shown for the first time in Australia.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag

The Lawrence Wilson Art Gallery will be closed from 28 November 2021, reopening 12 February.

Each year we strive to present an innovative and accessible program of exhibitions and events. Our exhibitions feature contemporary and historical art.

Lessons of the Hour is a meditation on the life and times of Frederick Douglass, the visionary African- American writer, abolitionist and a freed slave, who is cited as the most photographed American of the 19th century. The ten-screen film installation takes a contemplative journey into Douglass’ life and the issues of social justice that shaped his work, issues that remain relevant today.

12 February—23 April Portals of Love and Loss Sonia Kurrara

www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209 See our website for latest information.

A landmark solo exhibition from Senior Walmajarri artist, Sonia Kurarra, one of the most successful living artists residing in WA. Painting the sandy billabong country along stretches of the Martuwarra Fitzroy River, Sonia’s work reflects an intimate relationship with the river and its surrounding environment. Newly commissioned work will feature alongside key pieces that demonstrate the major themes of her practice, as well as recent experiments with leather, paper scrolls and Perspex. A Perth Festival exhibition supported by Visual Arts Program Partner Wesfarmers Arts.

11 February—8 May Isaac Julien The John Curtin Gallery presents Isaac Julien as part of the 2022 Perth Festival.

An acclaimed British film maker and

Luisa Hansal, Leafworm, 2021, oil on canvas, 25.4 x 45.7 cm. Courtesy of the artist and sweet pea, Perth.

George Aitken, Planart 1, neon, acrylic, anodised aluminium box, 120x 100x 13 cm.

19 November 2021—30 January Modern Holiday 2021 Caspar Fairhall, George Aitken, George Howlett, Penny Bovell,

Laurel Nannup, We never got to open our mail, 2001, etching, ink on paper, Berndt Museum Collection, [2002/0016].

Courtesy of the artist.

12 February—23 April Inhabiting the Trace Presented by Berndt Museum Inhabiting the Trace explores the iterative and responsive nature of printmaking, bringing together a diverse display of printed works by Indigenous artists represented within the Berndt Museum collection. Printmaking is explored as a process of re-visiting, re-working, and re-telling, carrying the traces of other forms – artwork, archive, story, memory. Embedded within layers of ink, marks and impressions, emerge dialogues between artists, across generations, and with the past as an on-going material presence.

12 February—10 December From the Cruthers Collection of Women’s Art Cristina Asquith Baker, Gemma Ben-Ary, Portia Bennett, Dorothy Braund, Lina Bryans, Mary Edwards, Linda Fardoe, Margaret Francis, Adrienne Gaha, Bessie Gibson, Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie WilsonFoster, Sue Wyatt.

Contemporary art gallery showcasing the work of exceptional Australian and international artists making a significant and distinguished mark on the city’s cultural life.

www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat & Sun 12pm—4pm (February only), Sun 12pm—4pm (March—May).

Closed Public holidays.

Free admission.

A Perth Festival exhibition supported

by Visual Arts Program Partner Wesfarmers Arts.

The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12–5pm.

See our website for latest information.

Ten Thousand Waves is a majestic, multiscreen installation shot on location in China that weaves together stories linking China’s ancient past and present.

KAMILĖ GALLERY

with a famous verse from Shakespeare’s The Tempest, takes a detour via a 1994 survey of Western Australian landscape painter Audrey Greenhalgh and arrives in the present moment, showcasing works by three contemporary artists whose approaches to painting are variously representational, emotional and sculptural.

12 February—23 April Ariel’s Song: Luisa Hansal, Jess Tan and Wade Taylor with works from the UWA Art Collection Ariel’s Song celebrates how artists can open a door between worlds. It is an exhibition about shipwrecked feelings, rich and strange transformations and magical thinking. It charts a passage that starts

This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art – portraiture and the work of respected Australian artist, Susan Norrie. Norrie’s dark and weighty paintings are placed directly opposite a chronological run of portraits from the collection.

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Linton & Kay Galleries 83 Bussell Highway, Margaret River WA 6285 | (08) 9758 7200 info@jahroc.com.au | Open daily 10am - 5pm | www.jahroc.com.au

www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm.

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

See our website for latest information.

Midland Junction Arts Centre www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

See our 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.

Tom Mùller, Concept image for Canon, 2022. Images courtesy of the artist and MOORE CONTEMPORARY. Large scale, immersive and experiential, Canon brings together an ensemble of recorded voices plunged in sequential generative cloud forms produced by theatrical fog machines.

Installation activated at timed intervals, visit the MOORE CONTEMPORARY website for more information.

Theo Koning, Duckshound, 2003, paint on wood, 18 x 24 x 14 cm. Photograph by Acorn Photo.

LEIGH HEWSON - BOWER cape to cape vistas

27TH DECEMBER - 17th JANUARY

12 January—12 February Toy Stories Curated by Sarah Toohey.

Celia Perceval, Budawang Ferns Eurobodalla National Park, 2020, oil on linen, 90 x 100 m.

10 January—28 January West Perth: Vistas Selected gallery artists.

Toy Stories brings together artists, hobbyists, regional museums, and community groups together in a showcase of contemporary and historic handmade toys from the early 1920s to today in Western Australia. The exhibition presents local craft, social history, contemporary art, and childhood experiences of past and present generations. It celebrates the imagination and creativity of hobbyist toymakers and professional artists alike; their optimism, humour, and unstoppable urge to play.

MOORE CONTEMPORARY www.moorecontemporary.com

Bernard Ollis, Suzanne Valadon’s Studio, 2021, oil on Belgian linen, 153 x 183 cm.

February Subiaco: Artist Gardens III Bernard Ollis February Mandoon: New Works Tony Hewit

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm.

See our website for latest information.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

See our website for latest information.

Formed in 1979 by a group of dedicated volunteers passionate about providing a focus for arts and culture in the Perth hills, Mundaring Arts Centre (MAC) has remained true to its origins.

Over the years, the MAC staff, volunteers and artists have delivered a diverse range of creative arts experiences, annually engaging thousands of individuals of all interests and ages.

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.

3 February—27 February Canon Tom Mùller Public realm installation and performance in Cathedral Square.

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Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

PICA is both a producing and presenting institution that runs a year round program of changing exhibitions, seasons in

contemporary dance, theatre and performance and a range of interdisciplinary projects. It boasts one of the largest and most breath-taking exhibition spaces in Australia and has become known for the leading role it plays in the presentation of significant new work.

and attractions that the City of Kalamunda offers. The Perth Hills offer a glorious mix of natural bush, wildflowers, waterfalls and creeks, towering trees, sensational views, art galleries, vineyards, restaurants and cafes. At around a 35 minute drive, it’s all so close to Perth.

22 October 2021—9 January Sky Cave Amy Perejuan-Capone

15 January—6 February Art Awards 2022 Lions Club of Kalamunda.

A–Z Exhibitions

JANUARY/FEBRUARY 2022

Northern Territory

22 October 2021—9 January Coming Home Alex Martinis Roe 20 February—24 April Monumental Amrita Hepi

Zig Zag Gallery www.zzcc.com.au

Alex Martinis Roe, Coming Home, (still) 2021. Image courtesy of the artist. 4K video, Super 8 and archival material courtesy of JAFL – the Jewish Adelaide Feminist Lesbians including photographs, VHS video and reel-to-reel Helical Scan video tape transferred to digital.

50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information.

The Centre is situated in the ‘Kalamunda Cultural Precinct’ between the Kalamunda History Village and the Kalamunda Library, and welcomes visitors to the region to experience the history, culture

Ellis Pearson, When Stillness Moves, oil on canvas, 110 x 110 cm.

12 February—27 February Crooked Water Ellis Pearson

Professional Printmaking Classes

A wide range of printmaking classes Award winning artist

Explore traditional printmaking techniques The newest advancement in the field

Classes offered in person (WA) and online www.monikalukowska.net I 0477859505 I @monika.lukowska

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Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm, Sun 10am–2pm. Closed Mon. 5 November 2021—20 March Old stories Our stories Now stories.

A collection of works drawn from the Araluen Art Collection and on loan from Bindi Mwerre Anthurre Artists and the Pamela Lofts Estate.

Multiple artists from the 30 years of Desert Mob. 20 November 2021—13 February Greenbush Art Group Sculptural works by Batchelor Institute visual arts graduates and students from the Alice Springs Correctional Centre.

26 November 2021—20 March Foul Play

Peter Adsett, Brushwork No 6, 2021.

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Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions.

See our website for latest information.

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www.nccart.com.au

NCCA is the leading centre for contemporary visual art in the Northern Territory—bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communities through its dynamic program.

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Museum and Art Gallery of the Northern Territory

7 August 2021—6 February Telstra NATSIAA

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3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

See our website for latest information.

A R A R AT

attention of the nation, with an inspiring breadth of work from emerging and established artists.

Foul Play presents the most recent series of paintings by Peter Adsett—none of which has been previously exhibited.

www.magnt.net.au

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10 September 2021—June Desert Mob Retrospective

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Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Black Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Distorted Frame East Gippsland Art Gallery Everywhen Artspace

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239

“My work is about how we are implicated indirectly and directly in things we may not necessarily morally agree with.”

FOUND AND ROSALIE GATHERED GASCOIGNE

I

— J A H N N E PA S C O - W H I T E , A R T I S T P. 10 3

LORRAINE CONNELLYNORTHEY

“I just really think, using English everywhere all the time, we’re flattening the real beauty and the differences in everyone’s experiences.”

— L É U L I E S H R ĀG H I , A R T I S T, P. 70

“The lines between choice, exploitation, and desire are not quite so black and white.”

— S O P H I A C A I , W R I T E R , P. 10 0

UNTIL 20 FEB THE IAN POTTER CENTRE: NGV AUSTRALIA, FED SQUARE FREE ENTRY Installation view of Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey at The Ian Potter Centre: NGV Australia © Lorraine Connelly-Northey © Rosalie Gascoigne Estate/Copyright Agency, 2021.

Photo: Tom Ross

NGV.MELBOURNE ngv.melbourne

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