Art Guide Australia — July/August 2021

J U LY/ A U G U S T 2 021

C OV E R S T OR Y

Caroline Rothwell is reclaiming botanical worlds

P LUS

The existential humour of Katy B Plummer

Alair Pambegan and connection to Country

Marley Dawson Roslyn Oxley9 Gallery July – August 2021

roslynoxley9.com.au

MARCO FUSINATO EXPERIMENTAL HELL (ATMOSPHÆRAM)

August – October 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com annaschwartzgallery.com

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acca.melbourne

July 9 – September 25, 2021 The Japan Foundation Gallery

Presented by

HOYA UMESHU CO.,LTD.

Supported by

Level 4, Central Park 28 Broadway Chippendale NSW 2008 jpf.org.au

2016.7.28

100%

33% Y 81%

Image: Kiki Ando, Kimono pink incense packet, 2021, Photo by Rafaela Pandolfini

jpf.org.au

maas.museum

Hilma af Klint Group X, Altarpiece, no 1 1915. Courtesy of the Hilma af Klint Foundation HaK187. Photo: The Moderna Museet, Stockholm, Sweden

Hilma af Klint The Secret Paintings Discover the visionary artist disrupting art history Exclusive to Sydney Until 19 September Strategic sponsors

Major digital sponsor

artgallery.nsw.gov.au

sydneycontemporary.com.au

Australasia’s Premier Art Fair

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australian.museum

28 Aug — 24 Oct 2021

Festival tickets now on sale ballaratfoto.org

Ballarat Internation Foto Biennale 2021 + Be immersed in photography.

60 days of exhibitions & events showcasing works by Australian & international artists in 100+ venues across Ballarat and surrounds.

Major Partner

Steven Arnold, Lighting the Path, 1985 (detail) AUSTRALIAN EXCLUSIVE

Government Partners

Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative.

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WINTER SEASON 2021

— FRIDAY 24 SEPTEMBER

Image: Madison Bycroft, 2014 Samstag Scholar, BIOPIC, or CHARLES GENEVIÈVE LOUIS AUGUSTE ANDRÉ TIMOTHEE, 2021, still from video, courtesy the artist.

FRIDAY 23 APRIL

Alex Martinis Roe: To Become Two Friday 23 April — Friday 24 September 2021 / James Nguyen and Victoria Pham: RE:SOUNDING Friday 23 April — Saturday 17 July 2021 / Madison Bycroft: BIOPIC or Charles Geneviève Louis Auguste André Timothée Saturday 31 July — Friday 24 September 2021 /

unisa.edu.au/samstagmuseum

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

acmi.net.au

Betty Kuntiwa Pumani Antara 2021 (AK22345) Synthetic polymer paint on linen 167 x 152 cm (detail) © The Artist, Mimili Maku Arts and Alcaston Gallery, Melbourne

BETTY KUNTIWA PUMANI MARINA PUMANI BROWN KUNMANARA NGUPULYA PUMANI JOSINA PUMANI NGANAMPA WALYTJA - ANTARA 6 - 23 July 2021 Alcaston Gallery Exhibition Space, 84 William Street Melbourne

ALCASTON GALLERY EXHIBITION SPACE 84 William Street, Melbourne

ALCASTON GALLERY HEAD OFFICE

alcastongallery.com.au art@alcastongallery.com.au (03) 8849 9668

Level 3, 50 Market Street, Melbourne Open by appointment

alcastongallery.com.au

WHAT’S ON AT CASULA POWERHOUSE ARTS CENTRE

KEN DONE

AN EVENING WITH

KEN DONE KEN DONE ‘INDIAN SUMMER,’ 2011, OIL AND ACRYLIC ON BOARD, 76 X 102. COURTESY OF THE ARTIST

PAINTINGS YOU PROBABLY HAVEN'T SEEN: SELECTED WORKS 2000 – 2020

Featuring a selection of paintings by Ken Done executed between 2000 - 2020 and largely from Ken Done’s private collection. Many of these works reflect Ken’s personal relationships with those closest to him.

Join us for an evening of conversation with Ken Done, and Casula Powerhouse Director Craig Donarski, accompanied by incredible archival footage covering Ken’s many milestones. This will be an evening to learn more about the colourful life of the artist.

ABOVE LEFT: KEN DONE, PHOTO BY STUART SPENCE. RIGHT: KEN DONE, ME, 2011, ACRYLIC AND ENAMEL ON CANVAS, 183 X 152CM. COURTESY THE ARTIST.

SAT 31 JULY 7PM • TIX $35

LOOKING AT PAINTING

Features artists that push the boundaries of of the painting medium.

LIVEABLE ART: STORIES OF DONE ART AND DESIGN

Brings together an extensive collection of Done designed clothing, accessories, stationery and more.

Casula Powerhouse has been working with people across Australia and internationally who have cherished their Ken Done items at home. These stories will feature in the exhibition, alongside a wide range of Done Art and Design products.

24 JULY - 3 OCT

EXHIBITION LAUNCH: SAT 24 JULY 2-4PM

Artists include Nell, Carmen Glynn-Braun, Hayley Megan French, Jody Graham, Rochelle Haley, Kirtika Kain, Claudia Nicholson, Judy Watson and Nypanyapa Yunupingu.

NYAPANYAPA YUNUPINGU, UNTITLED, 2018, 5861-18, PAINT PEN ON CLEAR ACETATE, 86 X 82 CM. COURTESY OF THE ARTIST AND ROSLYN OXLEY9 GALLERY, SYDNEY.

3 JULY – 5 SEPT

EXHIBITION LAUNCH: SAT 3 JULY 2-4PM

1 Powerhouse Rd Casula NSW 2170 (Enter via Shepherd St) Tel (02) 8711 7123 • www.casulapowerhouse.com • Free entry Open daily • Next to Casula train station • Free parking available casulapowerhouse.com

heide.com.au

DETAIL FROM ‘UNFINISHED BUSINESS’

5 JULY - 29 AUGUST 2021

For just eight weeks the Sydney Jewish Museum is home to a large-scale, ephemeral mural by Australian artist Wendy Sharpe. The artist depicts colourful streetscapes and stories from her family’s Ukranian hometown of Kamianets-Podilskyi.

148 Darlinghurst Road, Darlinghurst | sydneyjewishmuseum.com.au sydneyjewishmuseum.com.au

WILLIAM KENTRIDGE TAPESTRIES

Colleoni, 2020, mohair tapestry in collaboration with Marguerite Stephens, 300 x 250cm

AQUATINT ETCHINGS, HD Film SONNETS

14 AUGUST - 9 OCTOBER Catalogue available 4 August

annandalegalleries.com.au annangal@ozemail.com.au (02) 9552 1699 annandalegalleries.com.au

2003 – 2019

A survey of works

John Young Diaspora, Psyche

26 June – 12 September 2021 Bunjil Place Gallery 2 Patrick Northeast Drive, Narre Warren VIC 3805

www.bunjilplace.com.au Image: John Young, Open the Kingdom, 2017 © John Young

bunjilplace.com.au

Barayuwa Munuŋgurr Yarrinya (detail), 2021, found and etched aluminium, 179 x 92 cm

7 AUG 25 SEP 2021

Murrŋiny NEW FORMS IN EAST ARNHEM METAL In association with Buku-Larrŋgay Mulka Centre

This project is generously supported by Dr Prash P

Northern Centre for Contemporary Art nccart.com.au | salonartprojects.com.au

salonartprojects.com.au

July/August

2021

EDITOR ISSUE #132 AND PODCAST PRODUCER

Tiarney Miekus EDITOR

Anna Dunnill EDITOR ONLINE

Tracey Clement

WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANT

Dylan Reilly

CONTRIBUTORS ISSUE #132

Clothilde Bullen, Tracey Clement, Jess Cockerill, Steve Dow, Briony Downes, Anna Dunnill, Kelly Gellatly, Emily Johnson, Neha Kale, Louise Martin-Chew, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Diego Ramirez, Andrew Stephens, Hamish Ta-Me.

Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066

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GENERAL ENQUIRIES

Graham Meadowcroft Kim Butterworth

info@artguide.com.au STOCKISTS

Art Guide Australia can be found at galleries and museums, art supply shops, independent bookstores and newsagencies.

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: Caroline Rothwell

front Caroline Rothwell, #rothwellofficeplants, @annagramer, 2017, ink on linen, hydrostone, canvas, thread, metal leaf, 118.5 x 118.5 cm. courtesy of the artist and roslyn oxley9 gallery, sydney. back Caroline Rothwell, Arrangement for The Galapagos (Pteris pedata, after Darwin), 2018, Belgian linen, PVC, 23 carat gold, hydrostone, gesso, mixed media, 107 x 107 cm. photogr aph: luis power. 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.

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A Note From the Editor PR E V I E W

National Aboriginal and Torres Strait Islander Art Awards Sam Jinks Madison Bycroft: BIOPIC or Charles Geneviève Louis Auguste André Timothée A Biography of Daphne Fiona Foley: Veiled Paradise Robert Rosen: Glitterati Bridget Currie: Message from the meadow Rosella Namok: Rosella Namok Recent Paintings Sara Maher: In (and out of) the Grey WILAM BIIK F E AT U R E

Caroline Rothwell: Our Botanical Worlds Alair Pambegan: The Artist at Work INTERV IEW

Mikala Dwyer F E AT U R E

From the Desk of Cecily Crozier Ronnie van Hout: All the Ronnies C OM M E N T

A Call to Arms Part II S T U DIO

Katy B Plummer F E AT U R E

The Many Faces of Digital Art Salote Tawale: Surface Tensions Fayen d’Evie: Dancing with Dust Clouds European masters: An Endless Affair

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Issue 132 Contributors CLOTHILDE BULLEN is a Wardandi (Nyoongar) and

Badimaya (Yamatji) Aboriginal curator who is currently the Senior Curator, Aboriginal and Torres Strait Islander Collections and Exhibitions at the Museum of Contemporary Art Australia.

Prior to that she was the Curator of Indigenous Art at the Art Gallery of Western Australia for over a decade. She is currently the Chair of the National Association for the Visual Arts (NAVA) Board and a Board member for the Australian Chapter for the International Association of Art Critics (AICA).

TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture.

Tracey has been a regular contributor to Art Guide Australia for more than a dozen years.​ JESS COCK ER ILL is a writer and artist whose work traces the entanglements of environment, culture and technology. Through a mixed journalistic, critical and creative practice, Jess explores our tense yet intimate relationships with the nonhuman world.

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.

A NNA DUNNILL is an editor at Art Guide Australia, and a Naarm/Melbourne-based artist and writer.

Her writing has been published in Art + Australia online, un magazine, Runway, fine print, The Toast and others. She works with textiles, ceramics and tattoo, and is one half of collaborative duo Snapcat.

K ELLY GELLATLY is an experienced arts leader, advocate, curator, and writer, and is Founding Director of Agency Untitled. She was Director of the Ian Potter Museum of Art, University of Melbourne from 2013–20 and Curator of Contemporary Art at the National Gallery of Victoria, Melbourne from 2003–13.

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EMILY JOHNSON is a Barkindji, Latji Latji, Birri

Gubba, Wakka Wakka visual artist and online content creator originally from Broken Hill, currently living and working in Sydney.

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.

LOUISE M A RTIN- CHEW is a freelance writer. Her most recent book is a biography of Fiona Foley, titled Fiona Foley Provocateur: An Art Life to be published by QUT Art Museum in July 2021.

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.

V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review.

DIEGO R A MIR EZ makes art, writes about culture and labours in the arts. He is represented by MARS Gallery, Editor-at-large at Running Dog and Gallery Manager at SEVENTH Gallery.

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 In my interview with Mikala Dwyer for this issue, we spoke about the generative space of ‘not-knowing’ as a means to making art. In a way, right now feels like a general time of not-knowing—but this process isn’t about rejecting knowledge. Instead, it’s about gravitating towards different, perhaps more deeply honest, understandings of the world.

Artists do this all of the time, and in manifold ways. Our cover artist Caroline Rothwell looks at the intersections between nature and colonialism, Alair Pambegan (profiled from the Wik and Kugu Arts Centre in Far North Queensland) is painting his connection to Country, and Salote Tawale uses humour and archives, and her position as a queer Fijian woman, to create art on representation and history.

Meanwhile, Ronnie van Hout re-creates his own figure to explore fundamental questions about power and identity, and a visit to Katy B Plummer’s Carriageworks studio ends with the artist explaining how humour can also be disarming.

We have an illuminating profile on Cecily Crozier, who published one of the first avant-garde arts magazines in this country; we explore the new world of non-fungible tokens (NFTs); and with multiple European master exhibitions currently showing, we ask: what keeps compelling us towards these artworks?

Finally, Wardandi (Nyoongar) Aboriginal woman and senior curator Clothilde Bullen issues a call to arms: she questions why more Aboriginal and Torres Strait Islander people are not in positions of power in the art world, and what needs to change.

This, and more, in the July/August edition of Art Guide.

Tiarney Miekus Editor, Art Guide #132 and the Art Guide Australia team

“Instead, it’s about gravitating towards different, perhaps more deeply honest, understandings of the world.”

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Previews W R ITERS

Tracey Clement, Anna Dunnill, Tiarney Miekus, Giselle Au-Nhien Nguyen, Diego Ramirez and Andrew Stephens.

Darwin National Aboriginal and Torres Strait Islander Art Awards

Museum and Art Gallery of the Northern Territory 7 August–6 February 2022

Darwin Festival

Various locations 5 August–22 August

In 1984, when the Museum and Art Gallery of the Northern Territory (MAGNT) initiated the annual National Aboriginal and Torres Strait Islander Art Awards (NATSIAA), contemporary Indigenous art was slowly catching the attention of both critics and collectors. Today, Aboriginal and Torres Strait Islander art is widely and internationally respected, and during August, Ngarralja Tommy May (Walmajarri language), Wirrkanja, 2020, etching on metal and enamel paint, while the Darwin Festival is taking place, the whole city 120 x 120 cm. Winner, 2020 Telstra Art Award. of Darwin celebrates both the depth and breadth of Indigenous creative talent.

The festival includes myriad shows and events: Salon21 presents multiple Indigenous art exhibitions across five galleries; the Darwin Aboriginal Art Fair offers ethically sourced arts and crafts from 70 Indigenous-owned art centres; fashion and textiles are showcased both in the National Indigenous Fashion Awards and on the Country to Couture catwalk; and singers, songwriters and musicians are honoured in the National Indigenous Music Awards. MAGNT director Marcus Schutenko describes this as a thriving ecology of Indigenous art, and NATSIAA is at its heart.

This year the award exhibition features works by 65 established and emerging Indigenous artists from across the country. While the judging panel acknowledged many of these artists would have faced challenges making art during a pandemic, MAGNT too has felt the repercussions of Covid-19—although, as Schutenko points out, they weren’t all bad.

Despite having to close the 2020 NATSIAA for a period, Schutenko explains that the pandemic and ensuing travel restrictions gave MAGNT the push they needed to develop an interactive virtual NATSIAA exhibition. “I think everyone was really excited about being able to reach a broader audience,” he says. NATSIAA usually draws people to Darwin from Europe and North America, as well as from all over Australia—and with the addition of a virtual exhibition again this year, everyone, everywhere, can now visit. —TR ACEY CLEMENT

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Marrnyula Munuŋgurr (Yolŋu Matha language), Muṉ guymirri, 2020, earth pigments on Stringybark, 106 x 68 cm. Winner, 2020 Telstra Bark Painting Award.

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Sydney Sam Jinks

Sullivan+Strumpf 12 August—28 August

With his usual round of international exhibitions cancelled and postponed last year, Sam Jinks found himself in a reflective place as he soldiered on with his work, uninterrupted at his Melbourne studio. This unforeseen period, though, was tempered by grief: some deaths among family and friends couldn’t help but affect his practice.

“The year was challenging, and it was a great opportunity to start afresh,” Jinks says. “In a sense, the new show is reflecting on what happened. This is very much Sam Jinks, Kheper, 2018, polyester resin, about losing people and having new life come into the silicone, hair and 24 karat gold, 65 x 85 x 75 cm. world. It is a bit more focussed. It is not a young man’s photogr aph: mark pokorny. work, but an older person’s work.”

Well-known for figurative, lifelike pieces whose hyper-real detail instils an uncanny sense of both human form and presence, Jinks has had enormous success abroad—so being contained in Melbourne encouraged him to explore opportunities closer to home. “I haven’t shown in Australia for a long time, and last year was an awakening in that respect,” he says. “It was time to get a bit more local.”

While some of his new works are influenced by his re-reading of the Bhagavad Gita (a Hindu scripture), others explore the way in which a person’s life can be “written” on their body. Another piece brings two human forms into relationship with a body of water. Jinks initiated this idea at a gallery in Athens some years ago, using a 12-metre pool of water as part of the installation. For this new exhibition, the pool is smaller, square and inky. “It offers a perfect reflection you could never get with a mirror,” Jinks explains. With the two realistic human figures incorporated, he says, it generates a baptismal effect—apt, given his recent thoughts on life’s cycle of birth and death. —A NDR EW STEPHENS

Adelaide BIOPIC or Charles Geneviève Louis Auguste André Timothée Madison Bycroft

Anne & Gordon Samstag Museum of Art 31 July—24 September

There are many stories concerning the life of the 18th-century French spy Charles Geneviève Louis Auguste André Timothée, more succinctly known as Chevalière d’Éon. Most popularly, d’Éon is said to have been born in a French village, entered the King’s service, and was sent to Russia undercover as a young woman. After spending 10 years in subterfuge, d’Éon presented as a woman for the rest of their life. Yet others reject this narrative, stating d’Éon lived a life of military achievement; and even d’Éon’s autobiography, which breaks the gendered rules of French language, says something else altogether.

For Madison Bycroft, what’s interesting is how these ‘truths’ are contingent, and are stretched to accommodate differing narratives, political motives and agendas. Rather than creating a work about d’Éon, Bycroft has created a film that

Madison Bycroft, BIOPIC or Charles Geneviève Louis Auguste André Timothée, 2021, single channel digital video, colour, sound.

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uses d’Éon’s memoir to investigate biography itself. “I’m interested in biography and how we tell stories about other people because it’s one of the most direct ways of making a relation to another person, in an artistic form,” they explain.

While Bycroft acknowledges a contemporary tendency to narrate people’s lives in comfortable yet limiting frameworks, the artist is interested in alternative ways of storytelling, more attuned to the unknowability of personhood. In the film Bycroft references d’Éon’s life through three central characters, foraying into the surreal. The film’s costumes are all 18th-century European regality, with classical wigs and painted faces, but the tone is mystical, the lighting dewy, and the narrative non-linear.

By researching d’Éon’s life, Bycroft presses on how we might conceive identity: that a person is never reducible to one identity marker. “It’s trying to think about how identity can exist for a person without us articulating it for them,” says Bycroft.

“It’s finding the edges of a character, or the space outside of character, without trying to delimit or explain, or describe who, that person is or was.” — T I A R NEY MIEKUS

Melbourne A Biography of Daphne

Australian Centre for Contemporary Art 26 June—29 August

Curator Mihnea Mircan is interested in the symbolic evolution of Daphne–a nymph who turned into a tree after the Greek god Apollo chased her in a scene of assault.

While the story is ancient and mythical, it’s also contemporary, echoing current conversations about consent, and invoking our increasingly difficult relationship with nature.

Yet rather than foregrounding the issues and sidelining the art, Mircan positions his enquiries into gender, power, and nature within a pictorial landscape. His show opens with a 17th century print that illustrates Apollo chasing Daphne, and concludes with a 16th century engraving that depicts the critical moment he grabs her arm. “The split second between the first and the second Agostino dei Musi, Apollo and Daphne, 1515, picture of Daphne is stretched to accommodate the toengraving, 23 x 17 cm image; 23.4 x 17.3 cm tality of the show,” explains the curator. “The timelines of sheet. art gallery of new south wales, sydney. the other images are compressed, metaphorically, into purchased 1937. that agonising split second.”

These two historical images frame artworks from over 20 Australian and international contemporary artists—including Erik Bünger, Nicholas Mangan, Inge Meijer, Jean Painlevé, and Katie West—which resonate with this myth. And yet they all avoid using Daphne’s form. “Daphne is only present in the historical pictures,” says Mircan. “She is used as a thinking model for the exhibition to revisit and update this myth with prominent questions, such as symbiosis and metabolism, the essential and moral effects of climate change.”

The curator reflects on the ‘roots’ that Daphne grows from her feet to escape Apollo, and plays with this motif by curating several Australian artists to situate the myth within a local context, including Lauren Burrow. The show then broadens this scope with international inclusions, notably Steve McQueen, whose photographic work in film help us understand biographies as sequential images.

A Biography of Daphne is a timely reflection on the shifting depictions of this gendered figure, who captures our contemporary preoccupations with consent and climate change. —DIEGO R A MIR EZ

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Brisbane Veiled Paradise Fiona Foley

QUT Art Museum 19 June—29 August

K’Gari—the Badtjala name for the place now called Fraser Island—means ‘paradise’. For Badtjala artist Fiona Foley, however, this paradise is veiled by the atrocities of its colonial past. Among other horrors, in 1898, following a government crackdown on the opium trade, the island’s Bogimbah Creek Mission became a place of forced detention for Aboriginal people from all over Queensland.

The opium laws functioned as a “Trojan horse”, Foley says, to gain control of Aboriginal communities, since it was common for Aboriginal people to be ‘paid’ for their work Fiona Foley, Hunted II #4, 2020, mixed media, in opium rather than wages.

48 x 45 cm.

“They subjugated the rights of people on Fraser Island through state legislation,” Foley explains. “And then in the 1900s the Anglican church took over, and that was a different type of subjugation, and ‘salvation’.”

Researching and responding to this period of Badtjala history has been a crucial focus of Foley’s work. Now, a survey exhibition spans 35 years of her illustrious career, working across a variety of forms including short film, sculpture and painting. The earliest artwork, The Annihilation of the Blacks, dates from 1986 when Foley was still a sculpture student at Sydney College of the Arts.

Veiled Paradise also features Foley’s new body of work The Magna Carta Tree, a series of 17 photographs made at significant historical sites on Badtjala Country.

Foley explains that the title of this series comes from a 740-year-old mangrove tree: incongruously, the property owner dubbed the ancient mangrove the ‘Magna Carta Tree’, reasoning that its age roughly corresponded to the formulation of the Magna Carta in medieval Britain. Riffing on this incompatible clash of time and geography, Foley’s new series uses magical realism to play with fact and fiction, constructing imagined pre- and post-colonial histories on Batjala land. — A NNA DUNNILL

Sydney Glitterati Robert Rosen

Powerhouse Museum: Museum of Applied Arts and Sciences (MAAS) 6 August—4 April 2022

A show featuring photographs of rock stars, models, actors and other glamorous people might seem like an odd fit for the Museum of Applied Arts and Sciences (MAAS). But as Glynis Jones, who curated the exhibition Glitterati by photographer Robert Rosen, points out, “We Robert Rosen, Paul & Linda McCartney, Abbey Road Studios, London, 1982. consider this a social history exhibition. . .We live in a very complex social world and we love building networks and relationships; we have this social curiosity. And part of our socialisation is talking; we love gossiping and consuming images of celebrities and famous people, and people who just look fabulous as well.”

And the people Rosen photographed do look both famous and fabulous: from

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the 1970s onwards he took thousands of snaps, capturing moments from social scenes to cultural celebrities like Paul and Linda McCartney, Andy Warhol, Debbie Harry, and David Bowie.

Born in South Africa and raised in Melbourne, Rosen likes to say he turned to photography after being told he couldn’t paint at art school. In the 1970s he moved first to Sydney, and then, like so many of his generation, he went overseas to try his luck in London. There Rosen found he had a flair for getting into glitzy events (with or without an invitation), and many of his most famous photographs were shot in London during the 1970s and 1980s. But Rosen has had a peripatetic practice, and during the period covered in Glitterati, which spans from 1979 to 2010, he also photographed the bold and the beautiful in New York, Sydney, Melbourne and Paris.

One of the striking things about the photos in Glitterati is just how relaxed Rosen’s subjects seem in front of the lens; these are not celebrities being harried by the paparazzi. “A social photograph is a relationship between the photographer and the subject, it’s a collaboration. And they loved him. They felt very safe with him,” Jones explains. “And I think that’s why his photos are so lovely.” — TR ACEY CLEMENT

Adelaide Message from the meadow Bridget Currie ACE Open 16 July—4 September

Bridget Currie is fascinated by meadows. The artist describes the archetypal meadow, characterised by grasses, wildflowers, insects and crawlers, as “a very horizontal space that’s layered and interdependent.” In this Bridget Currie, Object for slugs, 2015, digital humble environment, she explains, “everything has its photograph. private collection, berlin. own ecosystem or niche. It’s intertwined and entangled, and many, many, many organisms form the whole.” Currie contrasts the non-hierarchical space of the meadow to the art-historical idea of ‘figure and ground’, where the landscape is relegated to a backdrop for a human focal point, rather than existing in and of itself.

In her exhibition, delivered as the inaugural recipient of ACE Open’s Porter Street Commission, Currie immerses visitors in a slow and attentive space, redolent of the meadow’s intertwined ecology. Organic sculptural forms are held on specially-designed furniture, including a chaise longue that invites visitors to sit or recline. An intimate four-channel sound work, played on individual devices, consists of instructional texts whispered in soothing ASMR tones.

There are also, Currie says, “a lot of slugs”—a recurring motif in her work.

“Such a defenceless being,” she explains. “Just that pure sensitivity: their whole body is a mucus membrane.” Here, slugs writhe through Currie’s new film soft insides, along with hands, sculptures and babies. “The human brain, when it’s an infant, is not differentiated into ‘my’ personhood and ‘your’ personhood and exterior environment and the self,” the artist explains. “It’s still pre-self.” These boundaries between self and other—heightened, diminished, overlapping—lie at the heart of what the artist is gently teasing out, through an immersive work that seeps through our own bodily edges. —A NNA DUNNILL

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Perth Rosella Namok Recent Paintings Rosella Namok Japingka Aboriginal Art 16 July—17 August

Rosella Namok’s abstract paintings are all about colour.

Bold lines, often different hues of the same colour, tell stories of Country and family from the Ungkum artist’s home in Far North Queensland.

Using decorative finger painting and scraping techniques, Namok’s art is her interpretation of the lush Rosella Namok, Clan Groups 1, acrylic on canvas, landscape that surrounds her throughout the seasons: 108 x 85 cm. the sun, the sea, lagoons and bamboo thickets, tropical rain from morning to evening. She also includes clan designs from her community.

Her latest exhibition showcases 28 new paintings, all created during lockdown in 2020. The paintings tend towards the lighter side of the colour spectrum, bringing a soft playfulness, and vary from smaller to large-scale works.

“These paintings for me have a sense of colour that radiates a freshness and love for that coastal Queensland environment,” says David Wroth, director of Japingka Aboriginal Art. “She has these unusual pink and orange tonal values in some of those big landscapes, when we’re accustomed to the deeper blue vision of the sea and the beach. Then you get all the light interplays at different times of the day where the ocean and the clouds become a reflector of different types of light, and I think that’s what Rosella is bringing that’s so distinctive from anything else.”

There is also a sense of kinship in the paintings—two in this exhibition are titled Two Brothers and Three Sisters, featuring repeated patterns side by side. “Sometimes the abstract imagery is about family connection and community connection,” Wroth says. “Rosella overlays that on top of the other images, which represent Country and that coastal part of Northern Queensland, but there’s something else going on, which is about clan connection in Indigenous communities.” —GISELLE AU-NHIEN NGU Y EN

Hobart In (and out of) the Grey Sara Maher Bett Gallery 3—24 July

Sara Maher, Stick Person, 2021, acrylic and watercolour on artboard, 39 x 20 cm. photogr aph: peter angus robinson.

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Sara Maher has long been drawn to isolated terrains, immersing herself in the reflective solitude of Tasmanian landscapes and sites. Yet her art doesn’t capture the landscape in traditionally realist form, but is instead concerned with questions of ancestry and colonisation, the experiential and emotive elements of place, and a sense of psychological unease.

Maher’s latest work was developed during a residency on Bruny Island, where she continued her ongoing exploration into how her Irish and mixed-European heritage—in particular one colonial ancestor who arrived on the second fleet—is connected to contemporary colonialism. “My work comes through a thoughtfully researched and embodied encounter with place, a growing

yet fragile connection to lutruwita Country,” explains Maher. “I see Lunawannaalonnah/Bruny Island as a microcosm of the larger Tasmanian and Australian story, wherein the quiet resonance of the land, water and sky, and the unspeakable in our history, hover.” Part of Maher’s process is listening to what has been silenced and erased by colonisation.

While Maher’s two-decade practice has seen her create across painting, drawing, printmaking, sculpture and installation, her latest exhibition features fine and careful water washes with collage, painted and drawn abstractions on paper, and minuscule sculptural assemblages. These are exhibited to “conjure a subtle energy zone” that metaphorically represents the energies of life matter. For example, liquid that moves across paper might correlate to ripples in sand and water, or the movement of light.

By invoking her deeply affective experience of the Tasmanian landscape, and the layered colonial, ethical, emotive, historical and material aspects of this experience, Maher creates with “sensitive reciprocity” toward the nature and culture around her. “Through those poetic expressions in my work, varying degrees of disturbance and feeling come through both my experience [of landscape] and the work itself,” she says. “The body of work I’ve made is really about being in the full stream of that experience.” —TI A R NEY MIEKUS

Healesville WILAM BIIK

TarraWarra Museum of Art 31 July—7 November The complex nature of ‘home’ fascinates First Nations curator Stacie Piper, who has brought together nine contemporary Aboriginal artists to explore connections with Country. Piper’s focus is on work relating to south-east Australia, which takes in about 38 different clans and incorporates, as she describes it, a myriad of “songlines, waterlines and bushlines”.

“The first conversations I had about the exhibition were around how we connect to Country and how we see it,” Piper says. “But I also wanted to go into how we Deanne Gilson (Wadawurrung), Nyirram turthear Country. We have a language word around ‘listening barram The morning star, 2020, white ceremonial deeply’, but it is about not just listening with your ears, but ochre, acrylic on canvas, 67 x 67 cm. image courtesy of the artist. listening with your eyes and your heart.”

Piper says most exhibitions tend to encourage visitors to observe and analyse art, while WILAM BIIK aims for open-hearted receptiveness. “This can be about how non-First Nations people, too, can connect to Country through their deep listening; and hopefully see their homes as we do, and their connection to it.”

One artist, Paola Balla, is collecting—along with her daughters and her mother—bush plants, gum leaves and flowers on their Wemba-Wemba Country to dye silk chiffon. From this they will create a light-filled tent, which the artist says will be resonant with rust, heat and plant markings from Country. Balla is also installing a large wallpaper print of paintings made by her grandmother Rosie Tangs, a Wemba-Wemba and Gunditjmara self-taught artist, to form a matriarchal and intergenerational “memory-scape of Country”. Steven Rhall, by contrast, incorporates a sculptural working of TarraWarra’s architectural structure, using non-gallery spaces, and will create a photographic-based installation.

Along with work by the seven other artists, Piper has incorporated historic art works throughout WILAM BIIK, most notably by famed Elder William Barak (18241903), plus relevant ancestral tools borrowed from Museums Victoria, to further explore the layered themes of home, Country, and listening. —A NDR EW STEPHENS

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Our Botanical Worlds From drawing with fossil fuel by-products, to creating art from historical botanical books, Caroline Rothwell looks at the increasingly complex relationship between humans and nature.

W R ITER

Briony Downes

In 2015, Sydney-based artist Caroline Rothwell undertook a residency at the Museum of Archaeology and Anthropology in Cambridge, United Kingdom.

While there, she had access to the original colour plates used to create Joseph Banks’s Florilegium, an illustrated document of botanical specimens collected during Captain Cook’s voyages around the Pacific, from 1768 to 1771. Systematically gathering thousands of specimens, Banks eventually took botanicals from Kamay/Botany Bay, the site of first contact between Europeans and the traditional owners of the Dharawal nation.

Using a set of prints from Banks’s Florilegium as a conceptual springboard, Rothwell has created Horizon, an exhibition of sculpture, drawing and animation. It explores the increasingly entangled connection between humans and nature. Taking a visual cue from the landscape around Sydney’s Hazelhurst Gallery, much of Horizon was conceived during walks Rothwell took through the Kurnell National Park, located within the Kamay Botany Bay National Park.

In visiting the places Banks would have traversed, Rothwell noted what had changed from the late 1700s to now. “I went to these areas at the same time of year and found some of the plants flowering a little earlier,” she says. “I noted things that weren’t present, as much as things that were. Horizon is about looking back at the archives but also thinking about generative forces, whether they are positive or negative.”

Reflecting these natural and human-imposed changes, in Horizon Rothwell has subtly doctored images from Banks’s Florilegium. Each doctored

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plant sprouts a delicate pink tongue curling around its blooms and leaves. Cutting through Banks’s finely rendered illustrations with a scalpel blade, Rothwell inserted her watercoloured tongues through the paper to appear as though they were part of the original image. Referring to this technique as splicing, Rothwell says, “The tongues look quite snake-like and consuming. I like the double edge of these perfect prints and these quite abject forms; they grow into something else.”

Rothwell’s tongues also appear in a series of orchid-like sculptures—brightly coloured, spindly arrangements that look like they stem from science fiction, but partly centre on colonisation. “The complex thing about Florilegium is that the specimens are so epically rendered and so beautiful, yet they are also symbols of colonial invasion. Something so potentially benign can end up being so political.”

This way of thinking flows through to Rothwell’s use of carbon emissions as a drawing material.

Comprised of fossil fuel by-products, Rothwell mixes blackened dust with binder to create an ink reminiscent of Lamp Black, an ink derived from lamp soot commonly used in the Victorian era. For Horizon, Rothwell has animated her emission drawings into moving filigrees and decorative steampunk machinations. Similar to her animation Carbon Emission 5 (Constructivist Rococo), recently included in The National 2021 at the Museum of Contemporary Art, in Horizon viewers must look through a peephole in a doorway to see the animation unfold. “Because I come from a sculptural background, I’m always thinking

Caroline Rothwell, #rothwellofficeplants, @annagramer, 2017, ink on linen, Hydrostone, canvas, thread, metal leaf, 118.5 x 118.5 cm. courtesy of the artist and roslyn oxley9 gallery, sydney.

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Caroline Rothwell, Arrangement for The Galapagos (Pteris pedata, after Darwin), 2018, Belgian linen, PVC, 23 carat gold, hydrostone, gesso, mixed media, 107 x 107 cm. photogr aph: luis power. courtesy of the artist and roslyn oxley9 gallery, sydney.

“An archive is always written from a particular perspective—Indigenous stories and women’s stories get left out. I’m interested in reclaiming these botanical worlds.”

— C A ROLI N E RO T H W E L L

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Caroline Rothwell, Carbon Emission 5 (Constructivist Rococo) (still), 2020, digital animation. courtesy of the artist and roslyn oxley9 gallery, sydney.

about the body, the human relationship to architectural scale, of how we relate to work in a space,” Rothwell explains. “When you are looking through this peephole with just your eye and the animation’s eye, it’s an intimate connection. A doorway is like a portal into the home and the mind, it’s a very personal space.”

Rothwell has used carbon emissions as a material prior to Horizon, and much of her recent work has been spurred on by residencies undertaken in the past seven years. In 2014 Rothwell undertook a residency in upstate New York and was consequently invited in 2015 to create a work for Temple Contemporary at Temple University in Philadelphia—and it was there her experimentations with fossil fuel emissions took a pivotal turn. Bringing attention to endangered species, Rothwell used soot collected from Temple University’s smoke stack to paint huge murals of plants on the side of the Temple Montgomery Garage. Over time the images faded.

In a poetic conglomeration of beauty and toxicity, Rothwell’s carbon emission drawings speak to the inherently political nature of her imagery and how it communicates beyond just the visual.

Most recently, Rothwell has been collaborating with Google Creative Labs on Infinite Herbarium—an app-based archive of futuristic hybrid plants derived from images contained within the open source Biodiversity Heritage Library. Combining human interaction, multi-channel projections, and scientific illustration data, users are able to morph two plants together to create a new species within seconds. Again, touching on the idea of collecting and categorising, for

Rothwell this process fills in the gaps of history and illustrates a potential future. “With archives I’m always fascinated by what is left out. An archive is always written from a particular perspective—Indigenous stories and women’s stories get left out. I’m interested in reclaiming these botanical worlds.”

A contrast to the delicate botanicals seen in Banks’s Florilegium, the specimens in Infinite Herbarium are projected at human scale, their undulating forms taking on the appearance of lungs, hearts and limbs. “At such a huge scale, the plants become very bodily. I want these forms to be bigger than us so it’s not us imposing, it’s them imposing on us.”

Horizon

Hazelhurst Regional Gallery (782 Kingsway, Gymea NSW) 26 June—5 September

The National 2021: New Australian Art Museum of Contemporary Art (140 George Street, The Rocks, NSW) 26 March—22 August

Bloom Lab Caroline Rothwell

Tolarno Galleries (Level 4/104 Exhibition Street, Melbourne VIC) 4 September—2 October

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The Artist at Work Writer Louise Martin-Chew visited Alair Pambegan at Aurukun in north Queensland, learning first-hand about the artist’s process and connection to Country.

W R ITER

Louise Martin-Chew

Aurukun is a remote township in north Queensland. It is situated where three rivers, the Archer, Watson and Ward, meet the Gulf of Carpentaria; the convergence of so much water is dramatic when flying into this settlement of 1200 people. My arrival, at the end of April, is at the tail of the wet season (Kaap). The Cape is lush; stretches of forest are interrupted by narrow ribbons of red dirt road, occasional sand flats, and the reflection of water from under trees in low-lying areas. The temperature hovers just below 30 degrees during my days here, a ‘cool change’ from the humid highs of the week before.

You can walk the perimeter of this township within the hour, its red dirt and bitumen streets fencing suburban-sized lots of high- and low-set houses. At the Wik and Kugu Arts Centre, a stone’s throw from the school and handy to the shop, artists arrive early. Power tools echo through the woodshed; in the painting/weaving studio the fan is a constant roar. Some days there are forays for materials. Artists head into the forest to fell a milkwood tree for carving.

When the trailer groans out of the bush with a load of chopped timber, the trunk of the felled tree weeps with the white sap that gives it this name: thanchal.

Ochre for painting is gathered from locations on Country, and I witness the long, slow cooking—over four hours—of the yellow ochre (pip wu’) on a constantly stoked fire. Miraculously ‘Aurukun’ red emerges from these coals, is smashed into pieces, and is

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then ground and sifted to a fine powder. Mixed with water into a paste-like consistency, it’s transformed into the rich, grainy paint that Alair Pambegan uses to unerringly inscribe the arc of a circle on his canvas.

Every brushstroke evokes centuries of tradition, stories and people of the past, while also capturing the artistic innovation for which Pambegan is known.

This red ochre is one of a small range of traditional ochres Pambegan uses exclusively: the others are yellow, black and white. He paints slowly, resting the canvas on the table, and is informed by his psyche and family line alike. His imagery is drawn from the traditional Winchanam clan body painting designs, which were passed down by his father, the great artist, lawman, and Elder, Arthur Koo’ekka Pambegan Jr (1936-2010). As Pambegan works, his teenage son Arthur Jr watches on; aware, in this place, of the legacy that continues to be integral to sacred, cyclical and social rituals.

Pambegan is versatile, his movements graceful and considered. He paints canvases in abstract styles related to body painting designs, and carves stories from the Bonefish (Walkain-aw) and Flying Fox Story Place (Kalben), which are tied inextricably into his Country, close to the Archer River. In the old days, men would make carvings secretly in the bush; they were believed to be divine creations that emerged for ceremony. Pambegan tells me that, while now so much is known, he still thinks about the secrets

Alair Pambegan, Winchanam Clan Body Design: Bonefish Man & Dancing Spirit Man - Winchanam Ceremonial Dance, 2020, ochre and acrylic binders on linen. image courtesy of the artist and wik & kugu arts centre, aurukun.

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Alair Pambegan, 2020. image courtesy of wik and kugu arts centre, aurukun.

“The spirit man dances at night, always makes fire, and dances corroboree.”

— A L A I R PA M BE G A N

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Alair Pambegan, Winchanam Clan Body Design, 2020, ochre and acrylic binders on linen. image courtesy of the artist and wik & kugu arts centre, aurukun.

“going out on my Country just across the river”. And Pambegan does cross the nearby river whenever he has opportunity—and access to a boat.

A highly successful and deeply revered artist, Pambegan’s 2020 painting Winchanam Clan Body Design: Bonefish Man & Dancing Spirit Man - Winchanam Ceremonial Dance was selected for Cairns Art Gallery’s exhibition, Ritual: The Past in the Present, as part of the Cairns International Art Fair (CIAF). Artists were chosen for their ability to comment on and interpret, as the gallery says, “complex issues of cultural and personal identity”.

In this painting Pambegan innovates on his Flying Fox Story Place (Kalben), a salutary story about two brothers undergoing initiation rites, who hunt flying foxes in defiance of the order of their Elders. Discovered cooking these animals in a bush oven, they are punished when bats explode from the ground to carry the brothers into the night sky. Today they remain visible in the Milky Way. As Pambegan explains, “The spirit man dances at night, always makes fire, and dances corroboree.”

Pambegan’s canvas captures the body paint of the dancers dramatically repeated in the stripes that band the bottom half of the canvas, and their repetition is lively.

Recently, in 2018, Pambegan’s highly regarded bonefish and flying fox carvings were exhibited in the 9th Asia Pacific Triennial of Contemporary Art in Brisbane. “I always do bonefish,” explains Pambegan.

“I talk to my cousin brother, but he is always busy, calling out, flying.” New carvings made from the harvested and dried milkwood, in collaboration with artist Nathan Ampeybegan, evoke the swarm of bats moving through the air, and assert the continuing importance of cultural law. Bonefish canvases will also be seen at CIAF, the sharpness of their execution echoing the strength of their streamlined shape and speed.

Pambegan works with quiet confidence, driven by this heritage. Seasonal change is dramatic in Aurukun, but the unfolding of culture is steady, led by artists like Pambegan who continue to practice the stories associated with the sacred rituals, which have been taking place since deep time.

Ritual: The Past in the Present

Cairns Art Gallery (40 Abbott Street, Cairns City QLD) 15 May—22 August

Cairns Indigenous Art Fair Various locations 17 August—22 August

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Installation view, Mikala Dwyer: Square Cloud Compound, Museum of Contemporary Art Australia, Sydney (21 December 2015—21 February 2016). photogr aph: jessica maurer. courtesy of the artist and roslyn oxley9 gallery, sydney.

“If you’re comfortable in the experiment of not quite knowing what you’re doing, I think the work can be open to others.”

— M I K A L A DW Y E R

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Interview

W R ITER

Mikala Dwyer

Tiarney Miekus

Vivid yet mysterious, Mikala Dwyer’s installations connect a range influences and curiosities including the mystical, occultism, constructivism, Dada, Bauhaus, memory and sexuality. Often using materials like textiles, plastic, plywood and plants, the artist creates highly experiential, affective spaces. With a four-decade practice, and a new exhibition on avian life, Dwyer talks about the mystical, daydreaming, and her process of ‘not-knowing’.

TI A R NEY MIEKUS

The spiritual, mystical and occult weave throughout your work, particularly in the last 15 years.

How did they come into your art?

MIK A LA DW Y ER

It’s something I have been interested in since I was young, and as I’ve got older it’s developed into a parallel belief, and scepticism.

TM

You’re compelled by the mystical side of movements like constructivism and Bauhaus, and these spiritual elements were generally seen as inferior—do think that’s because the spiritual is often seen as feminine?

MD

That’s probably part of it, but I do know in the Bauhaus, when all the mystics got chucked out of the Bauhaus, it was mainly the men being kicked out. I think irrational and more mystical knowledges were not as economically viable, and the more constructivist, architectural forms were probably more conducive to mass production and building good solid foundations.

It suited industry better, in some ways. It’s so convenient to expel anything that doesn’t fit the capitalist motion. But it’s ironic now because the whole wellness, spiritual industry has been commandeered by capitalism anyway. You can’t get away from it. I missed my calling. I could probably make more money as a palm reader or tarot reader now than I could have earlier on. I always had that as a backup plan. If everything else failed, I’d just set up a little table by the side of the road and read tarot cards or palms.

TM

Have you read tarots and palms before?

MD

Yes, but I haven’t charged anyone for it!

TM

In trying to create an otherworldly quality in your work, I wonder if you’re a daydreamer?

MD

Oh yeah. I wish I had more time to daydream because it’s such a productive state of mind. I think one of the great shames is the ignorance that people don’t see how productive daydreaming is. It’s really important to have unstructured thinking time. That’s where people’s brains function the best. Everyone should have that time.

TM

You once talked about your mother, who was herself a jeweller and a silversmith, and she said that you’re “not allowed to call yourself an artist, that’s for other people to decide”. I thought that was quite amusing and humbling. Was there a moment when you felt like an artist?

MD

That’s a good question. It’s not something I’ve really preoccupied my thinking with. If I make something that people can agree is anything close to okay, then I’m very happy. But I used to hate it when she [my mother] said that. I thought it was really mean, but I do think she had a point. It’s a cultural agreement.

We can muck around in the studio and we can think we’ve made something—and we have to be working from that premise. I find that it’s good to be making your work, not worrying too much about what anyone thinks. But when you bring it out into the daylight is one thing, but then with other people looking at it, it’s a whole other thing. You might think what you’re doing

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Installation view, Mikala Dwyer: A shape of thought, Art Gallery of New South Wales, Sydney (26 August 2017—4 February 2018). photogr aph: jessica maurer. courtesy of the artist and roslyn oxley9 gallery, sydney.

Installation view, Mikala Dwyer: A shape of thought, Art Gallery of New South Wales, Sydney (26 August 2017—4 February 2018). photogr aph: jessica maurer. courtesy of the artist and roslyn oxley9 gallery, sydney.

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is so interesting, but actually it’s completely irrelevant.

Like, who needs another white, female, middle-class perspective on the world? How do you make yourself relevant at any point in time?

TM

To me that quote from your mother implied a generosity to the viewer, and when I walk through your installations, they feel very generous. It seems like you care how people experience the objects and space.

MD

I do really try to listen to the objects and materials I work with, so that generosity is not mine, it’s the object’s. I guess I’m trying to identify whether an object might have some weird collective resonance, or whether it’s just my view of it, but I do practice knowing how to be comfortable with ‘not-knowing’. If you’re comfortable in the experiment of not quite knowing what you’re doing, I think the work can be open to others. You’re in this not-knowing together. I think a lot of people come to contemporary art just feeling like it’s totally inaccessible, but if we’re both in the same boat of finding it inaccessible, including the artist, I think people can feel it. There’s a difference from making work that’s trying to be not accessible—like it’s guarded, or it wants to be spiky or unapproachable for a reason, and there’s many good reasons to do that. Sometimes it’s important to bring out those encounters of being uncomfortable.

TM

Is it hard to access that state of ‘not-knowing’ when so many elements of the art industry and arts funding ask you to outline your art before you even start creating it?

MD

It’s really hard. I think people aren’t comfortable with not knowing, so they want to be sure of their product before it comes to the gallery. People don’t really want to be surprised too much. I think sometimes it’s a lack of trust as well. You need to trust that if you’ve invited an artist into something that you’ve got to go with whatever they do: whether it fails or it’s fantastic, you just have to go with it. And sometimes there are vast amounts of money in the mix and stakeholders, and sometimes you have to be a responsible person and be clear about what you’re doing. But you can also be clear that within what you’re doing, you don’t really know what you’re doing. You can approach it so that you take people into that not-knowing with you.

TM

When you’re using everyday materials in your work, do you consider why some objects resonate with you and others don’t?

MD

Oh God, there’s a lot [of objects] in there. I have storage issues. But I’m actually very particular about what I use. It usually comes out of an idea or a feeling or something that you’re thinking about, and then things present themselves perhaps in the street or in a rubbish pile or a shop or—well, you might actually have to go and dig something up or get someone to fabricate something depending on what you’re thinking. I just remember—maybe it was in the 90s—but I was thinking a lot about boundaries and bodies and skins and porousness, and the blurry line of things not beginning or ending where you think they did. The materials that I was happening upon at that time were things that could hold those ideas, like neoprene or pantyhose or Elastoplast. But the list is so vast because I tend to work across so many different materials and ideas.

TM

With your experiences of working in aged care, being a parent, and recently undergoing chemotherapy, I feel like they’re all things that require a great emotional labour. Do those experiences make their way into the work?

MD

Absolutely. If I’m honest about it, all the work is really personal. As much as I try to make it accessible to everyone, at the end of the day you’ve only got your own stories to filter everything through. They’re also the experiences that give you tools, somehow. Like my chemotherapy, I found it really interesting. And I think that’s the thing of being an artist is that you’re just incurably curious. So rather than go, “Oh, woe is me, I’m going to have chemo,” you’re going, “Oh wow, what’s that? Wow, those colours they’re wearing are really cool. Those chemicals are really interesting.” I think it gives you great survival tools because you’re curious rather than fearful. Most of the time.

TM

That reminds me of when you said, “Within most artists, there’s a total overwhelming need, hunger, obsessive, compulsive, mania addiction to it. Because you’re willing to let your whole life go to crap for it.” I was going to ask if that ever goes away, but I guess it doesn’t?

MD

No, I wish it would sometimes! I’m still working myself to death. My daughter despairs sometimes. She’s like, “Can you just slow down a bit and just take it easy.” But I think, “Not yet, not yet.” And I’m not the only one making art like this. But luckily, I can keep it in perspective a bit.

Mikala Dwyer Solo

Roslyn Oxley9 (8 Soudan Lane, Paddington NSW) 23 July—21 August

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From the Desk of Cecily Crozier Radical for 1940s Australia, the cover designs of arts and literary magazine A Comment are compelling examples of sparse modernism.

But who is the woman behind them?

W R ITER

Victoria Perin

The linocut covers of A Comment literary magazine, which ran from 1940 to 1947, were not remarkable purely in and of themselves. What is remarkable is the entire output. Considered one of the most radical, self-published, Australian arts and literary magazines from the 1940s, A Comment’s simple cover designs were usually printed in just one or two colours. Although their sparse design may not be a prime example of the linocut medium, they speak to the ingenuity of the magazine and its editor, Cecily Crozier.

Crozier wanted the bold designs to catch the eye of the right sort of people. The covers were modernist-bait, and the trap was set for local avant-gardes by laying the magazine among the periodicals of only the hippest bookstores in Melbourne (where it was published) and Sydney (where the artists Carl Plate and James Gleeson distributed it).

For the value of their cover designs (rather than the experimental poems, stories and criticism held inside), Crozier’s magazine covers feature in the second iteration of the National Gallery of Australia’s successful exhibition, Know My Name: Australian Women Artists 1900 to Now. A Comment was launched by Crozier when she was 28 years old. She had grown up in an itinerant family that moved across Asia and Europe, spending the majority of her adolescence in the south of France. It does not appear that she had any experience as an editor or arts worker, outside of artist modelling in London in her mid-20s. Like her magazine, Crozier’s intentions were community-driven; she wished to help stimulate the arts scene around her.

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The magazine’s companion publication was the better-known Angry Penguins, another Melbournebased literary magazine of the time. Although A Comment was published slightly earlier, the two shared many writers. In terms of printing, World War II resource rationing meant that the cover and internal papers were comprised of drab brown paper-stock.

Crozier and her husband Irvine Green used linocut as a cheap, effective way to enliven the poverty of the material with bold, colourful designs. A wobbly line here or there (especially in the first few issues) was not a problem. In fact, the hand-made quality of A Comment was its calling card–it was seeking a niche audience with local innovators. In one editorial Crozier celebrates the achievement of 300 subscribers.

This was a magazine intending to speak directly to a community of peers, and the amateur linocuts were a signal of its grassroots sincerity.

Yet not only was Crozier not the creator of the striking covers (those illustrated are by Green or Robert ‘Menkhorst’ Miller), but she also complicated her role as literary editor, writing in her second issue: “Another thing. We said in our first issue that Comment had no editors, and this is why. If people are doing something new there are no standards by which to criticise their work.” Crozier had hoped that A Comment would be so literally avant-garde, so ahead of the cultural zeitgeist in Melbourne, that there would be no peers qualified to judge it—not even herself. In a later memorialisation of A Comment, Melbourne poet Alister Kershaw reflected that, despite Crozier’s protestations, “she certainly made a blithe and venturesome non-editor.”

Cecily Crozier, A Comment - no.6, July 1941, 1942. national gallery of austr alia, canberr a, gift of james gleeson, 1982.

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Cecily Crozier (publisher), Robert Miller, Bradley Printers (printer), A Comment, no.26, Winter, 1947, 1947. national gallery of austr alia, canberr a, gift of james gleeson 1982.

“Hordes of people are interested in the arts—or claim to be—but damned few of them show any inclination to spend their time and energy, let alone their money, running magazines.”

— A LIS T ER K ER SH AW

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Cecily Crozier, A Comment - no.3, Christmas 1940-41, 1942. national gallery of austr alia, canberr a, gift of james gleeson 1982.

Despite its niche readership, A Comment was able to find allies outside of its Sydney and Melbourne circles. The American poets Karl Shapiro and Harry Roskolenko were stationed in New Guinea during the war, and took their recreation leave in Australia. After coming across A Comment in a local bookshop, Shapiro was blown away. “A COMMENT should be shown in America. It is brave and good—as good as our best—and really a signpost in a world of destroyed art,” he wrote. Both Shapiro and Roskolenko published in A Comment, and both fell for its charismatic ‘non-editor’: Crozier was fun, entertaining artists and poets in her suburban home, where they debated and played piano late into the night.

The do-it-yourself nature of A Comment extended beyond the humble materials or handwrought aesthetics it accepted for itself. Flicking through issues, it is hard not to be excited by the enthusiasm of Crozier and her peers. You can imagine Crozier sitting at her kitchen table, receiving poems and prose for the next issue, picking out which colour ink to use for the text, which for the linocut. In issue four she puts out the challenge: “Why not let “Comment” be the battle ground upon which YOU will fight for your ideals and

ideas.” But A Comment is more a passionate love letter to the arts, than a declaration of war.

Reading biographies of Melbourne art world figures in the decades around World War II, one is struck by the women who kept the scene running. Crozier stands among important female personalities like Sunday Reed, Katharine Susannah Prichard, Helen Ogilvie, Cynthia Reed, Nettie Palmer, Dorothy Braund, Lina Bryans, Ruth McNicoll, Nina Christesen, and Elizabeth Vassilieff. Not all these women are artists, so only some show up in Know My Name, but they all helped make creativity in Melbourne possible.

The do-it-yourself quality of A Comment is still inspiring today because, as Kershaw bluntly put it, “hordes of people are interested in the arts—or claim to be—but damned few of them show any inclination to spend their time and energy, let alone their money, running magazines.”

Know My Name: Australian Women Artists 1900 to Now National Gallery of Australia (Parkes Place, Parkes, Canberra ACT) 12 June—26 January 2022

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All the Ronnies

Even if you have never met Ronnie van Hout, you know what he looks like, as his likeness appears in various guises across his work. A cast of different ‘Ronnies’ populate the artist’s videos, sculptures and installations—appearing as the wizened face of inanimate objects (a banana, a sausage, a hammer), as well as the adult visage of child-like figures engaged in disconcertingly adult acts. While van Hout often draws upon childhood memories for his work, his troupe of deadpan Ronnie misfits are generally misshapen and poorly cast, undermining any sense of straightforward autobiography. Indeed, the more we see of van Hout’s work, the less we feel we ‘know’ him.

Influenced by cinematic history, contemporary music and pop culture, van Hout’s dark humour and deliberately absurdist bent forces us to ponder power structures, familial relationships, and the reliability of memory…along with the occasional story of alien abduction. Here, he tells us the motivations behind five of his artworks.

A R T WOR K B Y

A S T OL D T O

Ronnie van Hout

Kelly Gellatly

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YOU!, 2016. courtesy of the artist and station.

RONNIE VA N HOUT: YOU! was part of a show called Stand Up, which looked at the position of the stand-up comedian in the late 50s and into the 1960s, when it was much more marginal; more abject. I was seeing it as a form of talking therapy, where someone stands up and talks to everyone else. The stand-up comedian was always an outsider; someone who was sort of ‘between’—between the audience and the world. It’s like they’re lying down, but they’re standing up—they’ve risen from the couch. The term ‘stand up’ is also a kind of directive.

It’s performance, so I was also interested in the stage. I was into the punk rock music scene when I was younger, which worked with the idea of taking away the stage. A lot of punk gigs were just on the floor, with the band on the same level as the audience, in a non-hierarchical situation. I’m interested in that in relationship to the performer’s position. In stand-up there’s an intimacy that’s created through the performance, which is different to theatre. You have to laugh. It’s not funny and it’s not a joke until someone laughs at it. My high school yearbook quote was: “The difference between people and animals is stand-up comedians.”

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BED/SIT (Morphic Equaliser), 2008, installation view, No one is watching you: Ronnie van Hout, Buxton Contemporary, the University of Melbourne. courtesy of the artist and station. photogr aph: christian capurro.

RONNIE VA N HOUT: BED/SIT is a meld of Robert Morris’s installation Hearing, 1972, and the British comedy show Hancock’s Half Hour. That was kind of the image I had—of a British sitcom set in a one room bedsit—of a lonely character on their own, and the failure of their existence. I was trying to create that kind of mood, which is a bit Beckettian—kind of funny, but equally, really depressing. I wanted something theatrical, that looked like a set; like something was going to happen.

The notion of the domestic is introduced by the doorway, which has a video showing in it. I based the proportions on the monolith in 2001: A Space Odyssey, 1968, which is a kind of a gateway in the film and operates as a door, and as a way through or threshold; you go through it to gain knowledge or to advance. In the film the monolith emits a loud sound, so I used a mixture of that and the sound of a power station for the soundtrack; the plinth is a big speaker. The two figures sitting opposite each other are another 2001 reference. Their mirroring is inspired by the scene where HAL, the computer who controls the spaceship, reads the lips of the two astronauts who are talking about him.

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All Said All Done, 2012, installation view, STATION Melbourne. courtesy of the artist and station.

RONNIE VA N HOUT: This work is about remembering my teenage years and trying to locate the specific moment of deciding to become an artist. It was also that moment where I moved between two worlds; choosing art during a pretty bad phase of my life and making decisions about my future when I didn’t even know who I was.

That’s why the portrait of me is kind of unformed. Similarly, in the video, the people reading the poems from my school yearbook serve to emphasise the fact that it’s all teen-angsty and emotional, although I wasn’t actually like that.

The work is about reflection and going back and thinking about points in time.

It was also a nod to Mike Kelley’s show Day is Done, 2005. So mine’s, All Said All Done. Because, in the end, what does it all add up to?

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Quasi, 2016, installation view. commissioned by christchurch art gallery te puna o waiwhetū. courtesy of the artist and station.

RONNIE VA N HOUT: Quasi was created after the Christchurch earthquake. When the city’s gallery was reopening, they wanted something to go on the roof that would make people go, “What the hell’s that?” and that would point to the fact that the gallery was now open. In this sense, I call it signage, rather than art. It’s a kind of sign, but it’s also a Quasimodo-like character; a sort of ‘other’. So that’s another aspect of the work—the theme of the outsider and the rejected.

The launch of the work made the national news. Following that, the national newspaper held an online survey where they asked, “Do you like it or hate it?”, which gathered over 5,000 responses—mostly against. The gallery was happy because they thought that was a success and that it had achieved what they set out to do. A lot of people were going past, and then going into the gallery to make a complaint!

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I Know Everything, 2017, installation view, The National: New Australian Art 2017, Museum of Contemporary Art Australia, Sydney. courtesy of the artist and station. photogr aph: jacquie manning.

RONNIE VA N HOUT: For The National in 2017 I wanted to get together all the figures I could with all the videos and just put them in a room, to overwhelm in some ways, and to just see what would happen and what it amounts to. That was partly the whole point of doing all those figures with my head and hands. Rather than get sick of something and move on to something else, I thought, “I’m just going to continue doing this, let’s see what it does.” When you do more, does it add up to something else; does it change how the next things are read?

I particularly like the videos all playing at the same time—lots of sound, really overpowering. What happens when you put too many references and too many links into something; when it’s just too much, too over the top? It’s allowing all the little references and little connections to come together, which I think is interesting. The one theme I’ve had continuously is the idea of connection—what’s the gap and what happens in the space in-between.

The Floating Planes of Utrecht Ronnie van Hout STATION Gallery, Melbourne (9 Ellis Street, South Yarra VIC) 17 July—14 August

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COMMENT

A Call to Arms Part II Why aren’t more Aboriginal and Torres Strait Islander people in positions of power in the art world, and what needs to change?

Wardandi (Nyoongar) Aboriginal woman and senior curator Clothilde Bullen explores these questions.

W R ITER

Clothilde Bullen Recent events in the Australian visual arts have thrown into sharp relief the deeply flawed thinking about the participation of Aboriginal and Torres Strait Islander artists and communities in contemporary art. These events also demonstrate, even more clearly, the arts-wide issue of the lack of Indigenous arts workers in institutional positions that can foster these conversations, particularly in a structural way.

In March 2021, Spanish artist Santiago Sierra was curated into the Dark Mofo program, part of Hobart’s Museum of Old and New Art (Mona) winter festival. His intent was to immerse a Union Jack flag into the donated blood of Aboriginal and Torres Strait Islander people as a comment on colonialism. The commissioned work, the artist, Dark Mofo and Mona all became the focal point for an unheralded backlash from Aboriginal and Torres Strait Islander people, as well as other non-Indigenous people, including Mona’s own staff. These individuals railed against what was perceived as trauma tourism, and the re-colonising of Indigenous peoples’ own histories and representations.

Whether this was accidental, a benign misinterpretation, or strategic and deliberate controversy from the artist at the expense of an historically excluded and manipulated minority group, is up for debate. What is certain, however, is that if there had been any Aboriginal or Torres Strait Islander staff working for, or having oversight over the program, or an Indigenous advisory group connected with Mona, the proposed commission would not have gotten off the discussion table.

In 2015 I contributed an essay for Next Wave Festival titled A Call to Arms, in which I anecdotally stated the number of Aboriginal and Torres Strait Islander curators and arts workers in Australia: at this time, in what was and is a multi-million-dollar industry, there were only around 20 Indigenous curators and 100 paid Indigenous arts workers in the country. While some improvements across development and staffing have been made with a variety of

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leadership programs—most notably the Wesfarmers Leadership Program via the National Gallery of Australia, and the British Council’s arts leadership program, formerly known as Accelerate and now Intersect—in real terms the numbers of Indigenous curators and arts workers has not increased significantly. And these numbers have not increased in line with the growth of Indigenous artists’ commercial and artistic output.

In the words of Aboriginal artist Richard Bell: “Aboriginal art, it’s a white thing.” One could submit that the low ratio of Indigenous arts workers and curators, in proportion to work by and about us, is fundamentally an issue around power: the desire to keep it and the fear of losing it. Discussing Bell’s artwork Uz vs Them, writer Tristan Griffin observes how Bell offers up a boxing ring metaphor to depict the struggle over existing socio-political power between white and black. This struggle has long been recognised

by Aboriginal and Torres Strait Islander artists, who have fought for the right to represent themselves in ways that are embedded in agency, truth, healing and social justice.

Overwhelmingly, however, those who are directing and owning (in the capitalist sense of the word) Indigenous representation are mostly white. The exception to this rule is the communally managed Boomalli artist space, based in Sydney, and a significant number of remote community art centres across Australia where the managing boards are all Aboriginal and Torres Strait Islander community-elected members. (Mostly, however, the studio coordinators and managers are white.) There is huge resistance, acknowledged and unacknowledged, about handing over the reins so to speak—transferring power back into our hands.

It is not often that Aboriginal and Torres Strait Islander curators and arts workers speak openly about power—about the myriad impacts it has upon our professional experience—because it can quite literally put our jobs at risk. Aboriginal and Torres

Future Leaders. Illustration by EmilyJohnson.

Strait Islander artists can and do unpack this consistently and well. But as the go-betweens amidst the institution, the public, and the artist or community, Indigenous arts workers are forced into a unique— and constrained—position.

That is why it is so critical that those who are unencumbered with the cultural responsibility of answering to and prioritising community are able to hold safe spaces for us; to advocate for us when we ask you to, in the ways we ask you to (which means not speaking for us). This is our call to arms—to our white colleagues in institutional, academic and commercial spaces, to ensure we are at the table even when we physically are not.

I was genuinely heartened to see white people at Mona calling out their own. Aboriginal and Torres Strait Islander arts workers are tired of educating, of fighting, of being kept out of spaces. We need you to stand beside us and be warriors with us. Often our experiences and traumas are discounted and minimised—in the way that Sierra did after he was told in no uncertain terms that the artwork he had proposed was re-traumatising, re-colonising, and offered no opportunity for true collaboration.

We need you to fight to have our traumas and experiences acknowledged. But more than this, we need you to make space for us in positions that support change at a structural level; positions that are

embedded within institutions and frameworks that make up our hierarchical arts system in Australia and overseas.

Put us on your boards. Put us in senior leadership positions. Don’t continue to keep us only at the coalface as curators and arts workers, benefitting the organisation by working sensitively and appropriately with artists and communities, while never individually having the ability to change harmful structures or procedures.

If you are in a leadership position, think about how you might succession-plan for the development and empowerment of an Aboriginal or Torres Strait Islander colleague to move into your position, while you (inevitably) move further up. True leadership is about bringing people with you. It benefits literally every white arts organisation to have black people in positions of power because the checks and balances are then in place to ensure that projects like the ill-fated Union Flag are discussed in programming committees with the appropriate Aboriginal or Torres Strait Islander representation, and decisions made accordingly.

Having black people in your organisation ensures a level of ethical behaviour and rigour in programming and curation that you will not see otherwise. This is good for our entire arts ecosystem, and this is this author’s call to arms to you, dear reader.

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Studio

Katy B Plummer

“I’m often talking about really tough things, and making them into comedy makes them manageable.

But it also disarms people.”

— K AT Y B PLU M M ER

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-mé

Tracey Clement

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Katy B Plummer is like a one-person film industry. She is the costumier, set designer, propmaker, star and director of her own unique style of genre-busting videos that tread a clever and fertile line between being laugh-out-loud funny and deeply troubling. Her elaborate props and costumes are sculptures in their own right, and they demand both attention and physical space.

With a renowned practice, Plummer pulls at the threads of pre-existing cultural narratives, prompting political, personal and existential questions. When Art Guide visited Plummer in her Carriageworks studio in Sydney, the artist spoke about relishing having space to herself while surrounded by other artists, as well as making the most of her inner high school thespian, and wrestling with her “art fairy”.

PLACE

I’ve been here at Carriageworks since January 2021 and the residency is for just one year. It has really been amazing to not have to make everything at home. Last year, I had this pair of long, soft witch’s legs draped over a chair, and I was yelling at my kid to do his homework and he said, “I just need somewhere to do my homework that doesn’t look like a horror movie!” That’s what our house looked like; it was full of these big creepy things all the time.

The other thing that I’m really loving about the studio is, I was really isolated before. I came back into the art world after a seven-year-child-having break. Which means that all of my uni peers went off to different places, so I didn’t have a cohort. But here I’m surrounded by other artists who are working, and I can have conversations with people who aren’t my kids, or the television. Or the budgies.

I’m juggling family and paid work, and because my work is pretty labour-intensive, I try to be in here all the time. So whenever I’m not doing other things, I’m here. And I put in long days. Sometimes not much actually happens. But that feels important too; to just have times where you can stare at the ceiling, or just be in among your stuff for a couple of hours.

PROCE SS

I think that deep, deep in my biographical history is high school theatre. And that’s where my creative roots are. My work is really narrative driven. And if it’s not an explicit narrative, then it’s about how narrative works. Something I’m really interested in is taking a pre-existing narrative and kind of emptying it out:

either a myth, novel, play, or some other cultural story that already exists, and then refilling it with my own meaning.

And it will start with a character, and the character always starts with a costume. But I’m not a natural seamstress. All of my sewing skills are gathered and half-baked, so it’s a messy process and takes a long time. And that’s really where it starts; I’m just building this web from which the character, all this other stuff, stretches out to make the work.

Ever since I started making video and performance work, I’ve been in my own work: the artist as ‘the self.’ And if there’s somebody else it’s ‘the other’, and that would often be Kuba [Dorabialski, Plummer’s partner]. Then when I came back to making work [after having children], I was seven years older and I was chubbier. And there was a little minute when I had the feeling like, “Oh, I have to find a stand-in, I can’t be the actor anymore because I’m not cute.” But that was a brief moment. Then I thought, “I’m not going to kick myself out of my own work so that people don’t have to look at my chubby, saggy self!”

I feel like so often in my work, I am asked to do something that horrifies me. Of course it’s one hundred percent me asking. I call it the ‘art fairy’, and it will just go, “I have an idea. You’re going to hate it.” And there’s this kind of laughter underneath that. I don’t like to be embarrassed, or in danger; but always in my work there’s this thing happening where I’m continually being hung out to dry. And I do find it really hilarious.

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I’m often talking about really tough things, and making them into comedy makes them manageable.

But it also disarms people. One minute we think we’re in this friendly world where everything is soft and cute and a little bit adorable, and suddenly we’re talking about violence as a political tool. I find that collision really fertile.

PROJ EC TS

I’m really interested in the moment when a story flips; when the threat of violence, or the explicit violence, is no longer enough to keep a power imbalance in stasis.

I’m really drawn to historical events that contain that. The French Revolution is one I’ve worked with before—suddenly, the monarchy can’t keep that power imbalance in place, and they lose their heads.

You see this too in the work that I’ve just finished about Mussolini’s execution.

After he was killed in 1945, his body was moved to the Piazzale Loreto in Milan. A crowd gathered and enacted this sort of strange, horrifying, cathartic

experiment: like they were trying to figure out how to rebalance the scale. They shot him, even though he was already dead, and hung him up by his heels, like smoked meat. And I thought, “What if Mussolini was a salami?” It was just one of those images. Like once you think it, it made me laugh and I couldn’t unthink it.

The first quarter of this year has been completely nuts; I haven’t looked up or breathed. So now I’m really excited to start working on something that I don’t already know what it’s going to look like. It’s been a while since I’ve had the luxury of doing that. I’m working on these ladies with luminous strap-on noses; they’re kind of speculative ancestors. I don’t know what the purpose of art is, but I know I’m really compelled to do it. And that feels really human to me.

THE SEA AND THE SHAPE Katy B Plummer

AIRspace Projects (10 Junction Street, Marrickville NSW) 6—22 August

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The Many Faces of Digital Art After record-high international sales, non-fungible tokens (NFTs) and digital art are now becoming mainstream—but how does this new world work?

And is it working for Australian artists?

W R ITER

Jess Cockerill

Early one morning, in March 2021, Melbourne-based artist Rel Pham stared at his computer in disbelief.

His animated artwork was at the centre of an online bidding war worth thousands of dollars: more than he’d ever sold a painting for, let alone a video file. The artwork, titled In their mutual interest, depicts a snail perched atop a white rose in the grasp of a monstrous hand. White petals drift across the tableau, which glints occasionally with anime-style starbursts.

The website where this online auction took place is called Foundation. On this platform, In their mutual interest is visible for all to see; there’s no compression, no pixelation, no animation frames. I was even able to download the artwork in full resolution to my own computer, without paying a cent.

But the winning bidder did not pay the equivalent of $4000 to just download the video file. What Pham had really sold was a ‘non-fungible token’, or NFT. Since March 2021, when Christie’s auction house famously facilitated the $US70 million sale of an NFT by digital artist Beeple, the art world has been forced to reckon with what NFTs will mean for the industry.

But what exactly are NFTs, and why is there so much interest in them?

The languages of blockchain, crypto and NFTs are gratuitously opaque. All too often complex words become a decoy for more important discussions about NFTs in art, so it’s worth demystifying certain terms and assumptions.

A recent article in The New Yorker described NFTs as the following: “Broadly speaking, N.F.T.s are a

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tool for providing proof of ownership of a digital asset.

Using the same blockchain technology as cryptocurrencies like bitcoin—strings of data made permanent and unalterable by a decentralised computer network—N.F.T.s can be attached to anything from an MP3 to a single JPEG image, a tweet, or a video clip of a basketball game.”

Taking this back a few steps: everything on the internet is stored on a server, including artworks, music, and videos—and blockchains are one of many options for how that information is stored. It’s helpful to think of blockchains like virtual nations. One of these ‘nations’ is called Ethereum, and its currency is Ether. Ether is a fungible token. Like the value of a ten-dollar bank note, one Ether always has the same value as any other Ether. NFTs are different: their value can shift, like the auction price of a particular painting, or a particular edition of a print (and they don’t always represent artworks: they can represent anything within a blockchain that we’d want to assign an unfixed value to).

In art, an NFT can act as a certificate of authenticity, a mark of scarcity, or a record of ownership and value—and similar systems existed long before the internet. For example, it’s useful to consider how NFTs

R IGHT Charis Tsevis is showing in Australia’s first physical NFT art gallery, the Museum of Art and Philosophy (MAP), Hobart. Charis Tsevis, Frida Kahlo.

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Dave Court is selling NFTs alongside physical artworks.

Dave Court, HOUSE PARTY, interior view featuring LOOP 6, digital rendering.

“I think that releasing more NFTs could be a really good way to move into being an artist as my main thing.”

— SER WA H AT TA F UA H

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Jess Johnson is selling NFTs on platforms such as Foundation, LGND, hicetnunc200, and through TRANSFER Gallery.

Jess Johnson + Simon Ward, WEBWURLD, 2017, sound by Andrew Clarke, single-channel HD digital video with audio, 16:9, 2 minutes, 8 seconds.

mirror the Renaissance-born arts patronage system that we still use today. In fine art terms, the NFT is the plaque at the foot of the statue informing the public: ‘on loan from the Guggenheim Estate’. It’s the database entry stored by Sotheby’s auction house that tells us how much Munch’s The Scream is worth.

These are not what we would usually consider the art object. But the value of having your name on that plaque, or alongside that dollar value, is indivisible from the artwork. When you buy an NFT, you’re not merely buying an artwork, but the status or record of owning that edition of the artwork, too.

Foundation—the digital, concept-driven marketplace where Pham’s NFTs are listed for auction—is marketed as a curated, artist-centric platform. This business creates the NFTs that represent each artwork, and then facilitates the auction process. The artists selling via Foundation generally demonstrate a strong vaporwave aesthetic—brightly coloured creations soaked with early-internet nostalgia—across works that are 3D-rendered, pop-surrealist, animated and Instagram-native.

Digital media expert Scott McQuire likens artists’ adoption of NFTs to the system of limited editions embraced by 20th century printmaking and photographic artists. Both use the tactic of artificial scarcity in response to a medium of proliferation. “There’s a lot of interest in things being free on the internet,” McQuire says. “But if you’re the creator... how are you going to deal with financial sustainability?” In other words, how are digital artists going to ensure they’re paid for their artwork?

Since launching in January this year, Foundation alone has created more than 10,000 NFTs for digital artists looking to ride the crypto-wave, and it’s just one of the many platforms providing this service. On Foundation, Pham’s NFTs appear alongside many other Australian and New Zealand artists and designers, including Jess Johnson, Serwah Attafuah, James Jirat Patradoon and David Porte Beckefeld.

In making the digital more tactile for audiences, Australia’s first physical NFT art gallery, the Museum of Art and Philosophy (MAP), opened in Hobart in June; and artist Dave Court is selling an NFT alongside physical artworks at his solo exhibition HOUSE PARTY at Praxis Artspace in Adelaide. Artist Kieren Seymour similarly sold his works with an accompanying NFT during his March solo show at Neon Parc in Melbourne.

Beneath the choice to move into NFT sales is the promise of economic and creative freedom.

Serwah Attafuah, a Western Sydney-based 3D artist, started making NFTs with Foundation in 2020. On Foundation’s blog, she wrote: “I think that releasing more NFTs could be a really good way to move into being an artist as my main thing. I want to get to a place where I can rely less on clients and freelance work, which I feel is suffocating me in a way.”

With enormous funding cuts to the Australian arts sector and a financially frugal client base in the wake of Covid-19, and the possibilities of the new realm of digital art and NFTs, it’s no surprise that artists are seeking these new, potentially lucrative income streams. At the same time, some are questioning this new system.

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This NFT recently sold on Foundation for $4000.

Rel Pham, In their mutual interest, 2021, mp4, 2000 x 2500 pixels, 24 frames per second.

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Anita Archer—a Melbourne-based art market expert and collection adviser—isn’t sure NFTs can fully offer the solutions artists are looking for. “People who are deeply passionate in this field talk about how it’s this utopia that’s going to be wonderfully liberating and . . . the best thing that could happen to artists,” she says. “But it’s certainly not what we’re seeing at the moment.” Although she thinks NFTs might one day have a legitimate place in the art market, Archer is concerned that problems with gatekeeping, authenticity and exploitation of artists are being reproduced in the NFT space.

Assuming you can get past the impenetrable terminology and the mystification of crypto-currency (and the environmental concerns of high carbon emissions associated with creating and trading NFTs), there are many more barriers to entering NFT art trading. Some NFT marketplaces are deliberately exclusive: Foundation is invite-only, or you can buy your way in by purchasing an NFT from one of the platform’s existing artists. To create or purchase NFTs, artists and collectors need to buy some of that virtual currency, Ether. And then there’s ‘gas’, a fee for any blockchain transaction: this includes things like currency conversion, creating an NFT, placing bids, and transferring NFTs from one owner to another.

Pham sees these costs as a business expense— like paintbrushes and canvas, or gallery commissions and hire fees—but he’s aware there’s a lot of profit being made from artists’ buy-in to platforms such as Foundation. “The narrative that gets pushed a lot is everyone has an equal chance, but I don’t think the reality is that,” he says. “As much as the platform’s meant to be democratic, there’s a material issue to it, in terms of who has access to that capital and who can start off.”

Echoing similar concerns, Los Angeles-based new media and video game artist Cassie McQuater wrote in a tweet about NFTs: “Cryptocurrency may be disrupting some parts of the art ecosystem but it’s definitely not threatening the underpinnings of capitalism itself or even the perverse influence of the super-rich on our artistic practices.”

The winning bidder of Pham’s In their mutual interest NFT is a 49-year-old American man named Chris Dixon, a venture capitalist involved in everything ‘tech disruption’, from virtual reality to social media to biohacking to crypto. Last year, he led venture capital firm Andreessen Horowitz’s $23 million investment in the NFT marketplace OpenSea. In the mainstream NFT space, invested patrons like this are common: the two main bidders in the infamous Beeple auction were Vignesh Sundaresan and Justin Sun, who are both heavily invested in crypto platforms themselves.

As Archer points out, if the NFT marketplace is being buoyed by such ‘invested’ patrons, it wouldn’t be a first in the art world. “Let’s not think that any of the other [art] markets haven’t been manufactured,” she says. “It’s no different if we think about the market for French Impressionists, who did a similar thing.”

Archer is referring to the 1800s French art dealer Paul Durand-Ruel, who would sometimes bid on his own artists’ paintings at auction to inflate the price and grab the interest of collectors. Durand-Ruel’s actions raised the value of the artists he represented, such as Monet and Manet, which in turn brought prestige to his own gallery. He was creating ‘value’ in art, and—for better or worse, depending on your viewpoint—is now celebrated as the father of French Impressionism.

By extending elements of this ‘value creating’ system into an online space, the NFT market carries both the merits and problematic politics of that same economy. The NFT market was not created by artists, although, optimistically, many artist-led platforms have emerged in recent months. Johnson and Attafuah have started creating NFTs outside of Foundation, on platforms such as LGND, hicetnunc200, and as part of TRANSFER Gallery’s Pieces of Me exhibition. These alternatives diversify the digital art space, advocating for better conditions for artists, and offering a positive glimpse into the future of NFTs in art.

The hype of NFTs has undeniably brought digital art to the public psyche like never before. Antipodean artists have been engaging with the digital medium for decades, yet nuanced discourse about the ethics of this industry is too often sidelined by debate over the legitimacy of digital art and ‘low brow’ culture in general. This may be a symptom of Australia’s technophobia, and certainly seems like a byproduct of neglected investment in both art or technology.

But if the Christie’s multi-million-dollar NFT sale wasn’t evidence of a coming-of-age for this genre, then perhaps the verification comes instead from a growing interest in the politics, economic future, and ecosystem of the digital arts.

HOUSE PARTY Dave Court

Praxis Artspace (68-72 Gibson Street, Bowden SA) 24 June—23 July

PERCEPTION — INTERPRETATION OR FACT? Museum of Art & Philosophy (7 Campbell Street, Hobart, TAS) 8 July—31 August

Pieces of Me

TRANSFER Gallery www.piecesofme.online

Foundation www.foundation.app

LGND www.lgnd.art 93

Surface Tensions While much of Salote Tawale’s work is humorous on the surface, the artist is mining the tensions surrounding representation, colonialism, and her own cultural and personal histories.

W R ITER

Neha Kale

Salote Tawale has long seen laughter as more than just a physical reaction. It can signal the presence of tensions that are conveniently hidden from view. The acclaimed artist remembers visiting shopping centres with her Fijian father when she was growing up in Melbourne’s Mount Waverley. A sense of otherness, she says, was a regular experience—and humour was one way to filter this.

“Growing up in such an Anglo neighbourhood, I was really aware of my body in space,” says Suvaborn Tawale, who has an Anglo-Australian mother and immigrated to Australia as a child. “When my dad walked down the street, people would really stare at us, or make a big effort not to.” She gives a rueful laugh. “I used humour a lot [during] that time. For me, as an art-maker, that’s where my practice moved into a place that was interesting.” Embodiment, of course, has always been a messy business—especially for bodies that settler-colonial cultures, like Australia, have historically marked out as different.

While Tawale’s practice now spans installation, film and painting, she started out taking photos of places, later swapping photography to study Media Arts at RMIT University in the early 2000s. There, her teacher, Dominic Redfern, introduced her to video art by second-wave feminists such as Susan Mogul, whose famous 1973 work Dressing Up sees the artist deliver a bitingly funny monologue about shopping while eating corn nuts. This would become influential.

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In early video work such as Rollergirl, 2004, Tawale breezily sucks an icy pole on roller skates as army tanks loom in the background. “Rollergirl comes from the experience of news I [heard] as a kid, the fact that there was so much nuclear power in the world, it could blow itself up 17 times,” she says. “As a queer Fijian woman in this society, I was othering myself and making a point of it.”

Soon after, Tawale outsourced the burden of her own representation. For Portrait of Salote Tawale, 2006, she invited 38 artists—including Jess Johnson, Emily Ferretti and Sanné Mestrom—to make her portrait with wildly playful results. The piece aimed to subvert how portraiture, a fixture of Western art, assumes that identity is singular. “As a person of colour, you are expected to represent people of colour or Pacific Islanders,” she says. “When actually, there is a real multiplicity to who we are.”

Tawale and I talk about this myth of authenticity, in particular the way it can flatten complexity and reproduce old colonial structures. To further unpack these ideas, in 2017 Tawale travelled to Suva to record oral histories and connect with Fijian artists. “Culture is always changing,” says the artist, who is interested in exploring both familial and institutional archives in her work. Later in 2017, Tawale also visited London to work with the Stuart Hall Library, where she was importantly introduced to the work of Black British artists.

Salote Tawale, I don’t see colour, 2021, video still.

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Salote Tawale, with love from here, 2021, video still.

“As a queer Fijian woman in this society, I was othering myself and making a point of it.”

— S A L O T E TAWA LE

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Salote Tawale, You/Me#1, 2019, detail from Peace Altitude, curated by Amanda Rowell, The Commercial, Sydney. photogr aph: alex kiers.

Building upon these interests and travels in Love From Here, Tawale’s current solo show at the Murray Art Museum Albury (MAMA), the artist presents a video installation that borrows the tropes of a YouTube cooking show. The food—in this case, a can of tinned mutton—becomes a metaphor for cultural dislocation, the way systemic inequalities manifest in what we eat.

Tawale’s other solo show, I don’t see colour at the Perth Institute of Contemporary Arts (PICA), also stems from conversation and travel—but in a different way. In London, Tawale found herself at a party talking to a French philosophy student who believed he didn’t see colour. “He had convinced himself that the legacy he sits within didn’t make him privileged,” explains Tawale. In response, the artist made a series of hanging paintings of a face rendered in a washedout blend of taupes, pinks and peaches. “It’s a fake skin tone, the way skin is depicted in popular culture,” says the artist, drawing attention to not only the cultural fallacy of not ‘seeing’ colour, but how this furthers the colonial project. I don’t see colour notably stems from Tawale being the recipient of the inaugural Michela & Adrian Fini Artist Fellowship, supported by the Sheila Foundation—and to add to her prestige, Tawale also won the 2020 Mosman Art Prize.

Yet it’s Tawale’s upcoming work that most directly speaks to memories of her early youth. When

Tawale was a child, she tells me she saw a bilibili, a traditional watercraft made of bamboo, at a museum in Fiji. “I thought I could live in the boat,” she laughs.

“I thought I could live between Fiji and Australia.” For the last two years, she’s been building a large-scale sculpture of a bilibili, tied together with bedsheets.

The work, which will span between nine and twelve metres, will show as part of the 10th Asia Pacific Triennale at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in November.

For Tawale, the boat reflects present-day anxieties. “There’s a post-apocalyptic vibe to it,” she grins.

But it’s also about how art has helped her negotiate the places she finds herself. “It’s about pulling apart elements from history,” she says, “to speak to my own presence.”

Love From Here Salote Tawale

Murray Art Museum Albury (546 Dean Street, Albury NSW) 11 June—29 August

I don’t see colour Salote Tawale

Perth Institute of Contemporary Arts (51 James Street Mall, Perth WA) 30 July—10 October

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Dancing with Dust Clouds Aiming to “reclaim the agency of blindness,” Fayen d’Evie’s poetic and tactile work explores how we perceive art, in ways both physical and conceptual.

W R ITER

Anna Dunnill

When speaking with artist Fayen d’Evie, each conversational direction is a pebble dropped in water that ripples outwards, embracing vast universes of ideas and people, material and place, etymology and history—and, within the generative spaces between these things, the dust that constantly circulates.

D’Evie was first drawn to the idea of dust when a conversation with an astrophysicist revealed that interstellar dust clouds hold, as she explains, “the building blocks of life”. That such essential material could be contained in an amorphous ‘between-space’ was a revelation, reflecting a certain way of living. “It was fundamentally, to me, evocative of those of us who live outside the bounds of what is considered the normative colonial patriarchal structures,” d’Evie says. Since then, the artist has embraced the notion of dust as a metaphor for ways of being that are “continually reassembling and circulating”.

As an artist with low and fluctuating vision, d’Evie has been working with ideas around blindness since 2016, when her vision went through a period of rapid degeneration. However, initial experiments with making tactile paintings, created to be touched, didn’t turn out as planned. “I thought that they would end up really beautifully dirty by the end of the show; that’s what I hoped,” she says. “I thought that they would all get kind of worn down by grease and fingertips and old lunch and whatever. And they were pristine at the end! It really broke my heart because I was like, ‘Well, that means people looked at them, but they didn’t actually touch them.’”

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Since then, d’Evie has developed a different approach. Examining the English words surrounding blindness, the artist noticed how many of them were inherently negative. “There’s this ingrained sense of blindness as ignorance and, you know, ‘blind drunk’ or foolishness,” she explains. “This is still carried rhetorically, and still endorsed by society within a lot of language—saying somebody is ‘blind’ to something.

And while a lot of other pejorative terms are being recognised and extracted, for some reason this one remains, and has been naturalised as okay.”

Seeking to “reclaim the agency of blindness,” d’Evie became fascinated with the idea of ‘blundering’—meaning ‘to stumble blindly’—as a deliberate strategy for “heading out into uncertain terrain”.

She describes this blundering approach to writing and art-making not as a position of ignorance, but a means of way-finding. “It’s an openness to uncertainty, and a continual recalibration,” she says. This strategy may draw on blindness, but it’s relevant to a broader audience as well as those who are blind or experience low vision. As d’Evie points out, “Anybody who is visual has a blind spot, and everybody who has a blind spot is actually in a situation where your brain is creating an image for you.”

Vision is inherently both unstable and hallucinatory, qualities the artist is fascinated by. She has explored this through multi-layered screen prints, in which printed words are legible from far away but seem to break down the closer you get to their surface. Elsewhere, language—always at the centre

Fayen d'Evie, Anna Seymour, Vincent Chan, and Trent Walter, Essays in gestural poetics {;;} "We get in touch with things at the point they break down.", 2021, screenprint and tactual uv prints.

Hillary Goidell, To Catch a Thing in Flight, 2020, (audiodescription of the film Shape of an Echo, 2019 by Anna Seymour, Fayen d’Evie and Pippa Samaya (a gestural description of the sound work Hauntings H M Castlemaine, 2019 by Andrew Slater (a description of the Old Castlemaine Gaol composed from field recordings))), video still.

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Fayen d’Evie, Essays in vibrational poetics {.} Acknowledging Margaret Woodward, Núria López, Mrs Eaves, and women who painted the caves in tactile poetics, 2019, Braille poetry excerpt, sculptural detail, granite, quartz, marble, bronze, ochre, charcoal.

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“It’s an openness to uncertainty, and a continual recalibration.”

— FAY E N D’ E V I E

of d’Evie’s practice—is made tactile, or sculptural, or conveyed through dance.

D’Evie’s work is remarkable for the poetic sensibility that flows through it, but the artist can’t be pinned down to any one material or technique. A forthcoming exhibition at West Space in Melbourne, although in one sense a solo show, lists almost 30 collaborators, “with more to be invited and confirmed between now and then and during”. These are sculptors, writers, dancers, musicians, poets, performers, publishers, typographers, choreographers, screen printers, and curators. Many are also blind, Deaf, or live with other diverse disabilities; d’Evie’s expansive practice ripples out to embrace numerous modes of being, making, and experiencing.

The exhibition incorporates many notable ‘interventions’. Gallery staff are engaged as active performers—translating, for example, a spoken text in Russian (with Cyrillic subtitles) into both spoken English and Australian Sign Language (Auslan). Other works evoke touch or invite direct handling; a series of bells by blind sculptor Aaron McPeake articulate the space aurally. Instead of a busy opening event—which can be inaccessible for many due to noise and crowding—intimate group encounters will occur throughout the exhibition’s duration.

In another major project—a new commission for the Museum of Contemporary Art, titled With Cane in Hand, I Dance a Duet for One, for Two, for Three, for Four…—the movements of d’Evie’s cane as she dances are translated into sculptures. The original concept for this work involved two dancers—Holly Craig, who is blind, and Riana Head-Toussaint, who uses a wheelchair—developing a dance in response to the music of blind musician Tommy Carroll, a track celebrating unsteady movement. It is, says d’Evie, “a very upbeat,

kind of dancey track”.

From here, the dancer’s movements would be motion-captured, and digitally rendered into sculpture. However, Covid-19 travel restrictions nixed this plan. Instead, Craig and Head-Toussaint taught their separate choreographies to d’Evie over the phone.

“I realised that what I could do was to internalise the duet in my body,” d’Evie explains. “Every morning at sunrise, I would go across into the bush, because I was a bit shy about people watching me, and I would dance and rehearse and blend the two, listening to Tommy’s music in my ears.”

Translating movement into sculpture via spoken language, d’Evie dances amid the circulating dust.

The building blocks of life flicker and whirl; vibrating and reassembling into new forms.

We get in touch with things at the point they break down // Even in the absence of spectators and audiences, dust circulates…

Fayen d’Evie, with collaborators

10 July—22 August West Space (Perry Street, Collingwood Yards, Melbourne VIC)

With Cane in Hand, I Dance a Duet for One, for Two, for Three, for Four…

Fayen d’Evie, with Holly Craig, Riana Head-Toussaint, Tommy Carroll, Bryan Phillips, Kenny Smith and Edwina Stevens Museum of Contemporary Art Australia (140 George Street, The Rocks, Sydney NSW) September 2021—September 2022

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An Endless Affair Major exhibitions on European masters are currently showing in multiple Australian cities.

What keeps compelling us toward these artworks?

W R ITER

Steve Dow

Of the 65 European masterpieces on loan to Brisbane’s Gallery of Modern Art (QAGOMA) from New York’s Metropolitan Museum of Art this winter, Titian’s circa 1550 painting Venus and Adonis is the work that affects QAGOMA director Chris Saines the most: “It’s almost like an opera in the way this story is told.”

Classical myth, when a goddess and an earthbound mortal unite, tends to end in tears, and so it seems fated as Venus clings to Adonis and implores him not to embark on a hunt, where a wild boar will charge him. Saines adores the work as a “rich and complete story” that is emotional and dramatic, while Titian’s “breadth and fluidity and looseness” in his brushwork “tell you there is a great genius in the making of this painting”.

The other works on loan include Caravaggio’s The Musicians, Rembrandt’s Flora and Vermeer’s Allegory of the Catholic Faith—but how does one even begin to edit 500 years of European masters into a representative 65 works? “That’s a little like saying, ‘How do you understand Western civilisation without reading the British Library?’” Saines laughs. “It is possible to encompass a big story arc with an exhibition like this.”

The exhibition is divided into three chapters: the development of the Renaissance through devotional imagery; into the Baroque; then right up to the early 20th century. Indisputably, European Masters from the Met is a serendipitous event for QAGOMA audiences: the exhibition has come about because the Met is renovating its European art galleries, and might not have been loaned to Australia otherwise.

QAGOMA’s opening of this show in June coincided with the National Gallery of Victoria (NGV) opening its French Impressionism exhibition direct from Boston’s Museum of Fine Arts, with more than 100 works by the likes of Monet, Renoir and Pissarro. In addition, the NGV is showing Goya: Drawings from the Prada Museum, comprising more than 160 works on

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paper by Francisco Goya (1746-1828) and featuring 44 drawings on loan from the Prado Museum in Madrid.

Why do the European masters still resonate so widely for audiences? “These are paintings that have survived for hundreds of years,” says Saines. “The stories these paintings tell cause us to go back in time and consider the context in which the work was being made, whether it was the result of the rise of Catholicism, or whether it was an increasingly secular world such as the modern era.

“When you see these stories bound together in one show, so often it’s artists looking back to artists who have preceded them. We’ve got two wonderful works in the show by [post-Impressionist] Cézanne, who looked back to [French Baroque] painter Nicolas Poussin, because he wanted to give painting that solidity of classical painting, as opposed to the flux and ephemerality of Impressionism, per se.”

The NGV’s curator of international art, Ted Gott, counters that the attraction of the Impressionist works is their “timeless beauty”. He says it is impossible to pinpoint what he is most excited about in the French Impressionism exhibition—although from the 19 Monet paintings, he nominates one of the Haystack series from 1890-91, as well as Renoir’s famous Dance at Bougival from 1883, which shows a couple dancing closely at an outdoor beer garden in summer on the outskirts of Paris.

“They were cutting edge artists at the time of what they were trying to do politically, in breaking away from the conservative exhibition system that was constraining them—but they also created works of art that were beautiful to behold and perennially enjoyable,” says Gott.

“I think that’s a large part of the continuing success: it’s one thing to be politically astute and groundbreaking as an avant-garde artist; it’s another thing to create works of art that are just so exquisite that they

Edgar Degas, Dancers, Pink and Green, c.1890, oil on canvas, 82.2 x 75.6 cm. signed (lower right): degas. ho havemeyer collection, bequest of mrs ho havemeyer, 1929 / 29.100.42, collection: the metropolitan museum of art, new york.

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Claude Monet, Poppy field in a hollow near Giverny, 1885, oil on canvas, 65.1 x 81.3 cm. museum of fine arts, boston juliana cheney edwards collection photogr aphy © museum of fine arts, boston. all rights reserved.

will forever be in the canon of humanity’s beauty.”

Story and mythology meanwhile are a big part of the legend of Goya’s work, ranging variously from his time in Madrid, his work as a court painter during the Peninsula War when the French Army invaded Spain in 1808, and then onto the later black paintings when he withdrew from public life.

Politically, Goya was a liberal angered by the Catholic hierarchy’s rejection of the 1812 Spanish Constitution and the restoration of the Bourbon monarchy in 1814. In 1793, Goya had suffered an undiagnosed illness, leading many to speculate about the impact of his resulting deafness on his art.

The NGV’s senior curator of prints and drawings, Cathy Leahy, says Goya found drawing “incredibly freeing, because he could give free rein to his imagination and his powers of invention”. These uncommissioned, private works show what Goya really thought about Spanish society, with pieces ranging from 1794 through the self-exile of his final years.

For Leahy, the work of European masters resonates “because that’s the canon of art history.”

She continues: “They’re the artists written about the most or considered exemplars of a particular style or period. The work resonates in terms of its draughtsmanship or painterly qualities.”

Goya, meanwhile, continues to have relevance for many contemporary artists, says Leahy, being considered the “first modern artist” for exploring “the psyche and humanity’s inner world”.

This begs the question: do such European masters

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offer audiences experiences and engagement that contemporary art cannot, as much as new art might echo their past achievements?

“Art is a continuum,” says Leahy, “and the very best art helps the viewer to reflect on universal themes. If you think about Rembrandt and love and the inter-relationships between people, just like good literature, good art gives one an entrée into ways in which the tenderness between a mother and a child, for example, is encapsulated in an image.

“The masters can give you experience into earlier periods in a very direct way . . . They shine a light on a time in history.”

European Masters from The Metropolitan Museum of Art, New York Gallery of Modern Art (Stanley Place, South Brisbane QLD) 12 June–17 October

French Impressionism

National Gallery of Victoria (180 St Kilda Road, Melbourne VIC) 4 June–3 October

Goya: Drawings from the Prado Museum National Gallery of Victoria (180 St Kilda Road, Melbourne VIC) 25 June–3 October

Image: Richard Wastell, Old ways, new mornings at Lake Sorell, 2021 , oil and pumice on linen

Painting east from the plateau Richard Wastell

Bett Gallery Level 1 Murray Street Hobart Tas 7000 Opening Hours Mon - Fri 10am - 5.30pm Sat - 10am - 4pm

3 July - 24 July 2021

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Kai Wasikowski

The Subjunctive Mood.

3 – 29 August

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Collingwood gallery

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Yhonnie Scarce: Missile Park 17 July―18 September 2021

Institute of Modern Art 420 Brunswick St Fortitude Valley QLD ima.org.au

Developed, and with a new co-commission, in partnership with Australian Centre for Contemporary Art, Melbourne, where the exhibition was shown 27 March―14 June 2021.

i m ag e : Yhonnie Scarce, Prohibited Zone, Woomera 2021, research photograph.

Courtesy the artist and This is No Fantasy, Melbourne.

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.

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O PE N DA I LY 9. 30A M – 5PM Perth, Western Australia

BOOL A BARDIP | M ANY STORIES Images: © Peter Bennetts 2020

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Bayside: Portrait of place

Anne Montgomery, Sandringham Beach 1950, oil on board, 40 x 50 cm. Private collection, Melbourne

10 July to 12 September 2021 Bayside: Portrait of place showcases the artistic history of this iconic Melbourne locale, which has inspired countless artists over many generations.

Key works from artists such as Arthur Streeton, Tom Roberts, Frederick McCubbin, Clarice Beckett, Arthur Boyd, Sandra Leveson, Roger Kemp and Yvette Coppersmith.

For more information go to bayside.vic.gov.au/gallery Curated by Andrew Gaynor

Bayside Gallery Brighton Town Hall Corner Wilson and Carpenter Streets, Brighton VIC 3186 T: 03 9261 7111

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Taka Gin Co.

Taka means taste, from the Gunditjmara language of South West Victoria.

Infused with carefully selected First Nations native botanicals: juniper, coriander, angelica root, cassia chips, finger lime, orris root, cut native lemongrass, desert limes, lemon scented gum.

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The brand artwork was created by First Nations artist Vicki Couzens, and it represents the phytochemical molecular components of Taka ingredients.

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SIP, DRINK, TAKA | www.takaginco.com.au | @takaginco | @leondesignco | @ vickicouzens

Taka Gin Co. is crafted in Naarm (Melb) at Gypsy Hub, by proud Gunditjmara woman, Niyoka Bundle and husband Vincent Manning.

ANNE JUDELL 24 July - 14 August

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Ellen José Art Award 2022 Female artists aged 18–35 working in any media are invited to enter the Ellen José Art Award, a $15,000 nonacquisitive award.

Ellen José (1951–2017) was a pioneer in Australia’s urban Indigenous art movement and a radical activist and social justice campaigner.

The award aims to support young female artists in the early stages of their career. Six shortlisted artists will have the opportunity to present a body of work at Bayside Gallery in mid-2022.

Judges Max Delany, Artistic Director & CEO, Australian Centre for Contemporary Art (ACCA), and Professor Marcia Langton AM, Associate Provost at the University of Melbourne.

Entries close 27 August 2021.

For more information and entry submissions go to bayside.vic.gov.au/ellenjose

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CUR ATED BY STACIE PIPER

PAOL A BALL A ◊ DEANNE GILSON ◊ KENT MORRIS ◊ GLENDA NICHOLLS STEVEN RHALL ◊ NANNETTE SHAW ◊ KIM WANDIN ◊ ARIK A WAULU RHIANNON WILLIAMS ◊ DJIRRI DJIRRI WOMEN’S DANCE GROUP

31 JUL – 7 NOV twma.com.au

IMAGE: Paola Balla (Wemba Wemba, Gunditjmara), Collecting Plants with Mum, 2020 (detail), digital image, 142 x 106 cm. Courtesy of the artist SUPPORTED BY

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Image: Xanthe Dobbie, Cloud Copy (detail) 2020.

Virtual reality installation, 4:50 mins.

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PRINTS & MULTIPLES WEDNESDAY 28 JULY 2021, 6PM

For valuation and auction enquiries contact Hannah Ryan, Art Specialist, Manager of Specialty Auctions 03 8825 5605 | hannah.ryan@leonardjoel.com.au HALL THORPE (1879-1947) Anenomes (detail) woodblock, 23.5 x 29cm | $1,000-1,500

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Glennys Briggs After the Fact

Glennys Briggs, Sweet Damper, 2020, screen print on possum skins, dimensions variable.

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Libris Awards entries open 30 November 2021

Four awards, three categories and $14,500 total prize money.

Exhibi�on Dates: 9 April to 19 June

CATEGORY 1. Dalrymple Bay Coal Terminal Na�onal Ar�sts’ Book Awards • Overall Winner $7,000 (acquisitive) • Highly Commended $3,000 (acquisitive)

CATEGORY 2. Mackay Regional Council Regional Ar�sts’ Book Award $2,500 (non-acquisi�ve)

Visit www.artspacemackay.com.au for more informa�on including terms & condi�ons of entry.

CATEGORY 3. Artspace Mackay Ter�ary Ar�sts’ Book Award $2,000 (non-acquisitive)

IMAGES: Selected finalists’ works from the 2020 Libris Awards: Helen MUELLER Once were mangroves (detail) 2020, woodblock prints and ink wash, 59 x 27 x 5.3 cm. Image courtesy the ar�st; Megan TSEN Introspection 2020, ink and monoprint, 28 x 10 x 2 cm (dimensions variable). Image courtesy the ar�st; Linda SPOWART Herbarium (detail) 2020, watercolour and mixed media, 21.7 x 15.7 x 1.3 cm. Image courtesy the ar�st; Jānis NEDĒLA Equilateral triangular prism II 2019, etched acrylic, printed pages of text, and mixed media, 7 x 7 x 40 cm. Mackay Regional Council Art Collec�on, purchased through the Dalrymple Bay Coal Terminal Fund 2020. Image courtesy the ar�st; Avril MAKULA Ellsworth Kelly’s Australian summer 2020, pigment ink, Magnani and Epson paper, and book cloth, edi�on 1/3, 26.4 x 21.5 x 3 cm; Image courtesy the ar�st; Doug SPOWART Home (detail) 2020, digital press, edi�on: first state, 21 x 14.5 x 1.5 cm. Sydney: MomentPro. Image courtesy the ar�st.

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JAMES POWDITCH THE PROPOSITION 5 — 14 AUGUST

Image: The Proposition \ 2021 \ Mixed media \ 189 x 106cm

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12 – 14 Meagher Street

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FUTURES Inaugural exhibition!

8 Easey Pieces 1–24 July, 2021 Nathan Beard Tim Bučković Lara Chamas Matilda Davis Matthew Harris Gail Hastings Sylvan Lionni Tama Sharman

Nathan Beard, Limp-wristed Gesture (ii) (detail), 2020, silicone, found objects, acrylic nails, Swarovski Elements, cotton, wax, Fenty Beauty, Tom Ford Beauty, nail polish, painted steel, dimensions variable. Courtesy of the artist.

www.futuresgallery.com.au info@futuresgallery.com.au +61 449 011404

21 Easey Street, Collingwood, Melbourne, Victoria 3066 futuresgallery.com.au

Thursday–Saturday, 12-5pm or by appointment.

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Selected Selected Aboriginal Aboriginal Artists Artists HEAL HEAL COUNTRY! COUNTRY! 28 June 28 June - 13-July 13 July West West Perth Perth

Eunice Eunice Napanangka Napanangka Jack, Jack, ’Tali’ A14257 ’Tali’ A14257 2008,2008, Acrylic Acrylic on linen, on linen, 90 x 120 90 xcm 120 cm

Claire Claire Beausein Beausein GILGAI GILGAI 17 July 17 July - 8 -August 8 August Subiaco Subiaco

ClaireClaire Beausein, Beausein, ‘Pindan’ ‘Pindan’ 2021 2021 [detail], [detail], WatercWatercolour,olour, pencil, pencil, thread, thread, applique applique on Washi on Washi paper,paper, 65 x 120 65 xcm 120 cm

Karlee Karlee Rawkins Rawkins HOCUS HOCUS POCUS POCUS 15 -15 31-July 31 July West West Perth Perth

Karlee Karlee Rawkins, Rawkins, ’Silver’Silver Fox’ 2021, Fox’ 2021, Acrylic Acrylic and and charcoal charcoal on cotton on cotton canvas, canvas, 122 x 122 137 xcm 137 cm

Subiaco Subiaco 299 Railway 299 Railway Road Road (Corner (Corner Nicholson Nicholson Road)Road) Subiaco Subiaco WA 6008 WA 6008 Telephone Telephone +61 8+61 9388 8 9388 3300 3300 subiaco@lintonandkay.com.au subiaco@lintonandkay.com.au

WestWest PerthPerth Stockroom Stockroom and Framing and Framing 11 Old11Aberdeen Old Aberdeen PlacePlace West West Perth Perth 6005 6005 Telephone Telephone +61 8+61 6465 8 6465 4314 4314 perth@lintonandkay.com.au perth@lintonandkay.com.au

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

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

CRICOS registered provider: 00004G

ACU Art Collection: First impressions Comprising highlights from the university collection, this richly illustrated publication presents remarkable works of art by established and emerging First Nations artists, including Shirley Purdie, Kunmanara (Ngupulya) Pumani, Vicki West, Daniel Boyd, Marlene Gilson, Michael Riley, Megan Cope, Angelina Pwerle and Jennifer Kemarre Martiniello.

Contributors include: Marcia Langton AO , Jacqueline Healy, Doseena Fergie OAM, Hannah Presley, John McPhee, Victor Griss, Djon Mundine OAM, Will Stubbs, Darren Jorgensen, Beverly Knight, Dave Wickens, Margie West AM and Erica Izett.

Published by Australian Catholic University (ACU), 2020, pp. 100, 60 colour illustrations, cover image: Karen Mills Untitled 2019, pigment and synthetic polymer paint on canvas, H 51 x W 64 cm, acquired 2019 Managing editor: Caroline Field, Curator, ACU Art Collection RRP $45 (P&P $15 within Australia) ISBN: 978-1-922097-93-4

Available via: artsandculture.acu.edu.au/exclusive-gifts Contact: Philippa Murdoch 03 9953 3516 | artcollection@acu.edu.au artsandculture.acu.edu.au

northsite.org.au

A–Z Exhibitions

JULY/AUGUST 2021

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

Telling Tales 11June–18 July 2021 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–Friday, 10am–5pm. Saturday, 1pm–5pm.

Sunday, 10am–5pm. Closed public holidays.

Public programs: www.gleneira.vic.gov.au/gallery Programmed in association with the 2021 Glen Eira Storytelling Festival . www.storytellingfestival.com.au

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

gleneira.vic.gov.au/gallery

VICTORIA

ACMI www.acmi.net.au Federation Square, Melbourne, VIC 3000 [Map 2] Mon & Tues 12noon–5pm, Wed to Fri 12noon–7pm Sat 11am–7pm, Sun 11am–6pm.

threats of climate change, extinction, the tolls of colonialism and the political shift to the right, while revelling in the hectic pleasures and desires of life itself.

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.

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

See our website for latest information.

Still from Fond Inland, part of head_ phone_film_poems Texts, compositing and editing: Ross Gibson. Soundtrack: composed and performed by Chris Abrahams. Archival footage courtesy of the Teasdale Family Archive, Rupanyup, Vic. Special thanks to Malcolm McKinnon.

10 June—1 October head_phone_film_poems Ross Gibson A collection of 13 films that creatively remix material from online archives including the Australian Security Intelligence Organisation (ASIO), film material in the National Archives of Australia, crime scene photographs from the Justice and Police Museum Sydney, and Gibson’s own social-media-stored collection of strange late-night phenomena filmed in his neighbourhood over the past decade. Drawing on these caches of ‘readymade’ footage, the head_phone_film_poems are shaped by three guiding principles: they must be produced entirely on the iPhone, they must feature some visualised language and they must suggest an enormous amount more than they show.

Betty Kuntiwa Pumani, Antara, 2021, synthetic polymer paint on linen, 167 x 152 cm. Courtesy of the artist, Mimili Maku Arts and Alcaston Gallery, Melbourne.

6 July—23 July Nganampa Walytja - Antara Betty Kuntiwa Pumani, Marina Pumani Brown, Kunmanara Ngupulya Pumani and Josina Pumani.

Mike Parr, Towards an Amazonian Black Square, 2019, performance, Carriageworks, Sydney. Photograph: Mark Pokorny© Mike Parr. Courtesy of the artist and Anna Schwartz Gallery.

Until 31 July Half Way House Mike Parr

Deborah Kelly, The Gods of Tiny Things, 2019, 2-channel digital animation, colour, sound.

1 July—3 October The Gods of Tiny Things Deborah Kelly A result of a collage camp run by award-winning artist Deborah Kelly, The Gods of Tiny Things is a beautiful two channel video work—an experimental, collaborative animation that considers planet-wide peril. It features figures and landscapes made from images cut free from the pages of old magazines and encyclopedias. The work thinks about the

Noŋgirrŋa Marawili, Baratjala, 2020, natural earth pigments and recycled print toner on paper, 75 x 57 cm.

Courtesy of the artist, Buku Larrŋgay Mulka, NT and Alcaston Gallery, Melbourne.

© Marco Fusinato. Courtesy the artist and Anna Schwartz Gallery.

7 August—16 October Experimental Hell (Atmosphæram) Marco Fusinato

3 August—27 August Noŋgirrŋa Marawili 135

Melinda Harper: in Conversation with the Collection 19 March—17 October 2021 14 Lyttleton Street Castlemaine VIC 3450 03 5472 2292

Free entry Thursday–Sunday 12pm–4pm

Visit our new website: castlemaineartmuseum.org.au

castlemaineartmuseum.org.au

VICTORIA

Ararat Gallery TAMA → Tjunkaya Tapaya, 2017. Photograph: Angus Lee Forbes.

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.

1 May—18 July Obsessed: Compelled to make

Until 1 August Out of the darkness: A survivor’s journey

An Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program.

Works collected and commissioned in response to the Royal Commission into Institutional Responses to Child Sexual Abuse.

5 June—7 November The Mark of Time: Celebrating Ararat’s wool heritage Andrew Chapman

Kait James: Hang us out to dry

5 June—3 October The Thread of Life: Japanese Textiles

Works from the collection showing the body in motion.

Aboriginal-themed tea towels re-messaged by Wadawurrung artist kait james.

Body moving

Morris Cohen

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 opening hours.

4 May–24 July Carol McGregor: Wreath for Oodgeroo

Andrew Chapman, Wool Classer’s Hands, 2021, Sihl Masterclass baryta paper (cotton rag), 150 x 100 cm. © Andrew Chapman, Ararat Gallery TAMA and Ararat Rural City Council.

Early 20th century pastel landscapes by Ballarat-born artist Morris Cohen.

Nyagak Yang Drawings and paintings by young South Sudanese-born artist. A Backspace exhibition.

27 March–22 August Lindsay Family: Copland Conservation Important works on paper by Lindsay family artists, recently conserved with funds from the Copland Foundation.

A celebration of the art of the possumskin cloak.

15 August–3 October Nature works

27 March–4 July Robyn Stacey: As still as life

Recent works by Stella Clarke, Jessica de Siso and Deborah Klein. A Backspace exhibition.

The tantalising world of the still-life tradition. A Monash Gallery of Art (MGA) travelling exhibition.

7 August–31 October Robert Fielding: miil-miilpa 137

ar t g ui d e .c o m . au Art Gallery of Ballarat continued...

29 June—31 July Struck Pat Brassington, Janet Laurence, Jacky Redgate, Julie Rrap, Nike Savvas, Eugenia Raskopoulos, Anne Zahalka

14 August–14 November Anindita Banerjee: Ondormohol (The inner quarters) Installation which explores Bengal and Ballarat through a Post-Colonial lens. An Art Gallery of Ballarat exhibition, part of the Ballarat International Foto Biennale.

28 August–24 October Linda McCartney Retrospective

Cyrus Tang, Power Cables, 2020, archival pigment print, 90 x 90 cm. Courtesy of the artist and ARC ONE Gallery.

3 August—4 September Remember me when the sun goes down Cyrus Tang

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au

Works by world famous, award-winning American photographer Linda McCartney, presented by the Ballarat International Foto Biennale. Tickets available from ballaratfoto.org

ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun and public holidays 10am–5pm.

ARC ONE Gallery

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.

www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Tue to Sat 11am–5pm.

Judy Yeaman, Intricacies of nature, 2020, acrylic.

Pat Brassington, The Wedding Guest, 2005, pigment print, 84 x 62 cm. Courtesy of the artist and ARC ONE Gallery.

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14 June—6 August Paradise Lost Alexander Pinkster This exhibition features local artist Alexander Pinkster’s new series Paradise Lost. These colourful works depict how many people live now, in a vertical world of high-rise buildings, rooftop gardens, great views but perhaps less privacy and contact with neighbours. His paintings comment on how many of us are living in smaller living quarters but still dreaming of wide open, natural spaces. Alexander’s art is about colour and the interplay between the man-made environment and natural world.

Robert Fielding, Alec Baker from series Mayatjara, 2020, type C photograph, 60 x 60 cm. Courtesy Mimili Maku Arts. © the artist.

A celebration of Elders and Country by APY artist Robert Fielding. An Art Gallery of Ballarat exhibition, part of the Ballarat International Foto Biennale.

is an inclusive arts program that has been running for over 10 years in Croydon North, supported by Uniting Harrison.

14 June—6 August Maroondah Federation Estate Gallery: Baring your soul: Gifford Arts Group, Uniting Harrison Art can reveal our innermost world to others, while also building a sense of togetherness and community. Baring your soul celebrates the relationship between members of the Gifford Arts Group and how their art positively impacts the wider community of neighbours, family and friends in Maroondah. Gifford Arts group

Mimi Leung, Ladybird, pigment print, 2013.

7 August—17 October ArtSpace at Realm: 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 Mimi Leung’s series Intricately bejewelled bugs.

She will also create 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.

Arts Project Australia www.gallery@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.

VICTORIA Fuelled by an unwavering belief in our artists, we’re buoyed by the creativity and authenticity that exists in our space and heartened by those who delight in sharing it. We believe that art is serious, but making it can be fun. The individual creativity triumphs over conformity and divergent voices make life much more interesting. That art is about revealing ourselves and creating meaningful connections – between artists, staff artists and art lovers.

and Barbie Kjar.

Nick Dridan, Philip Edwards and Michelle Hiscock.

Agostino dei Musi, Apollo and Daphne, 1515, engraving, 23 x 17 cm. Collection: Art Gallery of New South Wales, purchased 1937. Photograph: AGNSW.

Fulli Andrinopoulos, Not titled, 2019, ink, material and thread on cotton, 32 x 34 cm.

10 July—22 August Material World Mark Smith, Adrian Lazzaro, Bronwyn Hack, Rosie O’Brien, Chris O’Brien, Fulli Andrinopoulos, Anne Lych, Dorothy Berry, Matthew Gove, Terry Williams.

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.

and transformation. Developed by Guest Curator Mihnea Mircan, the exhibition casts Daphne as a dynamic model for the ruptures between the ‘figures’ and ‘grounds’ of today’s visual, social, political and ecological environments. Newly commissioned and existing works by Australian and international artists are assembled to explore the integrity and vulnerability of bodies, their performative or prosthetic extensions, and the alliances they enter – across species or registers of representation – that open identity to the possibility of a radical othering.

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

See our website for latest information.

Angus Fisher, Gyrfalcon on glove, 2018, ink pen and watercolour on paper, 68 x 38 cm.

3 August—22 August Fred Williams, David Frazer, August Carpenter and Glenda Orr.

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry.

See our website for latest information.

26 June–29 August A Biography of Daphne Becky Beasley, Erik Bünger, Lauren Burrow, Fabien Giraud and Raphaël Siboni, Gabrielle Goliath, Ho Tzu Nyen, Sanja Iveković, Mathew Jones, Candice Lin and P. Staff, Steve McQueen, Jill Magid, Nicholas Mangan, Inge Meijer, Jean-Luc Moulène, Ciprian Mureșan, Agostino dei Musi, Jean Painlevé, Roee Rosen, Wingu Tingima, Mona Vătămanu and Florin Tudor, Anthonie Waterloo, Katie West A Biography of Daphne revisits the Classical myth of Daphne as the starting point for an investigation of trauma and metamorphosis, symbiosis and entanglement in contemporary art. Daphne, the nymph who turned into a tree to evade the assault of the god Apollo, is a figure in, and of, crisis, but also a symbol of resistance

Martin King, Endangered species stamp series: HO HUM!, 2021, graphite and watercolour on drafting film, watercolour on paper, 85 x 74 cm.

6 July—25 July Rodney Forbes, Angus Fisher, Martin King

Atong Atem, Self Portrait in July (4), 2021, woven by Pamela Joyce. Image by MarieLuise Skibbe.

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Hamley Studio

Classical Life Drawing & Painting Classes All experience levels Figure, Portrait, Still Life, Basic Drawing Tutors: Ben Ryan & Sally Ryan www.hamleystudio.com.au

thedistortedframe.com.au

Unit 18, 4 Hamley Rd, Mt Kuring Gai, 2080

thedistortedframe.com.au

hamleystudio.com.au

at14.com.au

gouldcreative.com.au

VICTORIA Australian Tapestry Workshop continued...

1 June—13 August Artist and Weaver: New Contemporary Tapestries Atong Atem and Pamela Joyce, Lee Darroch and Jennifer Sharpe, Troy Emery and Emma Sulzer, Eugenia Lim and Tim Gresham, Julian Martin with various, Hayley Millar Baker and Amy Cornall.

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

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.

20 March—11 July Mary Quant: Fashion Revolutionary Bendigo is the exclusive Australian venue for this exhibition from the Victoria and Albert Museum, London. Archive and private collections, the exhibition brings together over 110 garments as well as accessories, cosmetics, sketches, photographs and even Quant’s own line of fashion dolls, known as Daisy dolls, a rival to Barbie.

Bayside Gallery is a space for everybody to enjoy art. Our curated exhibition program gives residents and visitors the opportunity to engage with inspirational work from renowned Australian and International artists, as well as showcasing the incredible wealth of artists in the Bayside area.

BLINDSIDE www.blindside.org.au 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.

1 May—31 July Satellite | Under A Different Sky Mohamed Chamas (AUS), Electronic Disturbance Theater 2.0/b.a.n.g. Lab (USA), Diogo Evangelista (PRT), Tzu-Huan Lin (TWN/USA). Curated by Jake Treacy and Lucie McIntosh.

30 June—17 July The Image Collective Olga Bennett, Lauren Dunn, Annika Koops, Josephine Mead, Sanja Pahoki, Grace Wood. Curated by Olivia Poloni.

14 May–4 July Bayside Acquisitive Art Prize 2021 Finalists include: Benjamin Aitken, Karima Baadilla, Alec Baker, Max Berry, Alison Binks, David Brian, Magda Cebokli, Ash Coates, Brett Colquhoun, Jarryd Cooper, Emma Coulter, Marcel Cousins, Claudia Damichi, Noni Drew, Emily Ferretti, Martin George, Bob Gibson, Julia Gorman, Simon Grennan, Rose Anna Hamnes, Euan Heng, Kez Hughes, Nancy Nyanyarna Jackson, Tracey Jones, Linda Judge, Dena Kahan, Belem Lett, Travis MacDonald, Tim McMonagle, Patsy Mudgedell, Betty Muffler, Sally M. Nangala Mulda, Ivan Namirrkki, Carlos Namunjdja, Saffron Newey, David Ralph, Anna Rowbury, Brad Rusbridge, Bryan Spier, Darren Wardle, Alice Wormald, Michelle Zuccolo.

Naiza Khan, Armour Suit for Rani of Jhansi II, 2017, galvanised steel, feathers, leather. Collection of Paul and Saadia Durham. Image courtesy of the artist and Rossi & Rossi, Hong Kong | London.

Photograph: Charlie Bettinson.

7 August—24 October SOUL fury

Abbra Kotlarczyk, Painter’s Re-marks (left, detail), painter’s tape, digital prints of Google history tabs onto phototex dimensions variable. Hito Steyerl, open pages of ‘In Free Fall: A Thought Experiment on Vertical Perspective’ in The Wretched of the Screen (2012 © e-flux, Inc., Hito Steyerl, Sternberg Press, (right, detail), 2015. Part of Dear History, Painting at c3 Contemporary Artspace, Naarm/Melbourne. Courtesy of the artist.

30 June—17 July A Sonorous Draft; A Lexicon Of Windjamming Abbra Kotlarczyk 21 July—7 August Sacred Light: In The Shadows Of The Land First Nations Project 2021 Yarran Bundle, Kat Clarke, T.F.Clarke, Stevie Graymore, Hollie Johnson, Steph Skinner, Adam Sutardy, Isobel and Hannah Morphy-Walsh and others. Curated by Kat Clarke.

Sybil Craig, From Rickett’s Point, n.d., oil on board, 34 x 49.5 cm. Private collection, courtesy Lauraine Diggins Fine Art, Melbourne.

10 July—12 September Bayside: Portrait of place This exhibition showcases the artistic history of this iconic Melbourne locale, which has inspired countless artists over many generations. Key works from artists such as Arthur Streeton, Tom Roberts, Frederick McCubbin, Clarice Beckett, Arthur Boyd, Sandra Leveson, Roger Kemp and Yvette Coppersmith.

Greg Weight, Portrait of Brett Whiteley 1976 © Greg Weight.

31 July—31 October Brett Whiteley: Drawing is Everything

Henrik Haukeland, They Made a Meme Out of My Legacy, 2020. Courtesy of the artist.

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missiontoseafarers.com.au

VICTORIA BLINDSIDE continued...

17 years (2003–2019), bringing together, for the first time works from Young’s celebrated Double Ground Paintings and recent History Projects.

11 August—28 August They Made A Meme Out Of My Legacy Henrik Haukeland

The exhibition explores ideas of transculturalism, examining historic expressions of cross-cultural ethics, material and cultural exchange, and the effects of diasporic experience on the psyche.

11 August—28 August Kawita Vatanajyankur Curated by Alicia Renew, Channels Festival.

BUS Projects Brunswick Street Gallery

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.

www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. See our website for latest information.

25 June—9 July Fifty Squared Art Prize

Julia Burke, Supermoon, 2021, c-type print, 51 x 76 cm.

16 July—1 August Majestic Capes Edwina Edwards

5 August—22 August Stuck in the Dollhouse: Parody of the Feminine Evangeline Clark

Once upon a time in Selloutsville Sarah Rowe

UBUNTU: A Coloured View of the World.

Tyronne Gietzmann

Into the Inferno Tim Van Cuylenburg

Openings: Friday 6 August, 6pm–9pm.

There’s a house with a wall Libby Haines

Bunjil Place Gallery 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.

Shevaun Wright.

24 August—25 September Rewriting: the politics of care Katherine Hattam, Victoria Hattam, Ellen Koshland, Danica I. J. Knezevic, Macushla Robinson, Shevaun Wright, Gyun Hur and Elvis Richardson.

Opening Tuesday 24 August.

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

John Gatip, Lean on Me, 2021, oil on marine ply.

Buxton Contemporary, located at the University of Melbourne’s Southbank campus, draws upon the Michael Buxton Collection of contemporary Australian art as a foundation and inspiration for exhibitions, performance, research, teaching and publishing. Entry to Buxton Contemporary is free and open to the public.

16 July—1 August Sonnets of Colour John Gatip How To Survive Shakirra Mae TRASH Katrina Garcia Openings: Friday 16 July, 6pm–9pm.

5 August—22 August Sun Set Julia Burke Slow NCAT Photography Diploma students Brianne Igoe, Bridget Hoare, Talia Luppino, Estella Paltos, Charlie Gray, Tina Wilkins and Ruben Bull-Milne.

Janus Jayne Pickering and Jane Farnan.

John Young, Red Grid, Summer, 2003, (from the Double Ground Paintings: Refugee Patterns), digital print and oil on linen 200 x 150 cm. Courtesy of the artist.

26 June—12 September Diaspora, Psyche John Young Diaspora, Psyche presents a survey of works by artist John Young spanning

9 July—14 November This is a poem The participating artists and poets: Aleks Danko, artist; Alex Selenitsch, concrete poet; Bella Li, poet and artist; Brad Aaron Modlin, poet and writer; Everlyn Araluen, poet, descendant of the Bundjalung nation; Fayen d’Evie artist with Benjamin Hancock dancer; Jeanine Leane, Wiradjuri poet and writer; Justin Clemens, poet and writer; Kevin Brophy poet and writer with Oscar Weimar.

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Gallery & Stockroom

Gallery & Stockroom

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

Image: Cape Raoul, Edwina Edwards, Acrylic on poly cotton, 80x105 cm

Image: Cape Raoul, Edwina Edwards, Acrylic on poly cotton, 80x105 cm

brunswickstreetgallery.com.au

VICTORIA Buxton Contemporary continued...

Stella Corkery, Matt Hinkley, Kenji Ide, Carmen – Sibha Keiso, Michael Kennedy, Joel Kirkham, Gian Manik, Joshua Minkus, Nao Osada, Conor O’Shea, Jasmine Pickup, Adriana Ramić, Masato Takasaka, Matthew Ware, Alexander Whitehouse, Hee Joon Youn.

30 July—28 August From afar it was an island Lichen Kelp/ Forum of Sensory Motion Opening Saturday 31 July, 3pm–5pm.

Fertile Ground brings together nine artists who use food as an entry point to discuss urgent political, societal and environmental issues. The artists offer food as a tool for activism, cultural exchange, repositories of history and visions for the future. The exhibition acknowledges our collective engagement with food and reflects beyond increasingly throwaway culture, food mass production and consumerism to explore issues such as ritual, ceremony, trade, labor, climate emergency and uncertain futures.

Interrogated through the mediums of photography, video, sculpture and mixed media installation, the participating artists enable new perspectives and explorations in social space and thinking.

Charles Nodrum Gallery Mitch Cairns, Studies for This is a poem, 2020, letraset on A4 paper. © The artist. filmmaker; Lisa Gorton, poet and writer; Lisa Radford & Sam George, artists; Lou Hubbard, artist; Michelle Nikou, artist Mitch Cairns, artist; Newell Harry, artist; Rose Nolan, artist; Sandra Parker, dancer and choreographer; Simryn Gill, artist.

Curated by Melissa Keys.

CAVES 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.

Noriko Nakamura, Folding air and fire, 2019, artist’s hair, limestone, 50 x 15 x 11 cm. Photo courtesy of Matthew Stanton.

4 August—7 August Spring 1883, Hotel Windsor, Melbourne: CAVES presents INSIDE MOUNTAINS Ruby Brown, Noriko Nakamura, Inbal Nissim, Bronte Stolz.

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm.

See our website for latest information.

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

26 June—17 July Sgraffito Paul Partos Triangle Rectangle Circle George Johnson 24 July—14 August Anne Judell

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.

Council’s contemporary art gallery promotes and inspires innovation and diversity in the visual arts through regular exhibitions, talks and workshops.

Kawita Vatanajyankur, The Spade, Video Still, 2020.

Photo courtesy of Christopher LG Hill.

25 June–24 July Encapsulated.

Christopher LG Hill An exhibition of paintings, an archive of bags and a group show featuring: Dan Arps, Hugo Bloomley, Nicola Blumenthal,

10 July—29 August Fertile Ground Lauren Dunn (Australia), Kim Hak (Cambodia), Shivanjani Lal (Australia), Sophal Neak (Cambodia), Arnont Nongyao (Thailand), Elia Nurvista (Indonesia), Keg De Souza (Australia), James Tylor (Australia), Kawita Vatanajyankur (Thailand). Curated

by Sarah Bond and Olivia Poloni.

Dean Cross, Monuments, 2018 – ongoing (2020 iteration), handfuls of Ngunnawal ochre & gold leaf, dimensions variable.

Photographer: Kai Wasikowski for 4A Centre for Contemporary Asian art.

Courtesy of the artist.

17 July—12 September Drawn by stones Curated by Bridie Moran and Mikala Tai featuring Dean Cross, Wen-Hsi Harman and Ray Chan See-Kwong.

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Deakin University Art Gallery at Burwood

Counihan Gallery continued...

www.deakin.edu.au/art-collection/

Thelma Beeton (Palawa people) and Stacey (Taungurong/Boon Wurrung peoples), Banj Banj/Nawnta, 2021, acrylic on canvas, 74 x 88 cm. Courtesy of the artists.

24 July—5 September Banj banj/nawnta Thelma Beeton (Palawa people) and Stacey (Taungurong/Boon Wurrung peoples). Presented by The Torch.

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

See our website for latest information.

Danielle Thiris, This Pot Will Gift You 3 Daily Wishes, 2021, South Australian terracotta, glaze. Photographer: Ella Saddington.

22 June—24 July Danielle Thiris Danielle Thiris presents a collection of works that reference elements of prehistoric and ritual objects across a diverse range of cultures. She seeks to understand how these historic objects were made, what they were used for, and how and why they were joined.

27 July—28 August Jessie French Bioplastics and algae are gathering exponential interest within contemporary design for their potential as a sustainable eco-material. As the planet faces increasing challenges related to the human-driven climate crisis, focus is increasing. This exhibition will showcase the potential for algae as sustainable material through a collection of algae bioplastic tableware alongside custom-designed ceramic shaping moulds made by Fluff Corp.

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Olive Gill-Hille, Landscape Table. Image courtesy of the artist.

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.

24 July—11 September Future Remains Alexsandra Pontonio, Anke Kindle, Chi Yusuf, Laura McKusker, Linda Fredheim, Makiko Ryujin and Olive Gill-Hille.

Presenting seven women makers and designers at the forefront of contemporary woodworking. The exhibition shares the diverse perspectives and approaches to the craft and highlights the skill, creativity and material understanding of these makers. At the heart of each maker’s ethos is a deep-rooted respect for their chosen material and the ability to realise an idea into form.

The Dax Centre www.daxcentre.org 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.

See our website for latest information.

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.

Louis Buvelot, Switzerland/Australia 1814-1888, The Big Tree, Gardiners Creek c.1869, oil on linen, purchase 2004, city of Whitehorse Art Collection. Image courtesy City of Whitehorse.

23 June—23 July The Big Tree and Other Landscapes from The City of Whitehorse Art Collection Featuring a selection of precious artworks from the City of Whitehorse Art Collection, this exhibition looks at how the local environment and landscapes have changed through time. It includes stunning examples of the work of wellknown artists such as Louis Buvelot, E. Phillips Fox, Frederick McCubbin and Tom Roberts, alongside contemporary artists William Breen, David Frazer, Mary Tonkin and Rosalind Atkins. Curated by Jacquie Nichols-Reeves, City of Whitehorse.

28 February—17 December Creature Comfort Selected works from the Cunningham Dax Collection. Humans have an important and timeless relationship with animals. Whether it is an appreciation for the majesty of wild creatures or the unconditional love of a furry companion, animals can be a wonderful source of support for our mental wellbeing. Artists across the millennia have shown their appreciation for animals—ancient Egyptians honoured cats through painting, mosaics, sculpture and more, while the famous Lascaux Cave art in southern France gives an insight into how essential animals were to Palaeolithic culture. The Cunningham Dax Collection’s rich source of animal imagery show that many artists with lived experience of mental health issues also found animals to be deserving of their artistic attention. Creature Comfort is our way of saying thank-you to our non-human supporters for their love, companionship, beauty and inspiration.

Charlie Sofo, Bloom, 2018, digital video still image © and courtesy of the artist and Darren Knight Gallery, Sydney.

4 August—3 September Charlie Sofo For almost two decades Naarm/Melbourne based artist Charlie Sofo has used the habitual activities of daily life as forms of poetic expression. Through the simple acts of sleeping, talking, waiting, observing, walking and interacting with his surroundings, Sofo explores the material textures of the everyday. Sofo creates a heightened attentiveness and awareness of the senses, our local environment and our ongoing presence, use and impact in the world. This exhibition at the Deakin University Art Gallery will combine new and rarely seen works from the artist’s

VICTORIA studio including video, sculpture and assemblage. Curated by James Lynch, Deakin University.

Everywhen Artspace www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Fri to Tue 11am–4pm, Wed and Thur by appointment.

See our website for latest information.

Everywhen Artspace specialises in contemporary Aboriginal art from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a programme of specialised and themed exhibitions.

Directors Susan McCulloch OAM and Emily McCulloch Childs.

An important Arts Academy annual exhibition, SCOPE 2021 presents work of immense beauty and contemplation by artists lecturers, teachers, research associates and research fellows who, as artists, also sustain a rigorous artistic research and/or teaching practice at Federation University, and whose work expresses complex ideas related to fact and fiction, empathy, politics and global unrest, as well as ideas surrounding Indigenous art and iconography.

From 5 July Yapaneypuk Nyini Wowa (Together my Brother) Launching a unique virtual exhibition and collaboration between Federation College’s VET Visual Arts program, Langi Kal Kal and Hopkins Correctional Centre, select Indigenous artists present their recent work to celebrate their rich cultural heritage and the power of creativity during NAIDOC21. Check PO Gallery website for online launch information. federation.edu.au/pogallery.

Liss Fenwick, Back Out 12, 2020, digital print. Courtesy of the artist. work is attracting critical acclaim. Supported by Alane Fineman. ballaratfoto.org

Finkelstein Gallery www.finkelsteingallery.com Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 Open by appointment.

Priscilla Singer, Ngura, (Country), 2021, acrylic on linen, 152 x 122 cm. Courtesy of the artist and Iwantja Arts.

1 July—31 August WINTER SALON Warm Hues + Winter Lights Rich palettes and soft hues feature in a wide-ranging exhibition of new Aboriginal art from 8 regions. Including lush colour paintings of Country from the APY Lands, Utopia and the Pilbara; water sites from the Western desert; bush medicine and landscapes from the Eastern Desert and barks, ceremony poles Mimih spirits and other figurative sculptures from Arnhem land and the Tiwi Islands. View online and in the gallery.

Federation University 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 Wed to Fri 1pm–5pm, Tues open by appointment. Free admission.

17 June—16 July SCOPE21 Visual Arts Teachers, Lecturers and Honoraries.

Erin Jankelowitz, Alex Glenk, Perri Hobbs, Morgan McDermott, Libby Lewis, (First Year Collaboration Class, 2021), Release, 2021, digital print, 65 x 85 cm.

Courtesy of the artists.

29 July—20 August BENCHMARK21 – Undergraduate Visual Arts The Post Office Gallery’s important annual exhibition presents innovative, inspired and bold ideas by Ballarat’s Arts Academy undergraduate Visual Art students across a range of media, styles and disciplines including drawing, painting, printmaking, design, sculpture, ceramics, digital media and installation.

28 August—24 October The Fineman New Photography Award Ballarat International Foto Biennale (BIFB’21) As part of BIFB’21, the Post Office Gallery proudly presents this important award that seeks to showcase photographic work created by select artists working throughout the Asia-Pacific region whose

Glennys Briggs, Destruction of the Sacred, 2020, rusted barbed wire, dingo skull, red ocher, crystals, 52 x 45 cm, diameter.

From 15 May After the Fact Glennys Briggs

Flinders Lane Gallery www.flg.com.au 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.

Until 10 July Weight of the World Kim Anderson 147

ar t g ui d e .c o m . au Flinders Lane Gallery continued...

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.

22 June—3 July fortyfivedownstairs presents Emerging Artist Award 2021 Group exhibition.

6 July—29 July King and Wood Mallesons Contemporary First Nations Art Award Group exhibition.

31 August—11 September Hindsight 20-20 James Yuncken Painting and mixed media.

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

See our website for latest information.

3 August—14 August Step. Float. Fly Chloe Vallance Drawings.

Bronwyn Hill, Delphinium, 2020, oil on canvas, 120 x 90 cm.

Until 10 July Disconnect Bronwyn Hill 13 July—31 July Exploration 21 FLG’s Annual Emerging Artist Exhibition.

3 August—21 August Reflect Michelle Molinari 3 August—21 August The Flying Gardeners Gina Kalabishis 24 August—11 September Futurescape Jacob Leary

Hans van Weerd, The Flour Mill, 2019, ink on paper, 70 x 99 cm.

3 August—14 August Capturing Moments - People and Places Hans van Weerd

Mark Davis, The expansion of the universe, 2018, oil on canvas, 35.5 x 30.5 cm.

7 August—1 September Radiant Darkness Mark Davis

Paintings and drawings.

3 August—14 August Silence #1.6 : The Beauty in Death Pimpisa Tinpalit Installation.

17 August—28 August After The Fire Gavin Brown Paintings.

Bec Juniper, If I were a lake, 2021, mixed media on canvas, 91 x 183 cm.

17 August—28 August Invisible Landscapes Sal Cooper

3 July—30 July Sui Bec Juniper

Printmaking.

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

See our website for latest information.

Michael Gromm, hgddfs, 2021, oil and acrylic on linen, 182 x 172 cm.

24 August—11 September hapyhazard Michael Gromm

Mike Wedd, Untitled, watercolour painting.

31 August—11 September Entering the Subconscious: The COVID Works Michael Wedd Paintings.

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13 May—10 July Cube 37 – Glass Cube: The Iso-Lounge Come out, and hang in our Iso-Lounge! An immersive installation the Glass Cube—our living lounge room will be screening Lockdown Film Festival entries. Pull up a chair and read our anthology—you never know who you might meet in the Lounge Room.

VICTORIA 30 July—3 September Cube 37 Cube Gallery: Change FAC Open Call Out and Exhibition.

the history of Frankston. The project was proudly supported by an artist grant as part of Frankston City Council’s Relief and Recovery package.

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.

The FAC Open Exhibition is a call out for submissions across all visual arts mediums to explore the theme of Change.

Inspired by recent pivotal global events, the theme is open to broad artistic interpretation from a personal, social, historical, aesthetic or climatic perspective.

The winning artist receives $1,000 and an FAC Exhibition and Opening Event opportunity in 2022. See our website for entry details. Opening Friday 30 July, 6pm.

24 June—25 September FAC Atrium: Budgie Nation Vanessa White Budgie Nation is a melding of the joyous spectrum of Abstract Expressionism, the decorative formalism of Pop-Art, and the wit and humour of a knowing artist working with the imagery of the conundrum of the exotic-ordinary: in this case, rare breeds of common pet birds, the Budgerigar.

1 July—2 October FAC Mezzanine: Mparra Karrti (Us mob belong to the Country) Namatjira School of Art Iltja Ntjarra / Many Hands Art Centre is Aboriginal owned and directed with a special focus on supporting the Hermannsburg School style watercolour artists.

Mparra Karrti is an exhibition of work in which the camera-less lumen-print technique is used to cite and expand upon Albert Namatjira’s likely relationship to the photographic medium.

Fiona Haasz.

31 August, 6pm–11pm Cube 37 Glass Cube street front: Psyche Seas Fiona Haasz A sea-inspired durational performance interweaving video projection, light and movement, exploring myths, perception and place. To be viewed from outside the Glass Cube, with a selection of contrasting soundtracks accessible on your own devices. The project was proudly supported by an artist grant as part of Frankston City Council’s Relief and Recovery package.

Elio Sanciolo, Angel in the Garden (detail), oil on canvas.

12 June—4 July Disembodied Elio Sanciolo

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

Left: David Freney-Mills, Pourous Amorphous. No.52 (detail). Right: Jaedon Shin, A Mystery Never to be accessed (detail).

10 July—31 July Transcendence David Freney-Mills, Jaedon Shin

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.

See our website for latest information.

Ashleigh Pugh, Desert Emu, pyrography on red gum, pencil, acrylic. Image courtesy of Baluk Arts and the artist.

1 July—28 August FAC Curved Wall: Heal Country Baluk Arts Baluk Arts celebrates NAIDOC week 2021 – Heal Country, Heal Our Nation with a selection of artist work detailing the innate connections shared with Country.

Morning tea Opening Friday 9 July, 11am to 1pm. See our website for details.

15 July—29 August Cube 37 Glass Cube + Art After Dark: Pockets of Permanence Emma Ikin Pockets of Permanence is a project about finding, recording and mapping the memories held in small urban spaces that have remained unchanged throughout

Gail Hastings, Shared Background: Family Portrait in Naples (Yellow), 2020, ed. 1 of open, acrylic on wood; background space, 20 h x >45 w x >6 d cm.

1 July—24 July 8 Easey Pieces Nathan Beard, Tim Bučković, Lara Chamas, Matilda Davis, Matthew Harris, Gail Hastings, Sylvan Lionni, and Tama Sharman.

29 July—28 August Goo Matthew Harris

Blanche Tilden, Grand Palais (necklace), 2014, borosilicate glass and oxidised 925 silver. Collection of Margaret Hancock Davis. Photograph: Grant Hancock © Blanche Tilden.

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Until 1 August Blanche Tilden—ripple effect: a 25 year survey This 25-year survey of the work of Melbourne-based jeweller Blanche Tilden reveals her unique approach to glass, which she explores both as a material for jewellery making and as a metaphor for the connections between making, industry, the wearable object and the body. Tilden’s fascination with mechanical devices, fuelled by a desire to understand how things work, continually inspires her work. This exhibition celebrates the City of Greater Geelong’s designation as a UNESCO City of Design and Blanche Tilden’s remarkable 25-year career at the nexus of art and design.

features works by Brett Colquhoun, Jason Cordero, Greg Creek, Jonathan Crowther, Carolyn Eskdale, Diena Georgetti, Julia Gorman, Peter Graham, Helga Groves, Pei Pei He, Linda Judge, Mark McCarthy, Laith McGregor, Jennifer Mills, Jan Murray, Jan Nelson, Rose Nolan, Stieg Persson, Rosslynd Piggott, Bundit Puangthong, Jo Reitze, Norm Stanley, Guy Stuart, Andrew Taylor, Nat Ward, Jenny Watson, Louise Weaver and Peter Westwood.

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat 1pm–5pm and Sun 10am–5pm.

Gertrude Contemporary www.gertrude.org.au 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 Thu to Sun 12noon–5pm.

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

See our website for latest information.

Victoria Reichelt, Donna Marcus, 2007, oil on canvas, 67 x 67 cm. Courtesy of the artist and THIS IS NO FANTASY. Robinson Seldon Collection.

11 June—18 July Telling Tales Chris Bond, Penelope Davis, Prudence Flint, Nicholas Jones, Victoria Reichelt, Tai Snaith, Charlie Sofo, and Deborah Walker.

Curated by Diane Soumilas.

Artists and curators floor talks, free admission:

Jan Nelson, Black river running #13, 2019, oil on linen. Reproduced courtesy of the artist and Anna Schwartz Gallery, Melbourne © Jan Nelson.

Until 12 September Collection leads: Zilverster (Goodwin and Hanenbergh)—Amator Sharon Goodwin and Irene Hanenbergh bring aspects of their distinctive individual practices together in their collaborative project Zilverster. The artists’ shared interest in art history, fantasy, cult iconography, alchemy and supernatural phenomena informs their collaborative drawings and imagery etched into three-dimensional objects. In this Collection leads exhibition they take their inspiration from the gallery’s 1870 etching based on John Martin’s sublime painting The great day of his wrath, 1851–53, in the Tate Collection, London.

Until 22 August 2021 Geelong contemporary art prize The 2021 Geelong contemporary art prize is a signature event that showcases the diversity and excellence of Australian contemporary painting practice. In the gallery’s 125th anniversary year, 28 works by leading and emerging Australian artists have been shortlisted for the prize.

Showcasing the best of contemporary Australian painting practice, this $30,000 acquisitive award and biennial exhibition 150

On Fire: Climate and Crisis, installation view at the Institute of Modern Art, Brisbane, 2021. In view: Gordon Bennett, Relative/Absolute (Fire), 1991, acrylic and flashe on canvas. Courtesy the Estate of Gordon Bennett, Brisbane. Photograph: Carl Warner.

26 June—8 August Gertrude Contemporary: Octopus 2021: On Fire Gordon Bennett, Naomi Blacklock, Michael Candy, Dale Harding, Tracey Moffatt, Mavis Ngallametta, Madonna Staunton, Judy Watson, Warraba Weatherall, and Jemima Wyman.

Curated by Tim Riley Walsh.

22 August—17 October Gertrude Contemporary: 2021 River Capital Commission: Rob McLeish 18 June—10 July Gertrude Glasshouse: Ode to the ʻōʻō Mikala Dwyer 22 July and 29 July Gertrude Glasshouse x Performance Review: Contact High 6pm–9pm.

6 August—5 September Gertrude Glasshouse: Justin Balmain

Friday 18 June, 1:30pm Penelope Davis – artist Wednesday 23 June, 1:30pm Charlie Sofo – artist Friday 25 June, 1:30pm Prudence Flint – artist Thursday 1 July, 1:30pm Deborah Walker – artist Friday 2 July, 1:00pm Diane Soumilas – curator 22 July–8 August Gallery Annexe: 26th Annual B’nai B’rith Jewish Youth Art Exhibition Local talent presented by the Glen Eira Artists Society.

Gippsland Art Gallery www.gippslandartgallery.com 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.

Situated at the Port of Sale, overlooking stunning waterways and parkland. Every year the Gallery hosts around twenty exhibitions of local, national and interna-

VICTORIA tional significance, in addition to ongoing and evolving displays of the permanent collection.

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.

10 July—10 October HEIDE II: House of Light 24 July—17 October Modern In Motion Margel Hinder

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 See our website for latest information.

Glenn Loughrey, There’s A Beast In Me, acrylic on canvas.

Jock Clutterbuck, Pool, 1971, etching and colour stencil on paper, 74.8 x 49.5 cm (platemark); 98 x 74.8 cm (sheet). Collection Gippsland Art Gallery. Purchased, 1972. © The artist.

22 May—1 August Wisdom Journey – Prints and Sculpture 1967–1972 Jock Clutterbuck The art of Jock Clutterbuck is an elegant interplay of contradictions, of the material and the immaterial, of the personal and the universal, and of the systemic and the poetic.

29 May—29 August Timelines 12 June—1 August Middle Ground Celebrating the contribution of female photographers to the Gippsland Art Gallery Collection.

1 June—31 August Love Letters to Country Glenn Loughrey

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.

27 February—11 July Blue Over Time: Robert Owen—A Survey 20 March—15 August Cry of the Land Albert Tucker, Clifton Pugh, Dale Harding, Fiona Hall, Fred Williams, Julie Gough, Karla Dickens, Katie West, Mandy Martin and Sidney Nolan.

1 May—31 October House of Ideas: Modern Women Sunday Reed, Cynthia Reed Nolan, Moya Dyring, Mary Boyd, Joy Hester, Mirka Mora, Yvonne Boyd, Barbara Blackman, Erica McGilchrist and Jean Langley.

3 July—17 October Birdbrush and Other Essentials Nabilah Nordin

Michael Zavros, He (Nautilus Phallus), 2018, oil on board, 61 x 46 cm. Private Collection. Courtesy of the artist and STARKWHITE, Auckland.

29 May—22 August Still Now Susannah Blaxill, Jane Burton, Dianne Emery, Juan Ford, Asuka Hishiki, Sam Leach, Mali Moir, John Pastoriza-Piñol, Darren Wardle, Jud Wimhurst and Michael Zavros.

Working across painting, sculpture and photography, these artists present new and recent work with varying approaches that expand and enrich the concept of still life. Known for their passion for realism and their desire to experiment and push boundaries, the artists present their own interpretation of the long-standing vanitas tradition of still life, how it reflects on the transience of life and its relevance today. Curated by Brenda Wellman.

A Horsham Regional Art Gallery exhibition This exhibition has received assistance from NETS Victoria’s Exhibition Development Fund supported by the Victorian Government through Creative Victoria.

28 August—24 October Return to the Beginning Photography from the Collection

Lee Darroch, Yorta Yorta / Mutti Mutti / Boon Wurrung peoples, The Spiral of Life, mixed media installation. © The Artist.

Photograph: Maree Clark.

14 August—19 September We are the Land, the Land is Us Lee Darroch

Wolfgang Sievers, Heide II Living Room Facing East, 1968, gelatin silver photograph, 40.6 x 50.8 cm. Heide Museum of Modern Art. Gift of Wolfgang Sievers 1992 © National Library of Australia.

To celebrate the gallery’s outstanding Australian photography collection, this exhibition will feature significant works that reveal the depth and breadth of our collecting since 1976.

A Horsham Regional Art Gallery Collection exhibition.

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

A multidisciplinary visual artist born in Afghanistan and living in Australia since 2000. In his recent works, Sha draws inspiration from the visual aesthetic of Farsi script, in particular Nastaliq—one of the main calligraphic hands used in writing the Farsi alphabets.

into the history and legacy of a poem by a well-known Chinese poet Su Shi of the Song Dynasty, written during the midAutumn Festival in 1076.

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am–5pm, Sun 10am–5pm. (closed on Jewish holidays) See our website for latest information.

Until 19 December MIRKA Mirka Mora

Cyrus Tang, Sky Orchestra, 5.12.20, 2020, 1hr-long, exposure for piano practicing.

Shar Sawari, Untitled, 2020, charcoal on marine, waterproof plywood.

Photograph: Louis Lim. 18 June—1 August Beyond the Rhetoric: Sha Sawari Sha Sarwari

18 June—1 August Sky Orchestra Cyrus Tang Exploring Confucian values of filial piety through the lens of Chinese history and pop culture, and how it relates to the artist’s existence within a Western context.

Hong Kong-born artist Cyrus Tang delves

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.

Jewish Museum of Australia → Mirka Mora, Family Gathering in Dream Park, detail, 2008. © Estate of Mirka Mora, courtesy of William Mora Galleries.

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Louise Paramor The Parallel Universe 2 June—19 September 2021 The Parallel Universe series comprises glass-boxed dioramas and ink-jet prints derived from the dioramas. In the series I have combined miniature human figures with my assemblage work to create tiny worlds that offer colourful and whimsical architectural propositions.

Exhibition supported by the City of Melbourne Arts Grants.

Louise Paramor is represented by Finkelstein Gallery, Prahran.

Louise Paramor, Tourists, 2020, Inkjet print, 125 x 85cm.

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

Ph 9653 0000 Open 24 hours sofitel-melbourne.com.au

sofitel-melbourne.com.au

510collective.com/live

thealchemist.net.au

VICTORIA Theatre in Parkdale. The annual visual arts program includes a series of curated contemporary art exhibitions, artist floor talks, workshops and events and provides opportunities for local artists and arts organisations to exhibit.

Jacob Hoerner Galleries www.jacobhoernergalleries.com 0412 243 818 See our website for latest information.

11 June—21 August Kingston Arts Centre Galleries: In the day I dream of faraway places Sean McDowell Kingston Arts Grant recipient, Sean McDowell, presents In the day I dream of faraway places, an exhibition of new artworks exploring his deep investment in materials and processes.

Gillian Warden, Balancing, 2021, oil on linen, 122 x 122 cm.

16 June—3 July KA-BLOOM! Gillian Warden

A memorable opportunity to see objects gathered with affection by William Johnston over his lifetime. Johnston’s Collection will be displayed alongside objects from other collectors and donors inspired to support the collection over the past 30 years, curated within an English Georgian-inspired domestic interior in Johnston’s beloved East Melbourne house, Fairhall. The exhibition celebrates the 30th anniversary of Fairhall opening to the public, marking a remarkable milestone of 30 glorious years of sharing Johnston’s gift of love to the people of Victoria. Bookings essential.

Kingston Arts 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.

14 July—7 August Subjects in Orbit David Palliser

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale.

03 9556 4440 Wed to Fri 9am–5pm & Sat 12noon– 5pm. Free entry.

See our website for latest information.

The Johnston Collection

Kingston Arts galleries are located across two venues at the Kingston Arts Centre in Moorabbin and Shirley Burke

David Palliser, Falling Complexions, 2021, oil on linen, 138 x 123 cm.

www.johnstoncollection.org

9 March—21 September Objects of My Affection: Stories of love from The Johnston Collection

25 June–24 July G3 Artspace: Oneself, too many Christina Darras Kingston Arts Grant recipient, Christina Darras, presents Oneself, too many, a community art project exploring the changing role of personal identity.

Through facilitating printmaking workshops at Kingston Arts Centre, Darras has brought participants together to create a figurative safety blanket, symbolising the feeling of safety that one’s own sense of identity can provide.

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

30 July—28 August G3 Artspace: In rhythm with nature Christine Huntley-Harris

192 Wellington Parade, East Melbourne VIC 3002 [Map 4] 03 9416 2515 Open Mon to Fri, with three tours daily at 10am, 12noon and 2pm. We are closed on public holidays.

See our website for latest information.

The Johnston Collection is a multi award-winning and critically acclaimed museum that invites creatives from the broader visual arts and design communities to re-interpret the Collection through a regular program of re-installation and interventions of the permanent collection.

Combining sculpture, painting and installation, the exhibition contemplates meditative states of wonder through the construction of abstracted landscapes.

Located between representation and abstraction - observation and imagination, the works represent portals to otherworldly environments, communicated through imagery that symbolises scientific elements, geological forces and living organisms.

Christina Darras, Oneself, too many (safety blanket), reduction linocuts on paper and fabric, handstitched, 330 x 240 cm.

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.” Opening Thursday 29 July, 6pm–8pm.

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

15 May—1 August Specualtive Realms Tricky Walsh Our New Home Lauren Murphy

The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians.

Paulin Wangin drawing a portrait of Kunmanara (Mumu Mike) Williams while sitting cross-legged on the floor at Mimili Maku Arts, Mimili, SA. 2019. Photograph: Trent Walter.

22 May—8 August From Australia: An Accumulation.

A Touring Exhibition from NETS Victoria.

29 May—8 August Cloud Machines David Haines and Joyce Hinterding 28 August—7 November 50 YEARS: 50 Artists Our Land: An Exhibition by Local Art Societies

Charles Conder, 1868–1909, Miss Raynor, c.1889, oil on canvas on cardboard, 16 x 16 cm.

Fine Art, Antiques, Decorative Objects, Furniture, Jewellery, Books, Collectables, Vintage Fashion and Couture. www.themelbournefair.com.au A limited number of tickets are available.

Please contact the gallery to obtain a complementary ticket.

Linden New Art www.lindenarts.org

Lauraine Diggins Fine Art Pitcha Makin Fellas, We know where you shop (Kangaroo), acrylic paint on pvc foamboard, 122.5 x 90 x 0.5 cm.

Collection of KHT. Gift of Tom Mosby and Tony Ellwood.

13 March—25 July Deadly Narratives: Recent Collection Highlights

Latrobe Regional Gallery www.latroberegionalgallery.com

www.diggins.com.au 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm.

Other times by appointment.

See our website for latest information.

26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun for a limited number of visitors 11am–4pm.

See our website for latest information.

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

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

Vipoo Srivilasa, Wellness Deity, 2020.

Image courtesy of the artist and Scott Livesey Galleries, Melbourne. Photograph

by Simon Strong.

22 May—22 August Wellness Deity Vipoo Srivilasa

Marian Ellis Rowan, 1848–1922, Bird of Paradise, watercolour on paper, 22.5 cm diam.

Lauren Murphy, Margaret Palmer, From England to Trafalgar, 2019, double exposure digital image. Courtesy of the artist.

29 July—1 August The Melbourne Fair Join us at The Melbourne Fair where over 50 specialist dealers will be showcasing

Vipoo Srivilasa is a Thai-born Melbourne-based artist, curator and arts activist. Srivilasa works predominantly in porcelain but also in an inter-disciplinary manner, creating works on paper, mix media and bronze sculpture, as well as large scale public art. Srivilasa’s playful blend of 19th century European figurines and Asian decorative art practices often explores contemporary cross-cultural and migration experiences.

22 May—22 August To Feed your Oracle Ruth Höflich Natasha Bieniek 157

OBJEC TS OF MY AFFEC TION

STORIES OF LOVE FROM THE JOHNSTON COLLECTION 9 MARCH - 21 SEPTEMBER 2021

Stories of Love celebrates the 30th anniversary of Fairhall opening to the public on 19 November 1990.

Continue with us as we celebrate our remarkable milestone of 30 glorious years of sharing Johnston’s gift of love to the people of Victoria.

This exhibition will be a memorable opportunity to see objects gathered over a lifetime with affection by William Johnston and rearranged to create an English Georgian-inspired domestic interior in his beloved East Melbourne house, Fairhall.

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

HELLO@JOHNSTONCOLLECTION.ORG +61 3 9416 2515

johnstoncollection.org

KEEP INFORMED – CONNECT WITH US

johnstoncollection.org

VICTORIA

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

9 June—3 July Sarah CrowEST

Manningham Art Gallery www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Mon to Fri 8am–5pm.

See our website for latest information.

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

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.

See our website for latest information.

Janet Laurence, Forensic sublime (Crimes against the landscape series: Styx Forest), 2008, mirror, oil glaze, Duraclear on Shinkolite, 101.0 x 455.0 cm.

Collection of McClelland. Purchased with assistance from the Robert Salzer Fund and The Fornari Bequest, 2009. Image courtesy of ARC ONE Gallery. Copyright the artist.

15 May—15 August The McClelland Collection: 50 Years

Ryan Hancock, Lesseters Reef, Maiolica, 2019, earthenware, 41 x 25 x 25cm.

11 August—28 August Ryan Hancock

Lyon Housemuseum Galleries www.lyonhousemuseum.com.au 217 Cotham Road, Kew, VIC 3101 03 9817 1725 Wed to Sun 11am–4pm, See our website for latest information.

Jacqueline Felstead, James Asleep, 2018, digital film still. Courtesy of the artist.

6 July—17 July Loss in a simulated environment Jacqueline Felstead Challenging the perceptual distinctions of traditional photography, Felstead’s three-dimensional photographic works seek to reintroduce absent subjects— things that can’t be seen and are no longer—back into the collective.

Augustine Dall’Ava, Richard Giblett, Stephen Haley, Inge King, Janet Laurence, Akio Makigawa, Fiona McMonagle, Sanné Mestrom, Ron Mueck, Patricia Piccinini, Ken Reinhard, Tim Silver, Kylie Stillman, Colin Suggett, Simon Terrill, George Tjungarrayi, Lisa Waup.

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.

Until 24 July Naturalism without mirrors Bruno Leti

Patrina Munuŋgurr, Gurrkurr Dhälkuma - Strengthening The Bloodlines, 2018, digital film still. Courtesy of the artist and the Mulka Project, Yirrkala.

Recent paintings, works on paper, and limited edition archival pigment prints

by Bruno Leti, to accompany the artist’s book launch, Fiorenza: Ribbons of Power (Melbourne: Australian Scholarly Publishing, 2021).

27 July—28 August breathing space Tamara Baillie, Lauren Gower, Nicole Foreshew, Patrina Mununggurr, Nanette Shaw and Simone Slee.

John Nixon, Untitled, 2014, from Construction series, The Lyon Collection.

Photograph: Christo Crocker and Aaron Rees.

2 June—15 December John Nixon in the Lyon Collection

breathing space brings together works that embrace the cyclic and fluid rhythms of breath, memory and time. The works of art, through process and form, draw focus to each of the artist’s own unique relationship with materiality in relation to place. Embodying ideas of movement and stillness, permanence and impermanence, presence and absence—the works can be understood as elemental intermediaries that articulate a sacred relationship between the body and the earth. Curated by Jessica Clark.

David Laity, Turkish Bath, 2020, oil on hessian, 105 x 110 cm.

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museumsvictoria.com.au/immigrationmuseum

VICTORIA the Covid-19 global pandemic on Australian artists and society at large, MGA has commissioned five artists to produce work on response to their current experiences.

Metro Gallery continued...

27 July—14 August Wild Thing David Laity Selected Works Ross Miller Recent paintings by David Laity; selected sculpture by Ross Miller.

Brett Wilkinson, Darkness falls on the coach house, 2020.

STAGES: photography through the pandemic sees Jane Burton, Cherine Fahd, Isobel Knowles and Van Sowerwine, Phuong Ngo, and James Tyler respond creatively to the unprecedented social, environmental and economic impacts of the Covid-19 global pandemic. Curated by Anouska Phizacklea.

Inspired Mildura Nioka Morgan-Briggs, Jennifer Douglas, Aaron Hawkins, Chris John, Russell Murphy and Brett Wilkinson (curator).

Through the lens, curator and exhibitor Brett Wilkinson selected talented photographers based in and around Mildura, whose work is inspired by the vast area bordered by the river and the desert to showcase the landmarks, culture and the mighty Murray River.

12 August—10 October Harbinger Dianne Fogwell, Ginger Bottari, Megan Bottari, Nicola Dickson, Steven Holland and Tiff Cole.

Louise Feneley, Song of a Tiny Landscape, 2019, oil on linen, 112 x 92 cm.

From 17 August Walking through the studio over time Louise Feneley A survey exhibition of paintings.

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

See our website for latest information.

The complex relationship between humans and birds is explored by a group of six artists using a range of media and processes. Supported by ArtsACT project funding.

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.

Marek Herburt, Floodwaters of Murray River, 2021, acrylic on board.

29 May—11 July Develop MGA’s annual showcase of work by emerging photographic artists. The photographs included in this exhibition represent a small selection from the vast pool of high-calibre work that was produced by graduates of bachelor degrees in Melbourne in 2021. With artists drawn from five universities and across many styles and genres, this is a celebration of the next generation of Australian photographers. Artists: Klari Agar (Victorian College of the Arts), Eremaya Albrecht (Photography Studies College), Teva Cosic (RMIT University), Isabella Imperatore (Victorian College of the Arts), Fiona Lewis (RMIT University), Georgina Pynta (Monash University), Jediah Shue (Deakin University), and Joshua O Smith (Photography Studies College). Curated by Stella Loftus-Hills and Pippa Milne.

Monash University MADA Gallery

25 June—8 August River Works Marek Herburt My recent works demonstrate a deep fascination with Australian flora and landscape. The river Murray, and especially the Riverland region of South Australia provides the inspiration for this exhibition.

The Murray River has vast stretches of wonderful waterways that widen into beautiful lakes in stretches. Add to this the dramatic river red gums following the course of the river, their shape, their stained and warty trunks. In a semi-abstracted, impressionistic style and a vibrant palette, I try to capture the intense beauty of this region, while at the same time depicting the energy, life and wonder that this landscape evokes.

Jediah Shue, Untitled, 2020, from the series Native mosaic, pigment ink-jet print, 60 x 60 cm. Courtesy of the artist.

www.artdes.monash.edu/gallery

Phuong Ngo and IRL Infoshop, Untitled, 2021, from the series IRL, pigment ink-jet print, 29.7 x 21 cm. Courtesy of the artist.

29 May—29 August STAGES: photography through the pandemic sees Responding to the unprecedented social, environmental and economic impacts of

Monash University, Caulfield Campus Building D, Ground Floor, 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.

Exhibition proposals for 2022 are opening soon. Please see our website for updated information.

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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.

Ebony Truscott, Butter on plate with ship painting, 2021, oil on panel, 28 x 36 cm.

Christian Thompson AO, Dead As A Doornail, 2009, detail, c-type print on Fuji Pearl Metallic Paper. Courtesy of the artist, Sarah Scout Presents, Melbourne and Michael Reid Gallery, Sydney. Image © the artist.

7 July—24 July Your name in butter Ebony Truscott

Nerdudara/Djumi (Then/Now) 10+1 is a retrospective reflection of the history of grass roots beginnings to incorporation of Aboriginal and Torres Strait Islander creativity and knowledge which has developed into Baluk Arts—an Aboriginal Art Centre based in Mornington.

Angelina Pwerle, Bush plum (10-320), 2020, acrylic on canvas, 120 x 182 cm.

7 July—24 July Bush plum and beyond Angelina Pwerle

National Gallery of Victoria – The Ian Potter Centre NGV Australia

Nabilah Nordin, Trotting, 2020, wood, chicken wire, plaster, rocks, spray paint and cement, 137 x 69 x 19 cm. Monash University Collection, Melbourne.

7 July—18 September Connecting the World through Sculpture Aleks Danko, Patricia Piccinini, Nabilah Nordin and more.

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.

29 May—22 August Surreal Landscapes Curated by Danny Lacy and Rosie Weiss.

Surreal Landscapes is a group exhibition that explores the way artists position subtle and strange, absurd and dreamlike interventions within the landscape, abstracting and shifting our reading of the landscape. Features: Nadine Christensen, Peta Clancy, Emily Ferretti, Tara Gilbee, Philip Hunter, Raafat Ishak, James Newitt, Emma Phillips, Christian Thompson AO. 29 May—22 August Then Now 10+1 (Baluk Arts) Nerdudara Djumi 162

www.ngv.vic.gov.au Rosie Weiss, Coupling A/P, 1985, detail, lithograph, printed by the artist at the Australian Print Workshop. MPRG Collection. Acquired by the Friends of MPRG with assistance from the Robert Salzer Foundation, 2020. Image copyright and courtesy of the artist.

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

29 May—22 August Rosie Weiss – Collected works MPRG collection focus Rosie Weiss is a Mornington Peninsulabased artist who makes work about our relationship with the natural world.

Highlighting the enduring focus of her practice over the past 40 years, this suite of works traces the development of Weiss’ practice from a sustained period of printmaking in the 1980s at the Australian Print Workshop through to her more recent drawing practice.

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.

Louise Zhang, You are forgiven (Lotus), 2020 (detail), synthetic polymer paint on board, 120 cm diameter.

Proposed acquisition purchased with funds donated by Jo Horgan and MECCA Brands, 2020. © Courtesy the artist and Artereal Gallery, Sydney / Photo: Zan Wimberley.

Until August Louise Zhang 12 March—October Big Weather 26 March—11 July Top Arts 2021

VICTORIA

National Gallery of Victoria – NGV International → Gustave Caillebotte, French 1848–94, Fruit displayed on a stand c. 1881–82, oil on canvas, 76.5 x 100.6 cm, Museum of Fine Arts, Boston. Fanny P. Mason Fund in memory of Alice Thevin. Photography © Museum of Fine Arts, Boston. All Rights Reserved.

2 April—22 August She-Oak and Sunlight: Australian Impressionism

27 August—6 February 2022 Sampling the Future

Featuring some of the most widely recognisable and celebrated works by Tom Roberts, Frederick McCubbin, Jane Sutherland, Arthur Streeton, Charles Conder, Clara Southern, John Russell and E. Phillips Fox, the exhibition also brings to light lesser-known paintings by Iso Rae, May Vale, Jane Price and Ina Gregory.

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.

4 June—3 October French Impressionism from the Museum of fine arts, Boston

Camille Henrot, The Pale Fox, 2014, (installation view), mixed media, dimensions variable. Collection of the artist, New York. © Courtesy of the artist and kamel mennour, Paris/London; König Galerie, Berlin; Metro Pictures, New York. Photographer: Anders Sune Berg.

In an international exclusive, the NGV presents a major exhibition of more than 100 masterworks of French Impressionism in partnership with the Museum of Fine Arts, Boston (MFA), an institution renowned world-wide for its rich holdings of Impressionist paintings. Part of the Melbourne Winter Masterpieces exhibition series, French Impressionism features works by Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Mary Cassatt and more – including 79 works that have never-before-been exhibited in Australia.

25 June—3 October Goya: Drawings from the Prado Museum Francisco Goya The world-exclusive exhibition Goya: Drawings from the Prado Museum features more than 160 works on paper by Francisco Goya (1746–1828), celebrating the artist’s extraordinary imagination.

19 December—29 August Spectrum: An Exploration of Colour

Pascale Martine Tayou, Coloured stones (Pavés colorés), 2015, granite, synthetic polymer paint on granite, 121.5 x 230.0 x 191.5 cm National Gallery of Victoria, Melbourne © Suzanne Dawbarn Bequest, 2018.

7 May—19 September We Change the World 11 June—3 October Maree Clarke: Ancestral Memories

18 June—3 October Plans for the Planet: Olaf Breuning For kids

18 June—24 October Camille Henrot: Is Today Tomorrow The New York-based artist works across diverse media including sculpture, drawing, video and installation.

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JULY 22 - OCT 17 2021

Marlene Gilson Land Lost, Land Stolen, Treaty, 2016 Synthetic polymer paint on linen.

Image courtesy City of Melbourne Art and Heritage Collection

TREATY

Guest curated by Wemba-Wemba Gunditjmarra artist, curator and academic Dr Paola Balla.

Gina Bundle, Aunty Marlene Gilson, Kait James, Laura Thompson, Cory Thorpe, Peter Waples-Crowe.

TREATY is an exhibition that presents these questions and centres First Nations perspectives and responses through their practice.

TREATY presents the work of six First Nations artists for whom sovereignty is fundamental to their creative work and lives. With the lens of the here and now and the legacy of the history that has gone before, TREATY presents works to further the conversation and ask, what does this mean? How is it being managed? Is this what everyone wants?

TREATY is presented against the back drop of work being undertaken by the Victorian State Government as the state negotiates a Treaty with a number of First Nations clans across, what today is called, Victoria. This will be the first state based Treaty created with First Nations people.

#deepwest wyndham.vic.gov.au/arts wyndham.vic.gov.au/arts

VICTORIA

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 Wed to Sat 11am–5pm.

Of Other Spaces. Foucault defines heterotopias as peculiar environments that evade normal behaviour, with their otherness demonstrated through a series of principles; notably ambivalence, temporality, and illusion. The proposed show Within Other Spaces sets out to consider a modern interpretation of heterotopias through exploring the phenomenological impact on individuals who engage with public and private spaces. It will consist of emerging artists Bec Gynes, Cat Lawrance, Chelsea Rosenbrock, and Alex Smith. These artists, who are all past and current students from the Drawing and Printmaking Department within the Victorian College of the Arts, have practices that are synergised through printmaking and utilise the medium to showcase their individual response of Foucault’s principles of heterotopias.

Suzanne Archer, We are the Stars, 2019, oil on canvas, 201 x 300 cm.

and printmaking. A series of Abstract Places: Vol.3 ~ Insider Outsider is a continuation of a body of work exploring Australian Landscapes, more specifically the Pilbara region of WA. Geology is a key element within her work. The balance and imbalance of objects and imagined places excavates a desire for connection. May Bluebell explores the nature of memory and its connection to place. Growing up in a small mining town in the Pilbara region of Western Australia has had an enduring influence, with the red desert landscape featuring centrally in her work. Her practice is an investigation of how information from our past is recalled and reconstructed. It reveals not only the flaws and errors of memory, but also poignant truths. She seeks to capture those landscapes which have a formative influence on us, by considering their emotional impacts beyond physical reality.

RMIT Gallery

20 July—7 August Suzanne Archer

www.rmitgallery.com

4 August—7 August Spring 1883

344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery See our website for latest information and opening hours.

10 August—28 August Miles Hall

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

See our website for latest information.

Jo Darvall, Winged Realm no 30, 2021, monotype, chine colle on Hahnemühle paper, 53 x 78 cm.

15 June—5 August Winged Realm Jo Darvall In Winged Realm Jo Darvall takes her audience on a journey through a mythical dream of past encounters set in a fertile organic playground shapes and forms reference the lotus flower and bird like shrouded creatures leaving subtle impressions of memory, past experiences lie deep within the papers textures.

The titles pays homage to avant-garde experimental poet Christopher Barnett, a figure from Darvall’s past as a young artists living and working in Brunswick street Fitzroy, where Barnett and other street poets would perform.

Alex Smith, Soup, 2020, 7 layer screenprint, 57 x 76 cm.

25 June—9 July Within Other Spaces Bec Gynes, Caterina Lawrance, Chelsea Rosenbrock and Alex Smith.

Within Other Spaces is a response to Michel Foucault’s theory of heterotopia, of which he introduced in his lecture

12 August—26 August A series of Abstract Places: Vol.3 ~ Insider Outsider May Bluebell Bluebell creates vivid, abstract landscapes inspired by childhood memories of Australian places. With a background in design, she creates striking compositions using bold colours, simplified organic forms and layers of textures.

Her mixed media practice incorporates photography, collage, abstract painting

Uncanny Valley, Beautiful the World, 2020, video still.

23 July— 23 October Future U Speculative and emotionally charged, Future U responds to the complex possibilities of the rapid acceleration and convergence of technologies and its impact on what it means to be human.

Artists include: Bettina von Arnim, Holly Block, Karen Casey, DuckworthHullickDuo, Peter Ellis, Jake Elwes, Alexi Freeman, Libby Heaney, Leah Heiss, 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.

Sofitel Melbourne on Collins www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 165

ar t g ui d e .c o m . au Sofitel Melbourne continued...

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.

12 June—10 July Ten year show

26 June—8 August Every Artist Ever - Ten (+1) Year Anniversary Show 150+ stockroom artists.

Sutton Gallery www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Wed to Sat 11am–5pm.

See our website for latest information.

Louise Paramor, Tourists, 2020, inkjet print, 125 x 85 cm.

Sofi’s Lounge, Level 1: 2 June—19 September The Parallel Universe Louise Paramor A series comprises glass-boxed dioramas and ink-jet prints derived from the dioramas. Exhibition supported by the City of Melbourne Arts Grants. Louise Paramor is represented by Finkelstein Gallery, Prahran.

Karen Black, Trapeze, 2021, oil on canvas, 122.4 x 180.3 cm.

Opening July Arepo Karen Black Heather B. Swann, Oh lover, hold me close, (detail), 2021, ink and acrylic on canvas, 212 x 400 cm. Courtesy of the artist and STATION. 17 July—14 August Oh lover, hold me close Heather B. Swann 17 July—14 August fill me up and make me useful Kate Bohunnis

Miss Bernie Kaye, Daisy Fields, 2019.

Atrium Gallery, Level 35: 2 June—3 October Rapture Images by Melbourne rural and suburban urbex photographer Miss Bernie Kaye. This exhibition is a photographic journey across three states of Australia seeking out the varied degrees of decay and abandonment the artist encounters.

Stephen McLaughlan Gallery

21 August—18 September Esther Stewart 21 August—18 September Jason Phu

Opening July unfixed Rudi Williams

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.

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm.

See our website for latest information.

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.

Neridah Stockley, Camp ground trees, 2015, oil on board, 30 x 20 cm.

14 May—11 July Neridah Stockley: A Secular View

30 June—17 July Irene Barberis 21 July—7 August Deborah Klein 11 August—28 August Warren Nichols 166

Honor Freeman, My silver lining runneth over, 2018, porcelain, silver lustre, metal handle, 18 x 20 x 20 cm. Photograph: Craig Arnold.

A Secular View is an exhibition spanning 25 years of sustained practice by Northern Territory based artist Neridah Stockley and is curated by Gillean Shaw, Art Curator, University Gallery, the University of Newcastle. Whist Stockley is best known as a painter, this survey reveals the diversity of her practice

VICTORIA including drawings, collage, dry point etchings and a growing body of ceramic work. Artback NT in association with the University gallery presents Nerida Stockley: A Secular View.

Nicole Foreshew and P. Thomas Boorljoonngali, Caitlin Franzmann, James Geurts, Michaela Gleave, Jonathan Jones with Aunty Joy Murphy Wandin AO, Noŋgirrŋa Marawili, Brian Martin, Raquel Ormella, Mandy Quadrio, Yasmin Smith, Grant Stevens, and Oliver Wagner.

Pauline Wangin drawing a portrait of Kunmanara (Mumu Mike) Williams while sitting cross legged on the floor of Mimili Maku Arts, Mimili, 2019.

20 August—3 October From Australia: An Accumulation This exhibition features new print commissions from some of Australia’s most renowned contemporary artists, alongside selected works from the seminal print portfolio ‘Aus Australien’, produced by René Block in 1988.

Marina Mason, Wellspring, 2021, porcelain and plastic, 68 x 38 x 26 cm. connection between hand and ground in a time of minimal contact.

The project also features new artworks generated from creative workshops held across the country since 2019 that reflect on Australian history and the legacies of colonialism. Responding to the recent 250th anniversary of Captain Cook’s voyage to Australia, the project engages with diverse communities throughout the country and gives voice to a multiplicity of perspectives around what it means to be from Australia. A Negative Press exhibition, touring with NETS Victoria.

Curated by Trent Walter. The project has been assisted by the Australian Government’s Visions of Australia program, the Victorian Government through Creative Victoria and by the Australian Government through the Australia Council, its arts funding and advisory body. It also received assistance from NETS Victoria’s Exhibition Development Fund 2019, supported by Creative Victoria. Additional support has been provided

by Persuade Consulting.

Paola Balla (Wemba Wemba, Gunditjmara), Collecting Plants With Mum, 2020, digital image, 142 x 106 cm.

Courtesy of the artist.

TarraWarra Museum of Art

5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thu to Sun 11am–5pm.

See our website for latest information.

www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Open all public holidays. Open 7 days a week.

See our website for latest information.

27 March—11 July TarraWarra Biennial 2021: Slow Moving Waters Curated by Nina Miall.

Robert Andrew, Jeremy Bakker, Lucy Bleach, Lauren Brincat, Louisa Bufardeci, Sundari Carmody, Christian Capurro, Jacobus Capone, Daniel Crooks, Megan Cope, George Egerton-Warburton,

31 July—7 November WILAM BIIK Curated by Stacie Piper.

Paola Balla (Wemba Wemba, Gundjitmara), Deanne Gilson (Wadawurrung), Kent Morris (Barkindji), Glenda Nicholls (Waddi Waddi, Ngarrindjeri and Yorta Yorta), Steven Rhall (Taungurung), Nannette Shaw (Tyereelore, Trawoolway, Bunurong), Kim Wandin (Wurundjeri), Arika Waulu (Gunditjmara, Djapwurrung, Gunnai), Rhiannon Williams (Wakaman, Waradjuri), and the Djirri Djirri Women’s Dance Group (Wurundjeri, Dja Dja Wurrung, Ngurai Illum-Wurrung).

Tinning Street Presents

22 July—8 August Telling Stories David Gatiss Story telling is a collective of objects made in a variety of media.

Telling their own story Once upon time stories Visual illustrations of daily illuminations Boats that don’t sail Trees that don’t grow.

Black walls held up by thoughts.

Time spent between creation of ideas and the creation objects.

22 July—8 August Lobe Charlotte Ivey Ivey’s process welds impulsive reflexes of dysphoric psychological states with intentional compositional choices. Out of this emerge strange, fleshy landscapes, from fragile pieces on glass to bold works

www.tinningstreetpresents.com

1 July—18 July Fountain Marina Mason The fountain provides us with a cascade of intuitive imagery. The font like objects in this exhibition, made from a variety of regenerative material, speak of continuity, restoration, transformation and hope. light touch August Carpenter light touch is a series of 100 drawings forming intricate records of places known and unknown.

Through a series of repeated blind movements, the drawings explore the agency of

Ashika Harper, Creek, 2020, digital collage.

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ar t g ui d e .c o m . au Tinning Street continued... whose strokes long to burst off the canvas—the artist invites the observer into states of a cyclically altering psyche.

12 August—29 August It Was There and Now It Is Gone Ashika Harper It Was There and Now it is Gone, is dedicated to my family home in Wandella, NSW. My home was lost in the 2020 bushfires. This series merges my past and present experience with this place. It considers how new forms of reality can be created through the process of re-imagining memories.

Samara Adamson-Pinczewski’s practice focuses on the relationship between geometric abstract art, architecture and urban space. Her boldly coloured paintings, constructions, sculptures, drawings and studio-based installations explore ambiguous spatial readings created through the use of reflective materials, fragmented abstract forms and oblique linear structures. Illustrating the artist’s mastery of paint technology and colour theory, Light Gestures: Samara Adamson-Pinczewski features works from her 20-year career alongside new paintings and sculptures commissioned by the Town Hall Gallery.

12 August—29 August Sans Function Ami Taib Sans Function comprises a group of tongue in cheek ceramic sculptures where the application and techniques of wheel-thrown pottery are pushed beyond their functional intent. By presenting functional techniques outside of their expected place, artist and ceramicist Ami Taib presents a playful irreverence toward a medium steeped in tradition.

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.

Polly Stanton, still from Three Rooms, 2014, HD video and surround sound.

Image courtesy of the artist.

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.

This exhibition examines the relationship between human beings and architecture.

Featuring work by Alfredo & Isabel Aquilizan, Kevin Chin, Mason Kimber, Eugenia Lim, Shannon Lyons and Polly Stanton, this group exhibition focuses on the ways in which our built environment is used to foster ideas of home, shelter and belonging.

Jo Reitze, In the Geelong Conservatory.

30 June—13 July Celebrating Life Jo Reitze Various works Raffaella Torresan

31 July—28 August Ben Quilty

14 July—27 July VAS Student / Teacher Exhibition

Town Hall Gallery

Open to all artists studying at the VAS Art School.

www.boroondara.vic.gov.au/arts

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The Victorian Artists Society

10 July—25 September Shelter in Place

26 June—24 July Bill Henson

17 April—3 July Light Gestures: Samara Adamson-Pinczewski

This exhibition celebrates local Boroondara sculptor Michael Meszaros’ 50 year career as a full-time, self-supporting artist. Meszaros has produced a number of well-known public works throughout Melbourne, Australia and internationally.

Working primarily in bronze, fabricated copper and stainless steel, his work includes portraits, sculptures, and his particular specialty, medals.

www.victorianartistssociety.com.au

Bill Henson, Untitled RC SH47 N32C, 2010/20, archival inkjet pigment print, 127 x 180 cm. Edition of 5 + 2AP.

360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

3 August—25 September 50 Years as a Sculptor Michael Meszaros

Sue King, Bromeliad, 2019, watercolour and pencil, 68 x 53 cm (framed). Courtesy of the artist.

6 July—14 August Nature in Art Canterbury Neighbourhood Centre Experience the stunning detail of realistic botanical illustration created by students from the Canterbury Neighbourhood Centre’s Nature in Art classes.

14 July—20 July Various works Jeff Teng 21 July—10 August Various works on paper and scratchboard Jan Lowe 28 July—10 August Shot in the Heart of Melbourne Dedicated street photographers who capture life on the streets and laneways of Melbourne.

VICTORIA 11 August—24 August The Nada Hunter Portraiture Prize VAS Members Group show.

14 July—14 August Winter Salon

showcase of textile artistry and talent from across Australia. Wangaratta has a long and prominent history of textiles, both in manufacturing and as a craft form.

Wangaratta Art Gallery builds upon this unique tradition through the presentation of this outstanding award which continues to recognise the high calibre practice that Australian artists provide to the national and international textile tableau.

This award is committed to the advancement and growth of contemporary textiles, it is an acquisitive award that embodies the current state of play for contemporary textile practice in Australia.

Janet Fieldhouse, Armbands, 2021, Buff Raku Trachyte , Raffia, 26 x 35 x 24 cm.

25 August—18 September Never the Same Janet Fieldhouse

Tyler Arnold, Self portrait in black jacket, oil on linen, Norma Bull winner 2019.

11 August—24 August VAS Norma Bull Scholarship Prize Open to all artists studying portraiture.

25 August—7 September Works in Oil Greg Smith

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.

25 August—7 September Portraiture and the human body, VAS Life and Portraiture Group show.

Vivien Anderson Gallery www.vivienandersongallery.com

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm.

See our website for latest information.

Visit the Arts in Greater Dandenong website to keep up to date with the latest information about our exhibitions and programs. Watch an array of videos including curator talks, exhibition tours, workshops and story time sessions.

Download fun activity sheets for your creative kids or sign up to our new educational program. Stay in the loop by following us on Facebook and signing up to our enews via our website.

West End Art Space

284–290 St Kilda Road, St Kilda VIC 3182 03 8598 9657 Tue to Fri 11am–5pm, Sat 12–4pm.

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.

See our website for latest information.

Linda McLean and Cheryl Kennedy, THIRST, fabric, hoses, yarn, dye, 200 x 100 x 100cm variable. Wangaratta Art Gallery Collection, winner of the 2019 Wangaratta Contemporary Textile Award.

12 June—15 August Wangaratta Contemporary Textile Award 2021 The Wangaratta Contemporary Textile Award is a biennial acquisitive award and exhibition celebrating the diversity and strength of Australia’s textile artistry.

Kent Morris, Barkindji Blue Sky - Ancestral Connections #9, 2020, giclee print on paper, 150 x 100 cm.

This biennial nationally significant award has been presented by Wangaratta Art Gallery since 2009, and will again be a

Agnes Kohler (nee Goongarra), My mother’s Country, 2020, acrylic on belgian linen, 97 x 77 cm.

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BOROONDARA.VIC.GOV.AU/ARTS

Shelter in Place TOWN HALL GALLERY SAT 10 JULY – SAT 25 SEPTEMBER 2021 boroondara.vic.gov.au/arts ‘Shelter in Place’ is a major exhibition at Town Hall Gallery examining the relationship between human beings and architecture.

This group exhibition focuses on the ways in which our built environment is used to foster ideas of home, shelter and belonging.

Featuring: Alfredo & Isabel Aquilizan, Kevin Chin, Mason Kimber, Eugenia Lim, Shannon Lyons and Polly Stanton.

Image: Polly Stanton, still from ‘Three Rooms’, 2014, HD video and surround sound, image courtesy of the artist.

Through the mediums of painting, film, sculpture and installation, ‘Shelter in Place’ explores the emotional importance we place on our physical spaces. These spaces become reflections and relics of ourselves both individually and collectively as a society.

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

boroondara.vic.gov.au/arts

VICTORIA West End Art Space continued...

1 July—14 July Dibirdibi (stories from the Mornington Island) These artists’ works will be on show (some are descendants of the late Sally Gabori) : Helena Gabori, Dorothy Gabori, Elsie Gabori, Amanda Jane Gabori, Agnes Kohler, Mandy Naranatjil, amy Loogatha, Netta Loogatha, Jonathon Toby, Joelene Roughsey and Venita Chong.

Quarantine Castles is a social portrait of residents isolating at home during the Covid-19 pandemic restrictions of 2020.

the conversation and ask, what does this mean? How is it being managed? Is this what everyone wants? TREATY is an exhibition that presents these questions and centres First Nations perspectives and responses through their practice.

TREATY is presented against the back drop of work being undertaken by the Victorian State Government as the state negotiates a Treaty with a number of First Nations clans across, what today is called, Victoria. This will be the first state based Treaty created with First Nations people.

21 July—8 August Solo Show Main Gallery:

TREATY is guest curated by WembaWemba Gunditjmarra artist, curator and academic Dr Paola Balla.

Cliff Burt Gallery 2: Rose Moxham

Yering Station Art Gallery www.yering.com Frederick McCubbin, Annie McCubbin, c. 1908 (detail). © Whitehorse Art Collection.

29 July—11 September Annie McCubbin’s Return An exhibition featuring Frederick McCubbin’s portrait of his wife Annie McCubbin and other portraits from the Whitehorse Art Collection and by artists associated with Box Hill Art Group and Whitehorse Arts Association.

Fionna Madigan, The Headlands, 2020, 80 x 80 cm.

11 August—3 September Solo Show Fionna Madigan

Whitehorse Artspace 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.

10 June—24 July Quarantine Castles Nick Wellman A photographic capture of two lockdowns,

A selection of outdoor sculptures are also on display in the gardens and on the Sculpture Terrace overlooking the Yarra Ranges.

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.

See our website for latest information.

Mark Wotherspoon, A Walk in the Woods, acrylic on panel, 92 x 102 cm.

29 May—4 July Paintings Mark Wotherspoon

Marlene Gilson, Land Lost, Land Stolen, Treaty, 2016, synthetic polymer paint on linen. Image courtesy of City of Melbourne Art and Heritage Collection.

Nick Wellman, Quarantine Castles, Richard and Isabelle, 2020. © the artist.

38 Melba Highway, Yarra Glen, VIC 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm.

22 July—17 October TREATY Gina Bundle, Aunty Marlene Gilson, Kait James, Laura Thompson, Cory Thorpe, Peter Waples-Crowe.

TREATY presents the work of six First Nations artists for whom sovereignty is fundamental to their creative work and lives. With the lens of the here and now and the legacy of the history that has gone before, TREATY presents works to further

Richard Young, A Scarred Mind, acrylic on canvas, 170 x 130 cm.

10 July—16 August Scarred Species Richard Young 8 June—30 September Selected Works from The Dance Kate Baker Photography.

Emmy Mavroidis Sculpture.

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A–Z Exhibitions

JULY/AUGUST 2021

New South Wales

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

NEW S OUTH 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.

Bussaraporn Thongchai and Taktak Kasarin (Thailand); Yim Maline and Heak Pheary (Cambodia); Soe Yu New and Emily Phyo (Myanmar) and Samantha Lo (Singapore).

4A Centre for Contemporary Asian Art www.4a.com.au 4A programs are held online and offsite in 2021.

See our website for latest information.

21 August—18 September Exhibition #9: My Grandfather Road: New art by women from southeast Asia This exhibition presents work by women artists, mostly younger, engaging with themes central to the region’s art—the self and identity, public space, urbanisation and social dislocation, and environmental issues. Artists include IGAK Murniasih, Arahmaiani, Maria Indriasari, Restu Ratnaningtyas, Fitri DK, Maharani Mancanagara, Sekarputri Sidhiawati and Ipehnur Beresyit (Indonesia); MM Yu and Wawi Navarozza (the Philippines);

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.

From its magnificent site in Sydney, the Art Gallery of NSW is one of Australia’s flagship art museums and the state’s leading visual arts institution. Our mission is to serve the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum of scholarship, art education and the exchange of ideas.

Six Aboriginal artists explore yearning, distance, time and space and their emotional connection to Country.

10 July—7 August Exhibition #8: Goobalathaldin Dick Roughsey

Samantha Lo, My grandfather road, 2016, photographic print, 5/5, 90 x 160 cm.

www.artgallery.nsw.gov.au

6 March—22 August Longing for Home

Dick Roughsey, Dancers of the Rainbow Serpent, 1971, acrylic on board, 60 x 90 cm.

Goobalathaldin is the first survey exhibition in Sydney of Lardil painter Dick Roughsey (c1920-1985) from Mornington Island. He was a well known and successful artist from the mid-1960s whose work was a significant connection between Albert Namatjira and the Hermannsburg School from the 1940s and 50s and Papunya Tula Artists from 1971. The exhibition tells the story of his development as artist—beginning as a bark painter, he graduated to acrylic on board after meeting bush pilot and artist Percy Trezise, and accompanied Percy and his friend Ray Crooke on many painting expeditions in FNQ. Realist in style, his works are deeply felt and respectful depictions of Lardil life and ceremony. By the time of his death in 1985 he was a celebrated artist and author who had exhibited around Australia.

He was also the first chair of the Aboriginal Arts Board and the first Aboriginal person to write an autobiography.

Art Gallery of New South Wales

26 March—5 September The National 2021: New Australian Art Jesse Vega, Reformat your nature, 2021.

Courtesy of the artist and 4A. Online 4A Digital Marcus Whale and Craig Stubbs-Race, Jane Fan, Callum Howard, Jesse Vega, Alvin Ruiyuan Zhong and more.

Andrea Srisurapon, Covid Clean, photographic print, 2021. Courtesy of the artist.

15 April—25 July Acute Actions: Responses to I Am Not A Virus Sophia Cai, Sai-Wai Foo, Jin Hien Lau, Nathan Liow, Zachary Lopez, Joe Lui and Deborah Ong, Andrea Srisurapon, Sweet and Sour Group, Jayanto Tan, Amy Zhang and MaggZ. Location: 4a at Darlinghurst, 101-111 William Street, Darlinghurst, NSW 2010. Presented by 4A Centre for Contemporary Asian Art and Diversity Arts Australia.

The National 2021: New Australian Art at the Art Gallery of NSW presents 14 artist projects that consider the potential of art to heal and care for fragile natural and social ecosystems.

Until 2022 The Way We Eat Explores how what we eat and drink, and the way that we do so, defines our times and our lives.

Tempe Manning, Self-portrait, 1939, oil on canvas, 76 x 60.5 cm. Private collection. © Estate of Tempe Manning.

5 June—26 September Archie 100: A Century of the Archibald Prize A landmark exhibition celebrating 100 years of Australia’s most prestigious portrait prize.

5 June—26 September Archibald, Wynne and Sulman Prizes 2021 Australia’s favourite art award, the Archibald Prize, celebrates its 100th year in 2021. Along with the Wynne and Sulman Prizes this is an annual exhibition eagerly anticipated by artists and audiences alike.

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the ‘beauty of reflection’. These artists work across painting, pastel, printmaking, ceramic and mixed media. Tranquil and moody landscapes, sensual ceramics and a collection of traditional and abstract artwork promise the viewer an exciting and varied display.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm.

Peter Lewis, Sweet, 2020, glazed ceramic on painted timber base.

Hilma af Klint, The Ten Largest, Group IV, No. 3, Youth, 1907, tempera on paper mounted on canvas, 330 x 248 cm.

Courtesy of the Hilma af Klint Foundation. Photograph: The Moderna Museet, Stockholm, Sweden.

12 June—19 September Hilma af Klint: The Secret Paintings Stored away and scarcely known for decades, the re-discovery of Swedish artist Hilma af Klint’s ‘secret paintings’ has taken the international art world by storm. Now her remarkable work is coming to Australia in the first survey of af Klint’s work to be shown in the Asia-Pacific region.

22 June—11 July Jennifer Keeler-Milne

14 July—25 July The Sculptors Society 70th Anniversary Exhibition The Sculptors Society Celebrating 70 years, The Sculptors Society showcases modern and contemporary sculpture in all media. Presenting both realistic and abstract work, this exhibition demonstrates that sculpture can be made in any material and explore any subject.

Through their work, this group of artists attest to the ability of sculpture to inhabit your space and expand your thinking.

Artspace www.artspace.org.au Fairlie Kingston, Hornby Lighthouse #3, 2019, illuminated ceramic, 31 x 18 x 18 cm.

43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] Mon to Fri 11am–5pm, Sat and Sun 10am–5pm.

See our website for latest information.

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.

30 June—11 July Persian Graffiti Shokufeh Kavani and Arash Nedaiee This exhibition is a combination of traditional Persian calligraphy and modern Iranian abstract painting. Through the use of traditional Persian calligraphy, this exhibition showcases two different styles of Persian art. Kavani’s and Nedaiee’s work defies the Persian art canon by showing both the differences and similarities in a divided society of modern Iran.

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20 July—8 August Fairlie Kingston

Setsuko Koaze, Lion Dancing in the 7th day of New Year, 2017, oil on canvas.

28 July—8 August Fantasy and Realism Painting by Setsuko Koaze and Studio Ululu Setsuko Koaze and Studio Ululu Setsuko Koaze presents both realism and fantasy paintings in this exhibition. Her subject matter ranges from Japanese Kabuki and Geisha to Australian landscapes as well as fantastical scenes from an imaginary world. Koaze’s paintings strive to enrich the viewer’s heart, enabling them to see the beauty in everyday life.

Co-exhibiting with Setsuko Koaze are students from Studio Ululu.

11 August—22 August Beauty of Reflection Luce Lopez, Khing Sin McCotter, Eva Molnar and Vladimir Pavlovic

Salvatore Zofrea, Dahlias from artist’s garden, 2021, oil and lapis lazuli on canvas, 102 x 76 cm.

This is an exhibition of a diverse and vibrant collection of artworks which explore

17 August—5 September Salvatore Zofrea

NEW S OUTH WALES

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm.

Free entry, donation encouraged.

Working with makers and designers, we produce exhibitionsfor presentation in Sydney and across Australia and more than 100 events each year, along with a city-wide festival Sydney Craft Week.

Object Shop is our retail space selling the work of over 100 local makers.

Speculative fiction is the topical inspiration for this new exhibition presented by Australian Design Centre and produced by artisan.The exhibition was designed to stimulate discussion about our future, to emphasise that the arts in conjunction with science are at the forefront of our survival, and to question what we take for granted. Exhibiting artists are: Russell Anderson and Rebecca Ward, Christine Atkins, Charlotte Haywood, Susan Lincoln, Archie Moore and Clare Poppi.

charts his career and will show works by Frank Boyden (US); Barry Brickell and Richard Parker (NZ); and Peter Rushforth, Alan Peascod, Owen Rye, Janet Mansfield and Ivan McMeekin (Australia).

Nealie is represented in numerous collections, including Musée National de Céramique, Paris; National Gallery of Australia, Canberra; Christchurch Art Gallery; Te Papa National Museum of New Zealand, Wellington; Art Gallery of Ballarat; and Bathurst Regional Art Gallery. A BRAG Exhibition curated by Jan Irvine-Nealie.

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 and Sun 10am–1pm.

See our website for latest information.

We care for and develop our permanent collection and currently hold the most significant collection of Aboriginal paintings in regional NSW.

Euan Macleod, Figures across fire, 2019, acrylic on linen. Courtesy of the artist and King Street Gallery on William, Sydney.

Maisie Johnson, Abundance, BAMM Art Fair, 2019.

Alex Gilmour, Spun Pendants, 2012.

Photograph: Rhiannon Hopley.

25 June—28 August BAMM Art Fair

15 July—18 August WORKSHOPPED21

Now in its third year, the BAMM Art Fair will return featuring an open Group Exhibition and six Micro Exhibitions. An outdoor Arts and Crafts Market Day will add a morning of family fun with stalls, kids art activities and live artist demonstrations.

Australian Design Centre is delighted to present the 21st edition of the design industry’s much anticipated annual program WORKSHOPPED21—the very best in new Australian furniture, object and lighting by emerging and established designers.

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm, public holidays 11am–2pm.

5 June—25 July Etched in Fire Chester Nealie

Clare Poppi, Bio-headpiece, 2021.

Photograph: Michelle Bowden.

26 August—29 September Dystopia/Utopia 2070

Over six decades, the charismatic New Zealand-born, Gulgong-based master potter Chester Nealie has amassed a wealth of scientific and technical knowledge of the clay and glazes he uses in his pursuit of aesthetics through the making of his woodfired ceramics. This survey

5 June—25 July Stirring the ash Euan Macleod and Andrew Merry A collaboration between painter Euan Macleod and photographer Andrew Merry.

The works are inspired by the harsh, liminal landscape of Napoleon Reef, an old mining district near Bathurst where Macleod has ventured for over 20 years, and fire. Merry’s long exposure photographs capture Macleod painting and interacting with a bonfire, his figure blurred and distorted. In turn, Macleod wove Merry into his en plein air paintings of the fire and landscape. The exhibition is complemented by a poetry response by New Zealand based writer Gregory O’Brien (author of Euan Macleod’s monograph published in 2010). A BRAG Exhibition.

Winter Paintings Angela Malone: A series of landscape paintings by Orange-based artist and writer Angela Malone. Over ten years, Malone has been drawn to a friend’s orchard to paint.

Her recent artworks are an attempt to coalesce the landscape’s fleeting external reality with her own emotional and inner world by working vigorously and quickly, often abstracting elements of the landscape through the process of reduction. Malone studied painting and drawing under the late David Brian Wilson of Bathurst, and her first novel, Lucia’s Measure, was written at the Haefligers Cottage in Hill End. A BRAG exhibition.

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Robert Andrew, Country, Ground, Earth, Sand, Time and Space – Material Details, 2017. Image courtesy of the artist.

31 July—19 September Myall Creek and Beyond On the afternoon of Sunday 10 June 1838, a group of eleven convicts and ex-convict stockmen led by a squatter, brutally slaughtered a group of 28 Aboriginal men, women and children who were camped peacefully at the station of Myall Creek in the New England region. 180 years after these events a group of Indigenous contemporary artists created works which explore the issues and complexities of this significant historic event and its aftermath locally and nationally.

Myall Creek and beyond was two years in development by the New England Regional Art Museum working with guest curator Bianca Beetson and features work by artists Robert Andrew, Fiona Foley, Julie Gough, Colin Isaacs, Jolea Isaacs, David and Tim Leha with Quarralia Knox, Laurie Nilsen, Judy Watson, Warraba Weatherall, as well as the Myall Creek Gathering Cloak made by members of the local community working with Carol McGregor.

A partnership between the New England Regional Art Museum and the Friends of Myall Creek Memorial and the touring exhibition has been supported by Visions of Australia.

At The End Of The Land Samuel James and Talya Rubin.

dedicated group of local artists.

Snapshot is a sample of the diverse practices from the studio. This exhibition is an opportunity for Blacktown Arts to showcase the work of a group of local emerging artists, by providing a glimpse into their current practice.

Naomi Hobson, Road Play: “She told mum she was taking me for a ride down the road but she not.” Laine, 2019, digital print, (detail), 81 x 110 cm. Courtesy of the artist. Bega Valley Regional Gallery Collection.

Port Eden: 17 April—17 September Nhawandyi / Nanda Beeyaa : I see you, killer whale.

Tony Albert (Bindal and Wulgurukaba), Lee Cruse (Yuin), Karla Dickens (Wiradjuri), Gunyibi Gunambarr (Yolgnu), Naomi Hobson (Kaantju and Umpila), Lorna Napanangka (Pintupi), Margaret Rarru (Galiwin’ku and Laŋarra and Yurrwi), Yannima Tommy Watson (Pitjantjatjara), The Yarrabah Artists (Gunggandji). First Nations works from the BVRG collection.

Merimbula Airport: Local Photographer Showcase Phil Small

Blacktown Arts www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

This haunting holographic video installation by Samuel James with performer/writer Talya Rubi resulted from a residency the pair undertook in 2019 in Hill End which investigates experience of transcendence of real space through experimentations with contemporary spirit photography/videography.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com.au 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.

3 July—8 August In Cahoots

www.gallery.begavalley.nsw.gov.au

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Out of respect for the continual practice of Aboriginal tradition of women’s and men’s business, and to maintain ancient but evolving cultural traditions in today’s modern Aboriginal society, Blacktown Aboriginal artists, youth, elders, and men’s and women’s’ groups have come together to explore and celebrate the uniqueness of creating art from a cultural PROPER WAY perspective.

In 2020, the community of the Blue Mountains was slugged with one catastrophe after another: devastating bushfires, floods, and then the pandemic. Business Not Usual is a photographic study of Mountains businesses; contemplative portraits of proprietors faced with an unimaginable sequence of events. A Blue Mountains Cultural Centre Exposé Program exhibition.

Bega Valley Regional Gallery

The Bega gallery will be closed for redevelopment from late June 2021 to third quarter 2022.

In traditional Aboriginal society, women and men had distinct but equally important roles that were beneficial to the whole community. The gender specific tasks, ceremonies and arts performed individually by women and men adhere to a strict PROPER WAY of Aboriginal lore.

26 June—15 August Tracy Ponich: Business Not Usual

A BRAG Hill End Artists in Residence Program Exhibition.

Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm.

BVRG: Port, Eden Welcome Centre Weecoon Street, Eden NSW 2551 BVRG: TARAC, Merimbula Airport, Departure Lounge, Arthur Kaine Drive, Merimbula NSW 2548.

7 August—11 September PROPER WAY Brian Boney, John Boney, David Whiten, Peter Hinton, Brad Burrows, Danny Eastwood, Trevor Eastwood, Jayden Reid, Andrew Edworth, Uncle Greg Simms, Uncle Wes Marne and Uncle Robert Coleman.

Skye Andrew, Clontarf, 2021, oil on canvas, 100 x 100 cm.

Artists from six key Aboriginal art centres have invited leading independent artists—

3 July—30 July Snapshot Ginette Morato, Mary T Nguyen, Skye Andrew, Nico Bauer, Lesley Richman, Kevser Ugurlu, Eman Nasr, Liza Henry, Holly Oakley, Kirstan Sadlon and Michelle Findley.

Since its inception 18 months ago, the Open Studio program at Blacktown Arts has become a vibrant hub that inspires creativity and supports the local art community while continuing to attract a

Liam Benson, Red Flag, 2017, glass beads, seed beads, sequins, cotton, 30 x 59 cm. Courtesy of the artist and Artereal Gallery. Photograph: Zan Wimberley.

NEW S OUTH WALES

Broken Hill Regional Art Gallery → Vincent Namatjira, Archibald Prize 2020 finalist, Stand strong for who you are, acrylic on linen, 152 x 198 cm. © the artist, photo: AGNSW, Mim Stirling, sitter: Adam Goodes - former professional Australian rules footballer. both Aboriginal and non-Aboriginal—from around the country to work with them.

The resulting collaborative artworks are significant, striking and bold in their inventive use of materials.In Cahoots is a Freemantle Arts Centre touring exhibition.

14 August—26 September Just Not Australian Just Not Australian presents work by 20 Australian artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood.

Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW.

This exhibition highlights recent acquisitions to the collection of the Blue Mountains Cultural Centre, exploring notions of contemporary landscape through film and installation, works on paper, photography and painting. A Blue Mountains City Art Gallery exhibition.

Broken Hill Regional Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sat 10am–4pm.

30 April—4 July The Garden Jonathan McBurnie Where To Begin Ryan O’Callaghan Wirtu’wirtulinya (Three Sisters) Taya Biggs, Jade Cicak and Elisha Mangal.

9 July—22 August Archibald Prize 2020 Regional Tour

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, Tue to Sat 10am–5pm.

See our website for latest information.

Campbelltown Arts Centre creates a secure platform for communities and artists to take risks, challenge perceptions, confront issues and raise questions through the commissioning of new works.

Cath Barcan, Plinth, 2017-2019, archival inkjet pigment print, 61 x 88 cm. Collection Blue Mountains Cultural Centre.

Jonathan McBurnie, Little Messages.

21 August—26 September Abel/Barcan/Harris/Ross/Tsai – women from the collection

30 April—4 July This is not a mineral mall Dale Collier

22 May—25 July I am a heart beating in the world: Diaspora Pavilion 2 Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie 177

Corner Bridge & William, Muswellbrook | Mon to Sat 10am - 4pm | arts.centre@muswellbrook.nsw.gov.au | muswellbrookartscentre.com.au Image: Louise Alexander, Beige Chair 2020, digital print, Emergent Designs Award Winner, 2020 Mullins Conceptual Photography Prize.

muswellbrook.nsw.gov.au/mrac-home

NEW S OUTH WALES Campbelltown Arts Centre continued...

fascinations of Western collectors. Taking inspiration from the Chau Chak Wing Museum’s collections, Goffman has applied her detailed eye and wit, to turn utilitarian vessels into objet d’art, and paintings into three-dimensional sculpture. By transforming and elevating waste, Goffman’s work prods us to think about consumerism in new and interesting ways.

Zadie Xa, Child of Magohalmi and the Echoes of Creation, 2019, video still, commissioned for Art Night London 2019.

Image by Benito Mayor Vallejo.

Xa and Daniela Yohannes. Curated by: Adelaide Bannerman, Mikala Tai and Jessica Taylor.

The exhibition is an ongoing project that explores the distinct and yet shared reality of living at distance to an ancestral home. Belonging to a diaspora means that connection to these ancestral homes is often maintained through memories, myths and traditions. The artists presented in the exhibition all explore these personal connections. The exhibition is the first of a series of international events that begin in Sydney, then London, UK, and onward to Venice, Italy for the second edition of International Curators Forum’s (ICF) Diaspora Pavilion in collaboration with 4A Centre for Contemporary Asian Art. Presented by 4A Centre for Contemporary Asian Art and International Curators Forum in partnership with Campbelltown Arts Centre.

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. Closed public holidays.

Nyapanyapa Yunupingu, Untitled 586118, 2018, paint pen on clear acetate, 86 x 62 cm (detail). Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

3 July—5 September Looking at Painting Nell, Carmen Glynn-Braun, Jody Graham, Rochelle Haley, Kirtika Kain, Hayley Megan French, Claudia Nicholson, Judy Watson, Nyapanyapa Yunupingu.

Opening 3 July, 2pm–4pm.

Gululu dhuwala djalkiri: welcome to the Yolŋu foundations, installation view, Chau Chak Wing Museum, 2020. Foreground: Lipalipa (dugout canoe) with dhomala (pandanus sail).

24 July—3 October Paintings You Probably Haven’t Seen Ken Done

Until 29 August Gululu dhuwala djalkiri: welcome to the Yolŋu foundations

Opening 24 July, 2pm–4pm.

A major showcase of art from eastern Arnhem Land, exploring 100 years of Yolŋu knowledge sharing. Gululu dhuwala djalkiri: welcome to the Yolŋu foundations is the first temporary exhibition in the Chau Chak Wing Museum’s large Ian Potter Gallery. For Yolŋu people, paintings and sculptures embody their spiritual, philosophical and legal foundations.

Representing more than 20 Yolŋu clan groups and 100 artists, the exhibition was produced in collaboration with the Yolŋu communities of Milingimbi, Ramingining and Yirrkala. Included are paintings dated to the late 1920s, alongside contemporary artworks and work from throughout the last century.

24 July—3 October Liveable Art: Stories of Done Art and Design Ken Done Opening 24 July, 2pm–4pm.

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, Thurs until 9pm, Weekends 12noon–4pm.

See our website for latest information.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm.

Sarah Goffman, Black and White, 2021.

From 10 July Sarah Goffman: Applied Arts Gina Sinozich, We Need Peace Now, 2003. Courtesy of the Estate of the Late Gina Sinozich and Casula Powerhouse Arts Centre.

Until 18 July GINA Gina Sinozich

An immersive deep dive into the interdisciplinary art practice of Sarah Goffman and is Contemporary Art Project #2 in the Chau Chak Wing Museum’s Penelope Gallery. Intricate and playful, Goffman transforms recycled material, mostly plastic, into artworks that reference larger histories such as the orientalist

Peta Minnici, One Green Bottle, oil on linen, 66 x 60 cm.

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Sue MacLeod-Beere Stranger at the Door 15 – 31 July 2021

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com Sue MacLeod-Beere, Stranger at the Door, 2020, oil on canvas, 135 x 110 cm. Winner Sept 2020 CommunARTy Prize, Hunters Hill.

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NEW S OUTH WALES Chalk Horse continued...

15 July—7 August Marking Time Peta Minnici

The exhibition encompasses a broad range of approaches and expressive forms, including ceramics, collection of works, documented forms, drawing, graphic design, painting, photomedia, printmaking, sculpture, textiles and fibre, and time-based forms. The elegant and highly resolved bodies of work in the exhibition demonstrate a creativity, resilience and sustained investigation of the very complex world and times in which we live.

Until 24 July Operation Art Exhibited in the Cowra Library

Image courtesy of Danny Morse.

15 July—7 August Can’t Tip the Butcher Back Danny Morse

Cowra Regional Art Gallery

Coinciding with ARTEXPRESS the Gallery is presenting Operation Art the premier state wide visual arts exhibition for students from kindergarten to year 10.

It is a unique contemporary children’s exhibition which encourages students to create artworks for children in hospital.

Operation Art focuses on creating a pos-

www.cowraartgallery.com.au

8 August— 26 September Weapons for the Soldier – Protecting Country, Culture and Family A project initiated by the young men of the Anangu Pitjantjatjara Yankunyjatjara (APY) Lands, Vincent Namatjira, Aaron Ken, Derek Thompson, Anwar Young and Kamurin Young, with support from senior artists Willy Kaika Burton, Ray Ken, Peter Mungkuri, Mumu Mike Williams and Frank Young. It is a subject that senior APY artist Ray Ken has explored in his paintings throughout his career and with his permission and encouragement, along with the support of other senior men who often paint weapons and stories of conflict, these younger men explored what it means to be a soldier today and to fight in order to protect your land and all it entails. A touring exhibition by Hazelhurst Arts Centre.

The Cross Art Projects

77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm.

Admission Free.

See our website for latest information.

www.crossart.com.au 8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 Thur to Sat 11am–6pm.

See our website for latest information.

Until 1 August ARTEXPRESS 2021 A selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in 2020—a challenging year—and provides insight into students’ creativity and the issues important to them.

itive environment to aid the healing and recovery process of young patients.

Tony Albert and Vincent Namatjira, Australia’s Most Wanted Armed with a Paintbrush, 2018, archival pigment print on paper, 100 x 100 cm.

The Cross Art Projects foregrounds contemporary work and curatorial projects that reflect the multiple relationships between art and life, art and the public sphere, and explores the boundaries of this context.

Cowra Regional Art Gallery → Marek Herburt, Floodwaters of Murray River, 2021, acrylic on board.

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Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey.

Wed to Sat 11am–5pm.

Defiance Gallery represents a varied and innovative stable of artists ranging from established Australian and international painters and sculptors to talented newcomers in these fields. Defiance also represents the estates of several of Australia’s most influential artists including those of Alun Leach-Jones, Ian McKay and Roy Jackson.

Tim Woodward, SPM (Pretzels), 2020, polyester acoustic panel, aluminium composite panel, stainless steel business card holders, pretzels, 62 x 25 x 4 cm.

19 June—17 July Z Tim Woodward Peter Godwin, Harp / Boite a Bijoux, 2021, tempera emulsion on hemp on board, 65.5 x 49.5 cm.

19 June—17 July Ceramics Alan Constable

23 June—11 July Interlude Peter Godwin

Robbie Rowlands, Reparation (Sectional cut - Toolbox), 2021, steel, 38 x 10 x 10 cm.

Rowlands’ work explores notions of stability and vulnerability through the manipulation of objects and environments. His repetitious and precise cuts and the resulting distortions reflect the inescapable passing of time that affects everything around us. Rowlands’ works have been described as spotlighting the history, humanity and function of his subjects.

6x6x6 inch Miniature Sculpture Show 2021.

21 July—12 August 6 x 6 x 6 inch Miniature Sculpture Show 2021 Opening Sunday 18 July, 11am–2pm.

Robyn Stacey, Just Light, 2021, photographic print on metallic paper, 90 x 90 cm.

23 June—11 July Selected Sculptures Paul Hopmeier.

24 July—28 August Just Light Robyn Stacey

18 August—9 September Tony Slater Opening Sunday 15 August, 11am–2pm.

Eden and the Willow www.edenandthewillow.com.au

Darren Knight Gallery 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.

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16 King Street Newtown NSW 2042 [Map 9] 0431 231 981 Tue and Thu 12pm—7pm, Wed and Fri 12pm—6pm, Sat 12pm—6pm.

See our website for latest information.

13 July—7 August There is no way around just through Robbie Rowlands

Ivan Buljan, My Wilderness 7, 2020/21, archival digital print on Crane Museo Silver rag, 100 x 80 cm.

10 August—4 September My Wilderness Ivan Buljan There is a particular type of silence that lifts a veil from our perception, and something else brusts in like phosphorescence from the dark sea. That silence blurs the boundaries and what once appeared random now becomes specific. Eternity becomes a tangible duration, and the fragment is not afraid to claim its own wholeness.

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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.

24 June—5July Walking with Intent Molly Wagner Postcards from the edges Josephine Duffy (project curator, artist) and 20 contributing artists from Ireland and Australia.

8 July—19 July It’s Not Just A Hobby

19 August—30 August Good Grief: Contemporary Mourning Rebecca Kilpatrick

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 Wed to Sat 11 am–5 pm, Sun 1pm–5pm or by appointment.

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 & Sun 10am–2pm. Closed public holidays.

Fully wheelchair accessible.

Street parking and easy public transport access.

See our website for latest information.

30 June—25 July Moon on Water Jess Bradford

Gaffa curated group show.

8 July—19 July Small Town Boy Liz Bradshaw

Joy Smith, My Toolset.

3 July—1 August Still Life in the Old Girl Yet Joy Smith

Andrew Ensor, Your Carriage Awaits, 2020–2021, pen and acrylic, 52 x 39 cm.

8 July—19 July Happily Ever Afterthoughts Andrew Ensor

Emily Galicek, Hermes 4, 2021, acrylic on canvas, 76 x 62 cm.

22 July—2 August The So Called Almighty Dollar Penny Hazelberg

30 June—25 July Chaotic Good Emily Galicek

Joy Smith’s handwoven tapestries are observations of life around her, whether they be fun, playful, or serious. The medium of tapestry is incredibly tactile and inviting, made all the more so through Smith’s bold use of colour and design. The exhibition is fun and cheeky (as her title may suggest) with all her artworks guaranteed to bring a smile to your face.

28 July—29 August Winniper Evelyn Malgil

Catharine Neilson, River, 2016, pigment print on archival cotton rag paper, 90 x 60 cm.

Barbara Dawson, Epicormic I. 3 July—1 August ReCover Barbara Dawson

22 July—2 August matahari Catherine Neilson 22 July—2 August Glimpse Kate Smith 5 August—16 August Group Show St Andrew Cathedral School 5 August—16 August The Winter Show Lorraine Waugh and Steve Starr 19 August—30 August In Plein Light Gaffa curated Group Show.

Monica Renaud, I play dead IV, 2021, archival pigment inks on Hahnemühle German Etching 310 gsm, 80 x 64 cm.

28 July—29 August Group exhibition: Camille Gillyboeuf, Alex Karaconji, Monica Rani Rudhur, Monica Renaud. Curated by Felipe Olivares.

ReCover is a textile response to the bushfire damage and recovery of the area near Tianjara in the Shoalhaven. Through the alchemy of ecological contact printing with plants and slow, meditative stitching, the artist’s crossings over this landscape are traced and recalled. Dawson’s works are soft, mournful and meditative, but with the inviting texture of the textile elements, the works nonetheless leap off the wall and demand attention.

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Mimi Jaksic-Berger 38th Solo Opening 7th August 2021 Exhibition until 28th August

Family, oil on canvas, 84x62cm

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 flindersstreetgallery.com

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Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm, (except for the Guy Warren Survey, extended hours until 4.30pm).

Digital Dreaming: Decolonial Futures examines how stories of healing and decolonisation possibilities are told through digital platforms. Curated by Rachael Kiang in celebration of NAIDOC Week 2021. Proudly sponsored by Lane Cove Council.

28 July—14 August He Stole My Beautiful Raeleen Pfeiffer This powerful exhibition addresses the critical themes of domestic sexual violence and mental health through the personal lens of the artist. It features printmaking works and installations. Supported by NSW government’s quick start up grant and Eastern Riverina Arts.

28 July—14 August Regenerate A mixed media group show of positive affirmation, restoration and renewal by Gallery Lane Cove + Creative Studios’ community of resident artists, teachers and students.

16 August—21 August Express Yourself

Raeleen Pfeiffer, Wounded 2020, linocut, Edition 1 of 4. Image courtesy of the artist.

30 June—24 July Misconceptions Arts network Bellingen Collective.

Elisa Hall, Julie Hutchinson, Jackie Lee, Shelley O’Keefe, Philip Senior, Kathy Taylor.

Reflecting contemporary social issues and personal narratives, the exhibition provokes reflection on gender, identity and existence. At the heart of it we all share the human experience. Misconceptions brings together rural artists from the Arts network Bellingen Collective who sought to work outside of individual ‘silos’; the process of discussion, critique and encouragement was integral in the development of this exhibition. Featuring sculpture, graphics/drawing, digital works, mixed media and painting.

A Lane Cove Public School K-6 student exhibition. Organised by the school management.

27 August—11 September Lane Cove Art Awards The annual Lane Cove Art awards exhibition featuring works across various mediums, administered by Lane Cove Art Society and supported by Lane Cove Council. A Lane Cove Council event.

Turning the spotlight on media arts practice of Aboriginal women artists,

Presenting as an historical anecdote, educational values and the fact of the artistic verve of the individual stories, as well as the total overview of events of the time. The works portray a sense of futility, inhumanity, brutality and contradictions form the exploratory survey of Oxley, The subsequent displacement of the BIRPAI People, when establishing the Penal Colony, through to the first fleet settlers’ arrival from 1838. Glenn Dick’s own ancestors arriving via “William the Fourth” in April 1841.

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.

See our website for latest information.

8 May—11 July Distillations Emma Walker

30 June—24 July Digital Dreaming: Decolonial Futures Jenny Fraser, Maddison Gibbs, April Phillips

10 July—5 September Dreams, Nightmares And Reality

Glasshouse Port Macquarie

The Glasshouse offers a world of cultural experience, state-of-the-art technical facilities and flexible venues for performance, leisure and hire. Located in the heart of Port Macquarie, the Glasshouse is home to a theatre, regional gallery, studio, Visitor Information Centre, gift shop, conference and meeting facilities and heritage displays.

Jenny Fraser, RGB, still of 3 channel video. Image courtesy of the artist.

Glenn Dick, 1st Worship at St Thomas, 2005, arylic on canvas.

An exhibition developed as part of the Glasshouse Regional Gallery’s ‘artist in residence program’, Distillations is an exploration of mindfulness, process and healing. The exhibition also includes an immersive video work made in collaboration with digital media artist Grayson Cooke. Emma Walker is represented

by Arthouse Gallery, Sydney and Gallerysmith in Melbourne.

Anna-Wili Highfield, Studio shot, photographed by Peter Van Alphen.

17 July—3 October Mating Dance Anna-Wili Highfield An installation of courtship formations.

The sculptures are an homage to the Brolga - Australia’s principal dancing bird.

Suspended like marionettes, the birds are sewn from waxed cotton and have stopped mid-ballet. They gesture call, response and mimicry. Composer and Musician, Bree Van Ryke has created an accompanying sound work. Bree’s piece will intermittently shock the dancing birds, with music inspired by the Brolga’s bold honking. This sacred bird has forever inspired stories and dance from Australia’s First Nations people, who in shared spirit see and feel it.

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Hazelhurst Art Centre → Christopher Langton, Colonies, 2021, digital render.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au

expressive installations that balance the poetic and the political. For this, his first major solo in the region where he spent his younger years, Cross turns to

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.

This exhibition will examine the too common experience of rural and regional people who need to leave their homes, their Country, in search of opportunities not available to them. A semi-autobiographical exhibition Icarus, my Son will ruminate on ideas of home, ambition, cataclysm and loss. It will evoke every young Icarus still out there, delicately perched on ambitions ledge and ask—what do you want? And how far are you willing to go to get it?

Icarus, my Son will be iterated at Carriageworks 5 November 2021 - 30 January 2022. This project was initiated

by Goulburn Regional Art Gallery as part of The Good Initiative, a biennial $20,000 award to living artists. As exhibition partner, Carriageworks further invests in a major commission of new work from Dean Cross, the inaugural recipient of the award in 2020.

Dean Cross, Untitled (study for a personally significant future exhibition), 2020, digital collage.

2 July–28 August Icarus, my Son Dean Cross Cross was born and raised on Ngunnawal/ Ngambri County and is of Worimi descent.

He is a transdiscplinary artist, working across media to create powerful and 186

the ancient Greek tragedy of Icarus and Daedalus. The boy who falls after flying too high. A tragedy that has played out across the millennia in a myriad of ways. But what did Icarus leave behind, or perhaps more importantly, who.

Emma Rani Hodges, I wasn’t ever a good listener. I’m trapped in my mind and my body builds stone walls around itself, 2020, fabric offcuts, wool, cicada shells, acrylic paint, plastic, burned tree branch from the 2020 climate fires, dimensions variable. Image by Lachlan Richardson.

2 July—28 August I would kiss you on the cheek if you listened to me. I’m tired of pleading with you.

Emma Rani Hodges Hodges presents a new body of work focussing on plural identities and feelings of cultural rootlessness. Having grown

NEW S OUTH WALES up between cultures, Hodges lives in the skin of a Thai-Chinese migrant and grew up on unceded Ngunnawal, Ngunawal and Ngambri land. Land and country are important here; coming from a diasporic identity, there is a strong desire to find spaces that sit on the margins of white development.

Hodges’ work constructs fictive spaces combining found natural objects, such as banksia cones and cicada shells; manufactured objects such as fabric sent by their grandmother in Thailand (who was once a dress maker); poetic prose and traditional paintings. Their work responds to fear of ambiguity—Zarine Rocha theorises that mixed heritage people are historically pathologised by western culture as being caught between two worlds, destined to never belong in either. By creating work that relies on multiple modes of making, Hodges carves out space for plural identity to exist as a unified whole.

Grace Cossington Smith Gallery www.gcsgallery.com.au 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.

26 June—31 July (re)arrangements Louise Allerton, Laura Badertscher, Sarah Edmondson, Ian Greig, Blake Griffiths, Kirtika Kain, Heidi Melamed, Rebecca Shanahan, Stuart Smith and Tom Yousif.

Artists rearrange, repurpose, reuse, recycle and reinterpret photographic imagery, freely adapting material/mediums available from a myriad of sources.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Visit our website for more information to plan your visit including opening hours.

Areez Katki, Through the keyhole, 2021, cotton thread hand embroidery on muslin handkerchief.

14 May—4 July A link, a loop, a circle Curated by Talia Smith A link, a loop, a circle is a group exhibition that brings together contemporary artists from Australia and New Zealand to explore the ways in which the medium of textiles is woven throughout their varying practices. Each artist uses textiles to share their own point of view on the world and how we connect and interact with each other, community, culture and history.

Caroline Rothwell, Blue Cabinet, 2019, canvas, hydrostone, aluminium, steel, paint, epoxy glass, 175 x 102 x 5 cm. Photo: Luis Power. invited to explore the Hazelhurst gardens and create their own hybrid ‘morphed’ plants as part of Rothwell’s Infinite Herbarium digital program created in collaboration with Google Creative Lab and currently showing at The National, MCA and Royal Botanic Gardens.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG

Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm.

Free admission.

See our website for latest information.

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.

26 June—5 September Colonies Christopher Langton This larger than life, immersive sci-fi installation continues Langton’s ongoing series which explores ideas of space colonisation and organisms such as bacteria while considering issues around our shared ecology. Visitors will have the opportunity to interact with the works using an augmented reality app on their phones.

Sarah Edmondson, Sorry for the Disruption, 2020, wool, nylon, reflective fabric and faux fur on canvas, 105 x 102 cm.

Courtesy of the artist.

4 August—18 August Plein Air Euan Macleod, presented by Abbotsleigh Young Curators with 3:33 Art Projects.

26 June—5 September Horizon Caroline Rothwell: In this new installation Rothwell explores the intersection of art and science through a tableau of surreal sculptures and video works that invite viewers to consider our relationship with the natural environment. Visitors to the gallery will be

The Australian women’s track relay team with their gold medals at the 1956 Olympic Games in Melbourne. From left: Fleur Mellor, Norma Croker, Betty Cuthbert and Shirley Strickland. NAA: A1200, L45369.

8 May—18 July Striving for gold: Olympians of St George In the lead up to the Tokyo Summer Olympic Games, Striving for gold portrays Olympians of the St George area. Their stories and memorabilia provide a 187

(re)arrangements 26 June to 31 July 2021

(re)arrangements brings together the work of 10 artists with transformative approaches to a diverse range of media and subject matter. By fragmenting and transforming existing artworks, objects and found images, the works in (re)arrangements enable new ideas and forms to take shape.

Artists: Louise Allerton, Laura Badertscher, Sarah Edmondson, Ian Greig, Blake Griffiths, Kirtika Kain, Heidi Melamed, Rebecca Shanahan, Stuart Smith, Tom Yousif.

Coordinated by Stuart Smith The artists will be present on Saturday 26 June, 2-4 pm RSVP gcsgallery@abbotsleigh.nsw.edu.au Ian Greig In An Unguarded Moment, 2019, oil on canvas, 166 x 112 cm Courtesy the artist and Arthouse Gallery

Gallery hours Tues to Sat, 10 am - 5 pm Gate 7, 1666 Pacific Highway, Wahroonga | 02 9473 7878 | www.gcsgallery.com.au An Anglican Pre K–12 Day and Boarding School for Girls

gcsgallery.com.au

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NEW S OUTH WALES Hurtsville Museum continued...

Mandy Burgess, Michelle Le Dain, Sarah Fitzgerald, Nicola McClelland, Ro Murray and Lisa Pang.

personal insight into past Olympic Games, reflecting on social and sporting history from the early 1900s to present day.

Responding directly to the Incinerator’s architecture as a site of diverse legacies, Architecture and Beyond playfully explores Marion Mahony’s and Walter Burley Griffin’s enduring impact through the discourse of contemporary visual arts. An exhibition of installation, assemblage, printmaking and sculpture, these artists explore perceptions of interior and exterior spaces within the Incinerator and other Griffin-designed sites. Through their different mediums, the artists focus on the Griffins’ influence in relation to the issues and challenges of the 21st century.

Annelies Jahn and Jane Burton Taylor, Waratah (Telopea speciosissima), 2021, digital print of direct floral scan.

Golden headgear for an Emperor (c. 1970s-80s), Opera performance headpiece, fabric, metal, plastic, and faux jewellery. Private collection, Sydney.

Photograph: silversalt.

24 July—13 October Our Journeys | Our Stories Uncovering the identity and stories of people and place, Our Journeys | Our Stories explores the Chinese migration history of the Georges River area. Interweaving social and cultural history with the work of contemporary Chinese-Australian artists Cindy Yuen-Zhe Chen, Guo Jian, Lindy Lee, Xiao Lu, Jason Phu, and Guan Wei, the exhibition aims to highlight and celebrate the significance of local Chinese migration from the 19th century through to the 2000s and the ongoing contribution of the Chinese community to the Georges River area.

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.

16 June—4 July Hold Everything Dear More Than Ever Michelle Belgiorno, Deborah Burdett, Mandy Burgess, Michelle Connolly, Renuka Fernando, Tilly Lees, Jo Meisner and Ro Murray.

Themes of grief, restoration and memory are explored through different mediums, including installation, printmaking, assemblage and mixed media.

7 July—25 July Tethered Annelies Jahn and Jane Burton Taylor.

Tethered investigates the natural world within a legacy of colonisation. The two collaborating artists explore harbour front parks within the Willoughby precinct, making artworks in response to the layered history revealed within these near-pristine stretches of bush. They aim to sensitise themselves and others to the Indigenous landscape present within the urbanised city, celebrating the natural legacy we have inherited and our inevitable inter-dependence with it. The artists use contemporary mediums to create a sensorial installation, including sound work and projection.

The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 The Japan Foundation, Sydney is the Australian arm of The Japan Foundation, a non-profit cultural organisation which was established by the Japanese government to promote cultural and intellectual exchange between Japan and other nations.

Elaine Witton, Looking Upwards, 2020, original photo ornamented with stitch.

28 July—15 August Interlude The Australian Textile Arts and Surface Design Association (ATASDA).

ATASDA artists explore the concept of ‘interlude’ using unconventional materials, coupled with traditional textile techniques, to take the visitor on a journey.

This could be a journey where reverie is displayed as a ‘respite’ from day-to-day activities; ‘leaving something unfinished’ in order to attend to other matters; or a ‘pause’ for thought, for a time out. The ATASDA artists use techniques such as dyeing, felting, weaving, machine embroidery, surface embellishment, fibre manipulation, knitting, hand embroidery and printing in their creative processes.

18 August—5 September Architecture and Beyond

Kiki Ando, Kimono pink incense packet, 2021. Photograph: Rafaela Pandolfini, Assistant Toshiki Tanaka.

9 July—25 September Kiki Ando: Highest Mountain and Deepest Bay Highest mountain and deepest bay is a new solo exhibition by multidisciplinary artist Kiki Ando, incorporating animation, live performance, repurposed wearable materials and ceramics. The installation evokes the artist’s desire to affirm one’s own value and love by creating a space of ceremony to honour—connecting Ando’s upbringing in Japan with her art career in Australia and all of the places in between.

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The Ken Done Gallery

The Lock-Up

www.kendone.com

www.thelockup.org.au

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

Amanda Penrose Hart, Whiteness of clouds, 2021 oil on linen, 120 x 180 cm.

6 July—31 July The long view Amanda Penrose Hart

90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm.

See our website for latest information.

3 August—28 August New work Paul Selwood

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

See our website for latest information.

Ken Done, Pink Tuesday, 2021, oil on linen, 152 x 122 cm.

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.

26 May—4 August New Works Ken Done

Justine Emard, Experimenta Life Forms, Soul Shift, 2018, video still. Image courtesy of the artist.

10 July—22 August Experimenta Life Forms Curators: Jonathan Parsons and Lubi Thomas. Associate Curator: Jessica Clark.

28 August—19 September Scar Craig Bary, Jesse Murray, Kyle Romboyong, Mikayla Nangle, Alexandra Ford, Sophia Van Gent, Paige Carr. Produced by Cadi McCarthy and Ashley de Prazer.

Macquarie University Art Gallery

King Street Gallery on William

www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

See our website for latest information.

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.

KAAF Art Prize 2019 Winner, Julie Harris, The Churning, acrylic and marble dust on canvas, 150 x 137 cm.

16 July—27 August Korea-Australia Arts Foundation Art Prize 2021

Idris Murphy, Wetlands, 2020, acrylic and collage on aluminium, 151 x 141 cm.

8 June—3 July The Abundance Idris Murphy

The Korea-Australia Arts Foundation (KAAF) Art Prize returns for its 8th year in 2021. Hosted by the KAAF and supported by the Korean Cultural Centre (KCC), the annual art prize aims to foster multiculturalism and artist exchanges by bringing artists together from diverse ethnicities, from all over the nation. The finalists’ exhibition will be held at the KCC Gallery from 16 July to 27 August, 2021. Art critic John McDonald, Senior Lecturer Oliver Smith at the SCA and Prof. Inae Kim of Seoul National University (by proxy) will be the judges, and the 2021 prize money totals $24,000.

Safdar Ahmed, Panels That Transform, 2021.

1 July—20 August Panels that Transform Safdar Ahmed, Nicky Minus and Sam Wallman. Curators: Justine Lloyd and Can Yalcinkaya.

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GEORGES GEORGES RIVER RIVER ART ART PRIZE PRIZE

Entries open 5 July 2021 www.georgesriver.nsw.gov.au/GRAP georgesriver.nsw.gov.au/GRAP

The Lock-Up

90 Hunter street, Newcastle NSW

10 July - 22 August 2021

Daniel Boyd, Michael Candy, Brad Darkson, Donna Davis, Justine Emard, Anton Hasell, Floris Kaayk, Thomas Marcusson, Uyen Nguyen, Max Piantoni & Matthew Riley, Helen Pynor, Dominic Redfern, Theresa Schubert, Rebecca Selleck, Agat Sharma, Miranda Smitheram, PluginHUMAN, The Tissue Culture & Art Project, mOwson&M0wson, Laura Woodward, Kite & Devin Ronneberg.

www.experimenta.org/lifeforms 'Soul Shift’ (2018) by Justine Emard. Video still.

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Comics and graphic novels with activist agendas are often creative non-fiction texts which aim to inform and educate the public on issues of social justice in engaging and entertaining ways. The exhibition Panels that Transform will feature old and new original works by three Australian artists/activists—Safdar Ahmed, Sam Wallman and Nicky Minus, who are internationally recognised through their graphic narratives on issues that demand our attention such as the experiences of refugees and asylum seekers, gender equality, climate justice and the trade union movement. Having been published in The New York Times, The Guardian, SBS, ABC, Overland, and the Lifted Brow, as well as in limited edition zines, brochures and pamphlets, their works capture the vibrancy and vitality of activist causes and invite their readers to take part in positive societal transformation.

The opening night (8 July Thursday, 5pm) will feature a mini zine fair and a live comics storytelling event organised in collaboration with Read to Me. During the course of the exhibition, there will be other satellite events, including a symposium on Arts, Media and Activism; a workshop Visualising Research; and a satellite exhibition at the Macquarie University Arts Precinct featuring political comics and cartoons from the archives of Macquarie University History Museum. Supported by Centre for Media History and the Faculty of Arts.

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.

8 June—8 August Shadow Boxer Karla Dickens, Blak Douglas, Richard Lewer, Michael Willson, Nigel Milsom, Keri Glastonbury, Fiona McMonagle, Bianca Elmir and David Matthews.

8 May—1 August Just Not Australian Various 5 June—29 August Impressions of a Journey: Landscapes Between Walcha and Paterson Paula Jenkins

Peter Sharp, Fowlers Gap (detail), 2015, acrylic on board, 30 x 40 cm. selected from Sharp’s practice over the past 30 years. These works reflect the artist’s travels around regional and remote Australia and have become part of his ‘toolkit’ for larger abstract works.

Photographs of the painted view in situ illuminate the artist’s process of capturing the essence of the landscapes with which he engages.

Justine Muller, River of Hope (detail), 2018, river clay footprints, sand and found objects sourced from the Barka around Wilcannia.

12 June—5 September Barka, The Forgotten River Badger Bates, Justine Muller and the Wilcannia community.

Manly Art Gallery & Museum www.magam.com.au

www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm.

See our website for latest information.

24 June—18 July Rise and fall in stillness Bronte Leighton-Dore

West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm.

Find us on Instagram @magamnsw See our website for latest information.

Susan Baran, Ubud Bali, 2020, photopolymer intaglio, 57 x 123 cm.

25 June—1 August To The Edges: 60 Years of Sydney Printmakers Sydney Printmakers is the longestrunning independent printmaking membership organisation in Australia. It continues to demonstrate its currency in the quality and diversity of the work its artists create, and in the collegiate way its members work to share ideas and resources, and to support each other.

As a group, it is thriving—and celebrates its 60 year milestone with this especially curated exhibition.

Hoda Afshar, Dog’s Breakfast (detail), 2011, archival inkjet print, 61 x 88.9 cm. courtesy of the artist.

Martin Browne Contemporary

25 June—1 August Accidental Tourist Peter Sharp Prominent Sydney artist Peter Sharp and MAG&M present 40 ‘plein air’ paintings

Sally Bourke, A dream, 2021, oil on linen, 104 x 94 cm.

24 June—18 July Of Gods and Monsters Sally Bourke

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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Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

11 June—29 August Love from Here Salote Tawale A new solo exhibition by Salote Tawale.

This video installation acts as a self-portrait and relates to her ongoing exploration into cultural identity in particular, the diaspora experience and the realities of being from a mixed heritage. Each element of the installation, from video work to cut-out paintings, explores the coalescence of her Fijian heritage with everyday life living in contemporary Australia.

12 March—4 October DIWIL Brook Andrew Murray Art Museum Albury (MAMA) is proud to present DIWIL, an immersive installation by Wiradjuri artist Brook Garru Andrew. The Wiradjuri word DIWIL translates to ‘collection’ and reflects on the artist’s relationship with history, country and objects. DIWIL brings together significant works from the past ten years set within the premiere of GARUU NGAAY NGINDUUGIRR, a major new installation commissioned by MAMA. 25 June—8 August The Stage Ken Raff Local artist and sculptor Ken Raff presents a psychologically charged series of tableaus that explore the stages of development and the reflect on the complexities of identity and being throughout one’s life.

1 July—7 January 2022 Tiny Gardens Jeff McCann

Seated Avalokiteśvara, Java, Indonesia, bronze and gold, 20 x 8.5 x 7.5 cm, c. 10th century. Photograph: Tim Connolly.

Commissioned especially for the museum’s five Wonder Cupboards, Tiny Gardens is a celebration of the artist’s childhood memories of time spent playing in the garden. Discovering ladybugs, running away from bees and chasing butterflies.

19 June—24 August Upacara: Ceremonial art from Southeast Asia Upacara is a captivating showcase of ceremonial art of Southeast Asia from the collection of Dr John Yu AC and the late Dr George Soutter AM. Featuring basketry, textiles, ceramics and objects in bronze, wood, terracotta and silver, this exhibition at once highlights the interconnected nature of art traditions across the region and the unparalleled virtuosity and stylistic variety of functional everyday and ritual objects. Collected by John Yu and George Soutter, this exhibition follows the Encounters with Bali (2014) which featured a spectacular selection of Indonesian textiles from the same collection.

and its many spectrums from aspirations and longing to joy and euphoria.

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au

Noriko Nakamura, Snake Lover, 2020, gouache on paper. Image courtesy of the artist.

16 July—7 November Choose Happiness

First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4pm.

Admission free.

See our website for latest information.

Curated by Serena Bentley, this show explores the fleeting nature of happiness and the expectation that we should be happy all the time—a pressure fuelled by the self-help movement in our current society.

Bringing together the works of 11 artists from Australia and Aotearoa/New Zealand, the show explores the realities of happiness Leyla Stevens, Their Sea is Always Hungry, installation detail, UTS Gallery, 2019.

Photograph: Zan Wimberley.

19 June—29 August Labour for Colour Leyla Stevens Labours for Colour is a new moving image installation by Australian-Balinese artist Leyla Stevens, engaging with narratives surrounding plant dyes in Indonesian textile production. Additionally, the exhibition weaves in a larger reflection on the diasporic condition of cultural artefacts, as they are moved around the world through collection practices.

Danie Mellor, A time of the world’s making (detail), 2019. Collection of the artist. © Danie Mellor.

15 May—18 July REAL WORLDS: Dobell Australian Drawing Biennial 2020 Brook Garru Andrew, DIWIL, MAMA installation view 2021. Image courtesy of the artist. Photograph: Jeremy Weihrauch.

Presenting the work of eight contemporary Australian artists who create extraordinary new worlds in drawings of great complexity and invention.

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KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Pink Tuesday, 2021, oil and acrylic on linen, 152 x 122cm

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With drawing as the principal medium, the exhibited works evoke distinctive ways of seeing and making sense of the world. For some, it recreates a physical environment, grounded in a deep connection to place or Country. For others, it is an invention that springs forth from history, memory and the imagination.

The exhibiting artists are Martin Bell (Victoria), Matt Coyle (Tasmania), Nathan Hawkes (NSW), Danie Mellor (NSW), Peter Mungkuri (South Australia), Becc Ország (Victoria), Jack Stahel (NSW) and Helen Wright (Tasmania).

This exhibition is supported by the Sir William Dobell Art Foundation.

An ongoing program of showcase exhibitions at MAC for local artists.

26 February—4 September 2022 MCA Collection: Perspectives on place

In this exhibition our natural world comes alive as science meets art.

From bees to banksia, natural history illustrators explore the minutia of life through a variety of media. All works are available for sale.

Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, DavidMalangi (Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, JustinTrendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Cardoso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, MinnieManarrdjala, Nicholas Mangan, Peter Maloney, RaquelOrmella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith and Yukultji Napangati.

Museum of Contemporary Art Australia 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.

4 June—29 August Richard Bell: You Can Go Now

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.

10 May—21 August Twofold From The Collections

Kate Just, Anonymous was a woman (detail), 2019–21, installation view, The National 2021: New Australian Art, Museum of Contemporary Art Australia, Sydney, yarn, timber, canvas, image courtesy and © the artist. Photograph: Anna Kučera.

Cathy Lane, Beautiful Bromeliad come march with me (detail), 2016. gouache, watercolour, collaged screen-printed papers (photo stencil). Courtesy of the artist.

18 May—5 September Art in Your Community: Natural History

26 March—22 August The National 2021: New Australian Art Lauren Berkowitz (VIC) Maree Clarke (VIC), Mehwish Iqbal (NSW), Kate Just (VIC), Deborah Kelly (NSW), Sancintya Mohini Simpson (QLD), Betty Kuntiwa Pumani (SA), Cameron Robbins (VIC), Caroline Rothwell (NSW), Sally Smart (VIC), Mulkun Wirrpanda (NT), John Wolseley (VIC) and Judith Wright (QLD).

The rule of odds in composition asserts that elements in odd numbers promotes balance and harmony. Our minds take the visual information, organising it into something that makes sense to us—something orderly, something familiar. Individual elements are perceived as a whole.

The symmetry of pairs, however, necessitates the use of alternative compositional techniques—a singular focal point, isolation, contrast. Drawn from the Collections held by the Muswellbrook Regional Arts Centre, Twofold celebrates the symmetry of pairs. Two here creates a dialogue, expresses a relationship. At times perfect symmetry has created a subconscious sense of tension where we are left with a space between. We are perhaps more alert and attuned to the composition than

Muswellbrook Regional Arts → Bob Jenyns, At the Risk of a Fine, 1976, mixed media, 22 x 23.5 x 11.5 cm (each). Max Watters Collection.

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J. Pollock Tribute to St. Peter

by Daniel Weber 76 x 56 cm (30 x 22 inch)

ESSE 2021

daniel weber

AN EXHIBITION OF ABSTRACT DECONSTRUCTIVISM The Wellington Gallery, Waterloo, Sydney

August 5th – 19th, 2021 Live stream: Preview August 5th panaxeapaintings.com

panaxeapaintings.com

NEW S OUTH WALES Muswellbrook Regional Arts Centre continued... we may otherwise be. Across the mediums of photography, painting, works on paper, sculpture and ceramics, Twofold reveals the balance and harmony that can be achieved by works of two.

5 July—21 August Mullins Conceptual Photography Prize 2021 Muswellbrook Regional Arts Centre has partnered with the Australian Photographic Society (APS) to present the Mullins Conceptual Photography Prize in 2021 and beyond.

The now Mullins Conceptual Photography Prize is a national $8,000 acquisitive prize that seeks to find Australia’s best conceptual photographic works. Entries to the prize must be a still work that has been substantially produced by photographic means, and it is open to analogue and digital photography, collage and mixed media.

The winning acquisitive work joins the Muswellbrook Shire Art Collection, and a collection of contemporary photographic works acquired through the Muswellbrook Photographic Prize (1987-2014).

5 July—21 August Into The Woods Hanna Kay In this site-specific installation, Kay draws the viewer into the forest, into an aesthetic of silence. The series, comprised of 21 compositions on Chinese rice paper, offers the viewer a pictorial journey that unfolds from lightness to darkness and back to light, underpinning the forest as a network of communication.

In some panels the presence of natural forces, such as dust, fog and mist, renders the forest into intimate ambiguity. In other instances, distinct parts of the landscape, such as mountains and grasses, provide a more discernible context. Although Kay draws on the immediate natural setting in which she lives, there is no attempt here to replicate a particular vista. Rather the painted fragments of forests depict personal remembered experiences in the landscape.

thriving community of artists. But in the Gundi Program where Indigenous inmates in custody come to do cultural strengthening, gain vocational skills and experience there is a hum of artistic activity.

The word gundi has a broad meaning for shelter which includes home, community and shelter. It is very fitting that the program is designed to shelter inmates by assisting them to strengthen their experience of culture, gain vocational skills and employment, and re-establish their lives once they leave gaol.

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.

Gundi: There’s No Place Like Home Healing Country, Finding Me showcases recent work produced as a result of the Gundi Program.

5 July—21 August Growth, Colour, Light, Life Surrounded By Nature Georgina Mason At the age of five Georgina recalls painting the New Zealand countryside of Hawkes Bay where she was raised and the compelling desire to be an artist. Now residing in the Upper Hunter Region, Georgina seeks to capture the light and colour of her immediate surrounds and everyday life across the mediums of acrylic, watercolour, pastel and print making.

Washes of watercolour dried between each layer and similar effects with acrylic create luminosity. Flecks or dabs of vivid and complimentary colours lying next to each other bring nature alive on the canvas. Georgina’s work is a celebration of life and the embodiment of an insatiable appetite for landscapes, flora and foliage.

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

John Olsen, Reflections on Goya’s dog III (detail), 2021, acrylic on Belgian linen, 150 x 140 cm. Collection of the artist and courtesy of Olsen Gallery.

11 June—7 August NAS Gallery: John Olsen: Goya’s Dog Goya’s Dog focuses on the introspective and darker elements of NAS alumnus John Olsen’s practice.

21 August—9 October NAS Gallery: Colin Lanceley A major exhibition of work by Sydney artist and NAS alumnus Colin Lanceley (1928-2015).

20 August—9 October The Drawing Gallery: Milpatjunanyi Showcasing works by artists from all seven APY art centres exploring the deeply held value of drawing underpinning Tjukurpa (ancestral beliefs) in Anangu culture.

N. Smith www.nsmithgallery.com

Desmond Freeman, Roma Compressa, pen and ink, 70 x 100 cm.

Tyrone Blair, Echidnas, 2021, acrylic on canvas, 40.5 x 50.5 cm.

5 July—21 August Gundi: There’s No Place Like Home Healing Country, Finding Me St Heliers Correctional Centre is located on the traditional lands of the Wanaruah and Kamilaroi people. It is not the first place you think you would find hosting a

6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Tue to Sat 10am–5pm, or by appointment.

8 July—17 July The Grand Tour Impressions in Ink Desmond Freeman 22 July—31 July New Paintings Laura Matthews 5 August—14 August The Proposition James Powditch

Kyra Mancktelow and Dylan Mooney.

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KILGOUR PRIZE 2021 14 August - 31 October 2021 One of Australia’s major art prizes, the KILGOUR PRIZE 2021 for figurative and portrait painting will award $50,000 for the most outstanding work of art as determined by a panel of three judges.

See on display the 30 finalist paintings and cast your vote in the People’s Choice Award of $5,000.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays

nag.org.au

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6 July—31 July Continuous / Unbroken Bonds Kyra Mancktelow and Dylan Mooney.

and society through arts practitioners from the 19th Century to the emergence of the contemporary art traditions of today. Developed in collaboration with highly-awarded artist and curator Brian Robinson; this exhibition brings together over 130 works of art drawn from Newcastle Art Gallery’s collection.

Alex Seton, Someone Else’s Problem, 2015, marble dust, epoxy resin, Tasmanian Oak, cable ties. Image courtesy of the artist and Sullivan+Strumpf.

Kai Wasikowski, The Subjunctive Mood #4,2021, inkjet print, 150 x 100 cm.

3 August—28 August The Subjunctive Mood Kai Wasikowski

Newcastle Art Gallery 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.

Michael Bell, Starting The after party (Two self-portraits), 2020, oil and charcoal on canvas, 127 x 165 cm. Gift of the Newcastle Art Gallery Society, 2020.

Newcastle Art Gallery collection.

Courtesy of the artist.

different notions of space— abstract or real, physical, psychological, political and social—to spark the viewer’s curiosity.

A touring exhibition from Museums & Galleries Queensland.

14 August—31 October KILGOUR PRIZE 2021

20 August—10 October EMANATE: Graduates from the National Art School 2020

Since 2006, Newcastle Art Gallery’s KILGOUR PRIZE has encouraged innovation within portrait and figurative painting.

One of Australia’s major art prizes, the KILGOUR PRIZE 2021 will award $50,000 for the most outstanding work of art, and a People’s Choice of $5,000 to the painting voted most popular by the general public.

The KILGOUR PRIZE 2021 will be judged by Lauretta Morton, Director Newcastle Art Gallery, Adam Porter, Head of Curatorial, Campbelltown Arts Centre and David Trout, Visual Artist, Head Teacher Fine Art, Newcastle Art School. Winner announced Friday 13 August.

EMANATE is a bi-annual exhibition at the New England Regional Art Museum showcasing the strongest graduates from the National Art School, Sydney. Exhibiting the exceptional talent of graduating students working across various creative disciplines, EMANATE reflects the attitudes and current stylistic and conceptional trends in Australian art.

New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

9 April—4 July War and Peace Harold Abbott, Richard Ashton, Ernest Buckmaster, A. Henry Fullwood, Sali Herman, Nora Heysen, George Lambert, Fred Leist, Arthur Murch, H. Septimus Power and Arthur Streeton.

Toby Cedar, Op Nor Beizam (Shark Mask) White, 2018 bamboo cane, twine, raffia, pearl shell, acrylic paint, feather object 80 x 56 x 31 cm. Les Renfrew Bequest 2019. Newcastle Art Gallery collection.

Courtesy of the artist.

29 May—22 August WARWAR: The Art of Torres Strait Group exhibition Landmark exhibition WARWAR: The Art of Torres Strait showcases the evolution and strength of Torres Strait Islander tradition

War and Peace highlights works in the collection by official war artists alongside an example of their war commissions, loaned from the Australian War Memorial.

9 July—3 October Safe Space contemporary sculpture Abdul-Rahman Abdullah, Alex Seton, Claire Healy & Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French. Featuring a diversity of sculptural materials, techniques and scale, Safe Space explores

Sarah Rhodes, Untitled V, n.d., photograph. Courtesy of the artist.

20 August—10 March A Particular Being Lumina Collective A Particular Being is Lumina Collective’s major exhibition showcasing new work exploring notions of grievability, memory and recognition in an unstable world.

Through their eight distinct lenses, Lumina reimagines diverse and discrete lives poised at times of personal and/or global unease. Each response is a reckoning, creating a pluralism of voices, which both question and acknowledge what it means to simply live and be in the world.

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From our Stockroom Works by: R Crooke, B Whiteley, M Olley, T Storrier, J Coburn, D Boyd, D Braund, J Olsen, G Proud, T Irving, R Harvey, M Winch, S West, M Woodward and many others.

Ray Austin Crooke (1922-2015), Ranger Normanton, oil on board, 21 x 30cm.

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 fmelasgallery.com.au

Moree Portrait Prize Call For Entries Grand Prize $5000 Entries Open Monday 27 September Entries Close Monday 1 November *Exhibition Runs 3 December to 12 February Ban k A rt M u s e um Mo r e e Open Monday–Friday 10am–5pm Saturday 10am–1pm 25 Frome St, Moree NSW 2400 www.bamm.org.au

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NEW S OUTH WALES

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.

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.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

Our focus is to introduce the forefront of International contemporary art to the Australian market, reflecting the cross-boarder collecting activity in today’s art market.

Mikala Dwyer, work in progress.

23 July—21 August Bird Mikala Dwyer

Sally Anderson, The Kongouro's Landscape With Washerwomans Beach, (collaboration with Guy Maestri), 2019, acrylic and oil on linen, 168 x 137 cm.

14 July—31 July Olsen Gallery: Sally Anderson

Cosimo Casoni, Dirty Ice Creams, 2020, mural paint, acrylic, spray paint, marker, skateboard marks, bitumen, dirt from the studio on canvas, 220 x 170 cm.

Courtesy PIERMARQ* and the artist.

17 June—4 July Aspettando Il Sole (Waiting for the Sun) Cosimo Casoni

Marley Dawson, installation view, ghosts, as part of Intersections: Marley Dawson, Phillips Collection, Washington DC (20 May–5 September, 2021).

23 July—21 August Marley Dawson

Rusten House Art Centre

Yaritji Young, 323-21 Tjala tjukurpa Honey ant story, 2021, acrylic on linen, 152.5 x 198 cm.

qprc.nsw.gov.au/Community/ Culture-and-Arts

14 July—31 July APY LANDS Yaritji Young and Mitakiki Women’s Collaborative 30 June—17 July Olsen Annexe: Gemerre And Purnululu, from the Estate of P. Thomas Boorljoonngali.

4 August—21 August Olsen Gallery: Jaccqui Stockdale 28 July—14 August Olsen Annexe: Elliot Routledge

Galina Munroe, Poppy, 2021, oil, enamel and collage on canvas, 54 x 47 cm.

Courtesy PIERMARQ* and the artist.

8 July—25 July Cannon Dill and Galina Munroe.

29 July—15 August Ces McCully 19 August—5 September Adam Lester

87 Collett Street, Queanbeyan NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–3pm.

See our website for latest information.

Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility.

Opening for the first time to the public as a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council.

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70th Anniversary Exhibition and 70th Anniversary Book Launch 14 July to 25 July A variety of Sculpture works by members of The Sculptors Society celebrating 70 years, and the presentation of a book of artists and their work.

Art Space on The Concourse 409 Victoria Avenue, Chatswood, NSW 2067 (next to Box Office) Opening times: Wednesday to Friday 11am – 5pm, Saturday and Sunday 11am – 4pm.

Opening Event: Saturday 17 July from 12noon – 4pm.

www.sculptorssociety.com

Larissa Smagarinsky, Moonlight Sonata, 2010, Bronze.

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Willoughby City Council is gratefully acknowledged for the provision of Art Space on The Concourse.

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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.

The exhibition, launching at the S.H. Ervin Gallery, highlights how war art can lead us to consider different ways of thinking about current and recent conflicts, and thus invites us to consider perspectives we might not otherwise encounter.

The exhibition will debut three major new bodies of work: recent official war art commissions by Susan Norrie (Iraq, 2016) and Megan Cope (Middle East, 2017) and a landmark commemorative work by Angelica Mesiti.

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm.

A contemporary art gallery and concept space in Sydney’s Paddington with a mission to support the work of established artists, whilst also providing a nurturing platform to champion fresh talent and present their ideas to the world.

Jodie Ohm Zutt, A Soldier Drawing, 2019, pastel on paper, 100 x 70 cm.

Fever Ward Gallery : 2 July—24 July 3% Mandy Ord, Jodie Ohm Zutt and Dennis Mortimer.

An exhibition by three artists working in a variety of media; Mandy Ord, Jodie Ohm Zutt and Dennis Mortimer who attended Canberra School of Art during the early 1990s. The exhibition title 3% refers to a statement made by the Art School director Dr David Williams from his welcome to 1st-year students’ speech. “…five years after graduating, only 3% of graduates will have an art practice and only 1% of the 3% will be living wholly off their art practice.”

7 July—18 July Day Trip Evi O and Andrew Grune Luke Cornish, Claudia & Tumble in the garden (Claudia Karvan, actor).

5 June—15 August Salon des Refusés: The alternative Archibald and Wynne Prize selection.

The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. Principal Sponsor: Holding Redlich.

Alex Xerri (left), Volcano de Lorean, acrylic on canvas, 36 x 46 cm. Casey Chen (right), Miltary Maneuvers, glazed stoneware and underglaze, 33 x 24 x 2 cm.

21 July—1 August Rock and Roll Nightclub Alex Xerri and Casey Chen

Todd Fuller, little star animation still 2, 2015, charcoal, chalk, ink and acrylic on paper 56 x 89 cm.

4 August– 28 August Dreams of another place Todd Fuller For 10 years, Sydney-based Todd Fuller has been crafting hand-drawn animations exploring themes of love, loss, place, community, and difference. These award winning works are narrative based and are derived from Fuller’s experiences with a range of communities, sites, and histories. Dreams of another place presents the story of ‘Little Star’, a dog who dreamed of going into space as well as other materials relating to Fuller’s animation practice.

Fiona Barret-Clark, Moon Rise, 103 x 103 cm (including frame), oil on plywood.

Megan Cope for F6.

21 August—10 October Art in Conflict

4 August—15 August Winding Down Fiona Barret-Clark

A new exhibition from the Australian War Memorial’s collection, featuring contemporary works by leading Australian artists.

18 August—29 August Heavy Harmony Saxon Quinn 205

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STATION www.stationgallery. com.au 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.

30 May—25 July Drawn from the Garden Julie Ryder, Sharon Peoples, Fiona Hiscock Three artists connect with their environment during lockdown creating unique nature-inspired textiles and ceramics.

Pamela Honeyfield, Siela, 2021, oil on canvas framed, 125 x 155 x 6 cm. Photograph: Pamela Honeyfield.

29 July—21 August Stream of Consciousness Pamela Honeyfield Little Bang Margaret Park and Yukiko Nonaka.

26 August—18 September Tata Reka Agus Wijaya

Natasha Johns-Messenger and Leslie Eastman, Pointform, installation view, 2004. Courtesy of the artists and STATION.

Sullivan+Strumpf

3 July—31 July LIGHTMATTER Natasha Johns-Messenger and Leslie Eastman 7 August—4 September Isadora Vaughan

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.

Sturt is a School of Excellence in Arts, Design and Fabrication. Situated 100km south of Sydney in the Southern Highlands, we offer a wide range of courses and workshops for both adults and school-age students at all skill levels. More than a place of exceptional learning, Sturt plays an important role in the cultural and historic makeup of the region – attracting over 30,000 visitors every year to its exhibitions, events, contemporary design retail space, café and gardens.

www.sullivanstrumpf.com Tony Amoneiro, Nattai River Landscape, 2020, drypoint in white ink with chine colle.

1 August—19 September Landscape with Rock Printmaker Tony Amoneiro pays homage to Fred Williams in an exhibition of prints and drawings of the Nattai River.

Stanley Street Gallery

10 June—3 July Yang Yongliang 10 June—3 July Jeremy Sharma 8 July—31 July Art Habits Michael Lindeman

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.

See our website for latest information.

Andriana Carney, lime green, 2021, spray paint and acrylic on found car bonnet, 160 x 145 cm.

Fiona Hiscock, Wattle Vessels.

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

1 July—24 July A very lovely show of artists whose practices share simmilaritiities pt. I Curated by Jackson Farley.

Lynda Draper, Midnight, 2021, ceramic and various glazes. Photograph: Brett East.

15 July—31 July Flowers of the night Lynda Draper 12 August—28 August Sam Jinks 207

APPLIED ARTS

Sarah Goffman Contemporary art project #2 Opening 10 July 2021

Admission is free

sydney.edu.au/museum sydney.edu.au/museum

NEW S OUTH WALES

Thienny Lee Gallery

Tweed Regional Gallery

www.thiennyleegallery.com

www.artgallery.tweed.nsw.gov.au

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Open by appointment only.

2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun 10am–5pm.

Paul Williams, Rite of Passage 1 , acrylic on paper, 59 x 42 cm.

Olive Cotton Award 2019 finalist, Karl Schwerdtfeger, Eileen, 2019, inkjet print.

Courtesy of the artist.

16 July—19 September 2021 Olive Cotton Award for Photographic Portraiture

Phillipa Butters, Into the Deep, acrylic on canvas, 101 x 101 cm.

July—August Stock Room Show including artworks by Tony Belobrajdic, Annie Bierzynski, Phillipa Butters, Barbara Goldin, Julie Johnstone, Ishbel Morag Miller, Leonie Robison, Catherine Stewart, Howard Arthur Tweedie, Paul Williams, Beverley Woollett, Claire Tozer etc.

If you’re searching to collect modern and contemporary art by promising emerging to acclaimed established artists, you’ve found the right spot. Visit our boutique gallery for contemporary art located in the heart of Sydney Eastern Suburb at Edgecliff. We hold engaging art exhibitions with exciting openings, giving visitors and collectors alike the opportunity to dialogue with our artists in our intimate space at ease. The gallery is designed to make the contemporary art space feel cosy and less intimidating for both new and veteran collectors. It is also a perfect place for browsing art without obligation and simply enjoying the art experience.

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

See our website for latest information.

Jacob Pedrana, Likewise, 2021, acrylic, oil stick, spray on canvas, 140 x 119 cm.

23 June—8 July My Last Rodeo Jacob Pedrana

The Olive Cotton Award is a $20,000 biennial national award for excellence in photographic portraiture in memory of photographer Olive Cotton. The exhibition is selected from entrants across Australia and is a significant opportunity for established and emerging photographers. The winning work is acquired for the Gallery’s collection. 2021 guest judge is photomedia artist Michael Cook. Announcement of winners on Saturday 17 July, 5pm–7pm.

16 July—19 September Artistic Endeavour Contemporary botanical artists’ response to the legacy of Banks, Solander aned Parkinson.

This exhibition marks the 250th anniversary of the HMB Endeavour’s voyage along the east coast of Australia.

Beauty & Awe Anne Mossman

Brad Robson, Charlie, 2021, oil on linen, 70 x 70cm.

19 August—8 September Demystified Brad Robson

An exhibition of ceramic vessels responding to artist’s immediate environment around her home in the Gold Coast hinterland.

UNSW Galleries

30 July—5 December Shared knowledge

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm.

Closed public holidays.

Showcasing the work of eight teaching artists from the Byron School of Art (BS`A) in Mullumbimby: four BS`A Directors—Michael Cusack, James Guppy, Emma Walker and Christine Willcocks – and four long-course teachers—Chris Bennie, Michelle Dawson, Travis Paterson and Kat Shapiro Wood.

www.unsw.to/galleries

7 May—31 July Capture Sam Smith 209

ar t g ui d e .c o m . au UNSW Galleries continued...

Velvet Buzzsaw Gallery

The first comprehensive survey of Australian artist and filmmaker Sam Smith, bringing together moving image projects from the past decade alongside a major new commission.

59 Keppel Street, Bathurst, NSW 2795 [Map 12] 0450 948 588 Mon to Sat 11am–5pm.

Closed Sundays and public holidays.

7 May—31 July The Return Kirsten Coelho New and recent works from ceramicist Kirsten Coelho inspired by Grecian and Roman artefacts and architectural remnants.

Wagga Wagga Art Gallery www.waggaartgallery.com.au 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.

Bioregional Bodies Kyoko Hashimoto Contemporary jeweller Kyoko Hashimoto presents new and recent works made from sandstone, oyster shells and coal sourced from the Sydney Basin bioregion.

Sally Coppard, Deep Sea Singularity, oil on canvas (blue with fish eye in the center).

19 June—30 July Retrospective Sally Coppard

Liam Benson, Coat of Arms, 2009. Image: Steven Cook.

17 July—5 September Made/Worn: Australian Contemporary Jewellery Jewellery is an act of art, craft and design that also lives and breathes on the bodies of those who wear it. This ADC On Tour exhibition, curated by Australian Design Centre, includes the work of 22 artists working in contemporary jewellery in Australia today.

17 July—3 October The Nun in the Night Gown Amanda Bromfield

Fernando do Campo, 365 Daily Bird Lists (January 3rd 2019 – January 2nd 2020), 2019–ongoing, acrylic, pencil and glitter on board, dimensions variable. Image courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney.

Northern NSW based artist Amanda Bromfield marks the 100th anniversary of the curious story of young nun, Brigid Partridge (Sister Mary Ligouri), who in 1920 ran away from Mount Erin Convent, Wagga. This simple act became a national scandal in a game of religious politics that played out all the way to the NSW Supreme Court in 1921. Installation incorporates ceramics, found objects and video performance.

7 May—31 July To companion a companion Fernando do Campo New paintings, video and performance lecture that propose the human as the companion species to birds.

Shea Peterson, Self Portrait, acrylic on paper (face/mask).

6 August—17 Sept Current Affronts Shea Peterson

17 July—19 September Murrumbidgee Mark Dober Murrumbidgee features wall-sized paintings on paper created on the banks of the

UNSW Galleries → Kirsten Coelho, Ithaca, 2020, porcelain, satin white glaze; dimensions variable. Image courtesy of the artist, Philip Bacon Galleries, Brisbane and Sullivan+Strumpf, Sydney. Photograph: Grant Hancock.

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NEW S OUTH WALES Murrumbidgee River at Wagga Wagga.

Central Victorian artist Mark Dober views the organic relationship between looking and mark making as integrated expressions of a direct and tactile engagement with place. His process is a corporeal way of being with the motif—of ‘being there’. These are immersive works where landscape can be experienced as environment.

Gung/ create, make, do, love Kelly Koumalatsos A new exhibition by Wergaia and Wemba Wemba artist Kelly Koumalatsos.

The artist’s practice merges traditional Wemba Wemba and Wergaia possum skin cloak making with printmaking in powerful and visually stunning ways.

This exhibition includes a selection of works on paper, including three-dimensional Victorian-era garments delicately constructed from fur-printed tissue paper and portraits of the artist’s family and ancestors, symbolising cultural identity and protection.

Gallery continues to excite audiences through its diverse and dynamic calendar.

Located in the heart of Newcastle in the award winning re-purposed Northumberland House, designed by our esteemed University alumnus Andrew Donaldson, Watt Space remains a centre for contemporary ideas.

on improvisation and random emotional expression, yet in fact, Weber is pursuing free spirited expression and creativity, emphasising the straightforwardness, naivety and fantasy of his feelings and is very playful, resulting in wonderful paintings. see: panaxeapaintings.com .

Wellington Gallery

Wentworth Galleries

www.thewellingtongallery.com 2/24 Wellington Street, Waterloo, NSW 2017 [Map 9] 0488 079 667 Wed to Sat 10am–6pm, Sun 11am–4pm, Mon andTues by appointment.

See our website for latest information

www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm.

See our website for latest information.

Wentworth Galleries have been in the Sydney CBD connecting wonderful people with Australia’s best visual artists for more than 20 years.

Martin Place:

Megan Bottari, Post-Modern Tokenism III, 2007–2013. (detail), lost wax cast crystal.

17 July—5 December You can’t see White, if you won’t see Black Curated from the National Art Glass Collection, You can’t see White, if you won’t see Black seeks to comment in pure form on the coexistence and unity of opposites as well as duality in politics, spirituality and morality.

Daniel Weber, Par Lagerkvist’s Lost Book / The Lost Promise of Kriste.

31 July—5 December Windowless Worlds Centred on shards of shattered window glass collected from the streets of Beirut, Windowless Worlds draws upon resonant glass objects and poetry from Gaza, Cairo, Beirut, Damascus, Istanbul, and works from the National Art Glass collection, including compelling new acquisitions.

Broken glass is fragile, fast, loud and dangerous; but it can be salvaged, recycled and repurposed. It offers an unconventional lens to reflect on trauma, resilience, recovery, and accountability. Exhibition curated by Dr Sam Bowker in conjunction with Wagga Wagga Art Gallery.

Watt Space Gallery www.newcastle.edu.au/wattspace 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

The celebrated and longest running student gallery in Australia, Watt Space

Ken Strong, Where Peaceful Waters Glide, 2021, oil on canvas, 100 x 72 cm.

21 July—3 August The Australian Landscape

Daniel Weber, Fire Dragon Destroys NYC. 5 August—19 August ESSE: abstract deconstructivism Daniel Weber A solo exhibition of works by Daniel Weber.

His work, abstract deconstructivism, is the visual expression of the human narrative. Weber says, ‘We need to see outside the boundaries of convention, the current meme, to imagine unboundedness’. Weber’s life and experiences make his artworks display a multitude of approaches to expressions, whether it is the use of bold brushwork or the flow of colours. His works appear to be based

Rob Forlani, Dalliance Dance, 2020, mixed media on canvas, 102 x 102 cm.

12 August—22 August Contemporary Abstracts 211

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

Western Plains Cultural Centre

her research into her family history and recent paintings and sculptures created using fire and water. Curated by MCA Director, Elizabeth Ann Macgregor OBE.

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.

Ongoing Animal in Art: The Collection The only regional gallery in NSW to permanently display its collection, the WPCC collection focusses primarily on the animal. This is a rich vein of exploration for artists and the collection features a dazzling variety of mediums, styles and approaches to the subject. From oils to printmaking, installations to digital media, the WPCC’s collection features surprising and engaging works from some of Australia’s best artists.

29 May—18 July Behind The Lines: The Year in Political Cartoons 2020 A Dog’s Breakfast In a year that some have politely described as ‘a dog’s breakfast’, this year’s theme encompasses 2020’s mix of disruption and uncertainty. The term seems particularly fitting for something so unappealing – a year filled with mess, turmoil and failed attempts. From the bushfire summer to the pandemic and global economic woes, Australia’s political cartoonists have had plenty to work with. They have cast their eyes over the whole dog and pony show.

There’s the usual dog-eat-dog world of politics, with its top dogs, sly dogs and people thrown to the dogs. But they’ve also watched on as we’ve embraced panic buying, curves (on graphs and on ourselves) and experts in our midst (or at least at our press conferences). And masks. It’s been a year with plenty of masks.

In this year’s exhibition, visual cues from overlapping crises pepper the cartoons: Hawaiian shirts and burnt trees give way to masks and spiky balls. Fortunately, our cartoonists have also captured moments of goodness and humour amid the rolling drama. With luck, we can look back on 2020—a masked, sloppy mess of a year —and send it firmly back to the doghouse where it belongs. The 2020 Cartoonist of the Year is Cathy Wilcox, cartoonist for the Sydney Morning Herald and the Age. Behind the Lines is an annual onsite and travelling exhibition developed by the Museum of Australian Democracy at Old Parliament House. Curated by Holly Williams, The Curator’s Department.

31 July—7 November Building Community: Wallace & Mcgee, Walmac and the Construction of the West What do the R.A.A.F. Base, St Raphael’s Church in Cowra, St Mary’s School, Wellington, the Nyngan RSL Club, the Forbes Olympic Pool and the Amaroo Hotel have in common? A Dubbo-based company built them all.

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

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

Unknown photographer, Believed to be Phil McGee in front of Wallace & McGee’s shed in Wingewarra Street, c1930s, gelatin silver print, Local Studies collection, Dubbo Regional Council.

When Robert ‘Bob’ Wallace and Phillip ‘Phil’ McGee joined forces as builders and contractors in Dubbo in 1922, little did they know that their company would play such a huge role in the development of the cities and towns in western NSW. Wallace & McGee was a family business that grew to become a major construction firm under the subsidiary Walmac, while the Wallace & McGee Hardware store, ‘where quality and value are the twin pillars of business’ served the Dubbo community for many years. This exhibition will explore the history of the company as well as its impact on the establishment and consolidation of communities across the Western Region. Curated by Simone Taylor and Kent Buchanan.

Western Sydney University Art Galleries westernsydney.edu.au/aciac/ exhibitions2 Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216.

02 9685 9943 Mon to Fri 10am—3pm.

11 May—23 July The Lives Zhau Dalu 9 August—8 October Di Wu: from contemporary art to children’s illustration books

www.virtualtours.westernsydney.edu.au Margot Hardy Gallery, Western Sydney University (Bankstown Campus) Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 Mon to Fri 9am—5pm.

See our website for latest information.

5 June—9 July HOPE Butterfly Installation Created by 80 schools across New South Wales, a Nick Baldas Initiative.

Lindy Lee, Palace of Sunlight, 2017, flung bronze. Image courtesy of the artist and Sullivan+Strumpf, Sydney & Singapore.

22 May—1 August Lindy Lee: Moon in a Dew Drop Moon in a Dew Drop is an exhibition of the work of influential Australian Chinese artist Lindy Lee. Lee’s shimmering, meditative and thought-provoking works feature in this major national touring exhibition, which draws on her experience of living between two cultures.

Using a spectacular array of processes which include flinging molten bronze, burning paper and allowing the rain to transform surfaces, Lee 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, which explore the connections between humanity and nature.

This exhibition will introduce audiences to works from across the artist’s extensive career, from early photocopy artworks, to

www.whitlam.org/whats-on Margaret Whitlam Galleries, Female Orphan School , Western Sydney University (Parramatta Campus) First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116.

02 9685 9210 Wed to Thurs 10am—4pm.

See our website for latest information.

Paige Olivia Colgate, Suburban Wilderness, printmaking, Caroline Chisholm College.

NEW S OUTH WALES 5 July—17 September Art Express

Until 11 July Saxon Reynolds: Wunderkammer

Featuring the works of 38 visual arts students who created works in 2020 for the NSW South Wales Higher School Certificate.

An exhibition which embraces the traditional Victorian ‘Cabinet of Curiosities’, to explore the texture and beauty of discarded objects in their raw form and imbue them with new life and function, connecting disparate components to create contemporary relics.

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.

Judith Neilson founded the Gallery in 2009 to share her private collection of 21st-century Chinese contemporary art with the world.

Until 11 July Every Body A collection exhibition of narrative, mythological, historical and reflective depictions of the human body. Including works by Pat Brassington, Stephen Benwell, Sue Healy, Anita Johnson Larkin, Richard Larter, Garry Shead, Clare Thackway and Stephen Bird.

NOT, Deborah Porch, John Tonkin, Laurens Tan, Glenn Barkley, Ashley Eriksmoen, Barbara Campbell and curated by Madeleine Kelly.

Until 5 September Lore: IAVA In this exhibition curated by Virginia Settre, artists from the Illawarra Association for the Visual Arts (IAVA) take on the intangibility of lore by exploring perception, memory, knowledge and the lure of place. Works by Alannah Dreise, Angela Forrest, Deborah Redwood, Jennifer Jackson, Karen Hook, Kate Stehr, Penny Hulbert, Peter Hewitt, Sue Smalkowski, Virginia Settre.

24 July—10 October Flow: WAG Contemporary Watercolour Prize A $20,000 biennial acquisitive competition open to artists from around Australia.

The prize aims to encourage innovation and experimentation in watercolour painting, including works on paper in watercolour, acrylic, gouache, pen and ink, and watercolour mixed media.

Agnieszka Golda, Martin Johnson, Jo Law, Alchemy Great Basin Bristlecone PinePinus Longaeva) and brain coral (Diploria labyrinthiformis) after more than 5,000 years, 2021, ink and electronics on Ahimsa (peace) silk.

Yao Chung Han, DZDZ4,2015, electronics, lamps, 500 x 152 x 313 cm.

6 March—November Lumen From the blindingly brilliant to the dim and diffused, White Rabbit’s upcoming exhibition looks to the light to reveal the overlooked and intangible. With works by more than 25 artists from China and Taiwan, visitors will traverse harsh fluorescents, digital realities and literal cracks of lightning to uncover the invisible architecture that shapes our world.

22 May—15 August Alchemical Worlds: Agnieszka Golda, Martin Johnson And Jo Law Local Illawarra artists bring us in close proximity to bio-archivists of climate change: corals and trees through philosophies of alchemy and materials transformation. The works in this exhibition entangle textile art with creative technologies, and contemporary art with climate and materials sciences to offer a space for mindful and ecological awareness.

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 & Sun 12pm–4pm.

See our website for latest information.

Wollongong Art Gallery has an important collection of Australian, Aboriginal and Asian art. The permanent collection not only documents Illawarra regional histories and art practices, but also reflects developments and issues in art of local, national and international relevance.

Our diverse program includes exhibitions and activities that highlight the unique energy and creativity of the Illawarra region, as well as those derived from partner institutions around Australia and the world.

Louise Weaver, Golden Snipe, 2010, hand crocheted lambswool over taxidermied Australian Snipe, Australian red cedar, cotton perle crochet thread, cotton embroidery thread, felt and gold leaf, 26.5 x 22.5 x 16 cm. Les Renfrew Bequest 2010 Newcastle Art Gallery collection.

28 August—14 November Birds and Language Artists who explore the Language of birds. The works are speculative; they suggest a radically different approach to understanding and presenting the colours, forms, sounds and behaviours of birds and reimagining humanity’s relationship with non-human life. Featuring artists Eugene Carchesio, Fernando do Campo, Raquel Ormella, Jenny Watson, Louise Weaver, Joan Ross, Emily Floyd, 213

A–Z Exhibitions

JULY/AUGUST 2021

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

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

QUEENSLAND

Artspace Mackay → Yinarr Maramali, Weaving warrabah (short neck turtle), 2019, lomandra and water vine, 140 x 92 x 1 cm. Photo: Miranda Heckenberg.

21 May—7 July Iterate|Elaborate Leigh Schoenheimer

Art from the Margins Gallery and Studios

21 May—25 July Continuum Donna Maree Robinson and David Pyke.

www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm.

See our website for latest information.

28 May—18 July Tension(s) 2020 Tamworth Textile Triennial 30 July—17 October Focus on the Collection: Collaged

Liam Boswell, Baron, acrylic on canvas, 2021. life, examining memory and the ability to remember and imagine the future.

Artspace Mackay Anna Jacobson, Amnesia Findings 3, drawing laser cut on acrylic, 2021.

24 May—9 July Sweet Silent Thoughts An Emerging Artists exhibition offers an assemblage of art and words that explore memory and meaning, happiness and sadness, love and loss, comfort and pain.

Featuring the 2020 AFTM Queensland Outsider Art Awards Emerging Award recipients; Anna Jacobson, Liam Boswell, Sophie Callum, Rebecca King and Shirley Gibson, in collaboration with and curated

by John Waldron. Together they provide a path to talk and consider the importance of memory and how our memories shape who we are and our perception on

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 to Sun 10am–3pm. Free entry.

Mackay is a vibrant and culturally rich region that is home to a great many artists, art groups, designers and crafts practitioners. Artspace Mackay is a regional art gallery owned and operated by Mackay Regional Council and is an ideal entry point to the unique culture and creativity of this region.

Rosella Namok, Kaapay & Kuyan, 2002, colour screenprint, 76 x 54 cm. Mackay Regional Council Art Collection, gift of Geoff and Fran Barker through the Cultural Gifts Program 2006.

30 July—17 October Sandbeach People Rosella Namok and Fiona Omeenyo 30 July—31 October The Lichen Garden Tracey Robb 215

PAUL BONG Error of Parallax new etchings

30 July - 4 September 2021

www.fireworksgallery.com.au | 9/31 thompson st bowen hills brisbane | 07 3216 1250 | tues - sat

fireworksgallery.com.au

Caboolture Regional Art Gallery moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 Tue to Sat 10am–4pm.

See our website for latest information.

25 June—15 August NAIDOC 2021 – Culture Remembered; Revitalised; Reactive Celebrating First Nations and NAIDOC week, the exhibition honours the oldest continuing culture in the world with art, stories and dance. NAIDOC: Heal Country, heal our nation.

Emily Portmann, Aftercare Action One, 2021, archival ink jet, 100 x 120 cm. Finalist, Sunshine Coast Art Prize 2021. Image courtesy of the artist.

27 August—10 October Sunshine Coast Art Prize 2021

Jane Burton, Motherland #6, 2008. type C print on paper. Winner Moreton Bay Region Art Awards 2013, Moreton Bay Regional Council Art Collection.

26 June—11 September Her beauty and her terror

A diverse snapshot of contemporary 2D arts practice in Australia, with the winning work acquired into the Sunshine Coast Art Collection.

FireWorks Gallery www.fireworksgallery.com.au

The Australian landscape can instil fear and inspire awe - it is an ecosystem that is entirely its own. The picture of Australia evoked by Dorothea Mackellar’s prose in ‘My Country’ still rings true more than 100 years later. She is a land that is beautiful and terrifying, she can be harsh just as she is nurturing.

9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

For Her beauty and her terror contemporary artists explore the Australian landscape in its extremities, subtleties and forms to consider our connection to it. Exhibition developed by Moreton Bay Regional Council.

30 July—4 September Days Like This Yvonne Mills-Stanley

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed, Fri and Sat 12noon–5pm.

Jax Dillon, Introspection, 2020, detail, digitally edited drawing printed on archival paper, 29 x 29 cm.

1 July—31 Aug COVID Lockdown 2 Jax Dillon

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am –8pm.

18 June—24 July River Totem Revival Joanne Currie Nalingu and Ian Waldron

Caloundra Regional Gallery

Greg Weight, William Robinson, 1994, silver gelatin photograph, 69.7 x 89 cm, Collection, HOTA Gallery. Donated through the Australian Government’s Cultural Gifts Program by Patrick Corrigan AM 2004 © Greg Weight.

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. Closed public holidays.

31 July—3 October Lyrical Landscapes: The Art of William Robinson 12 November—27 February Contemporary Masters from New York City: Art from the Mugrabi Collection Andy Warhol, Jean-Michel Basquiat, Keith Haring, Richard Prince and Jeff Koons.

Michael Cook, Stickman (#2), 2010, inkjet on photo rag, edition AP 1/2, 40 x 100 cm.

Donated through the Australian Government’s Cultural Gifts Program 2016, Sunshine Coast Art Collection.

Paul Bong in his studio, 2021.

30 July—4 September Error of Parallax Paul Bong

8 May—10 October World Upside Down Lowana-Sky Davies and Alinta Krauth.

From 8 May Australia’s Playground: Australia’s Playground: Art on the Gold Coast William Robinson 217

inkmasters.cairns@hotmail.com www.inkmasterscairns.com inkmasterscairns.com

QUEENSLAND HOTA continued...

Nell, Let There Be Robe (detail), 2012, Zen robe, t-shirts, beads, badges, mannequin, socks, Converse All-Stars, guitar picks, paintbrushes, drumsticks, scissors, pencils, screwdrivers, chopsticks, variable dimensions. Collection, Gallery at HOTA. Gifted by the citizens of the Gold Coast to future generations 2017 © Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

From 8 May Hyper Aware: 21st Century Highlights from the Collection Tony Albert, Ben Quilty, Gordon Hookey, Emily Floyd, Mirdidingkingathi Juwarnda Sally Gabori, Nell and Alex Seton.

From 8 May Pride and Passion: Highlights from HOTA’s Collection Julia Rrap, Jenny Orchard, David Aspen, Tracey Moffatt and Gordon Bennett.

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.

installations full of aesthetic, cultural, and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Developed, and with a new co-commission, in partnership with Australian Centre for Contemporary Art, Melbourne.

11 June—28 July Onto your wall from outerspace Chris Maddox

Jan Murphy Gallery

World Environment Day posters

Doll park Yu Chao Du Unsilenced Kyra Mancktelow Elders’ choice: Highlights from the Logan Art Collection

www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

15 June—10 July Walawuru ngunytju kukaku ananyi (Mother eagles going hunting) Iluwanti Ken Grounding Leith Maguire 13 July—31 July A.J. Taylor 3 August—21 August Michael Muir 24 August—18 September Sylvia Kanytjupai Ken, Tjungkara Ken, Ken Sisters Collaborative

Logan Art Gallery www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm.

Angus Comyns, Girl with Marker, 2019, aerosol stencil on canvas.

30 July—4 September Down the road Deane Featonby 10th Stencil Art Prize Art as code: John Paul College

Metro Arts www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm.

See our website for latest information.

Yhonnie Scarce, The cultivation of whiteness, 2013, National Gallery of Australia, Canberra, purchased 2014. Courtesy of the artist and This is No Fantasy, Melbourne. Photo: Janelle Low.

3 July—24 July Wun-ga-li Ngurrambaa Winanga-li Debbie Taylor-Worley

17 July–18 September Missile Park Yhonnie Scarce

Gamilaraay-born artist Debbie Taylor-Worley presents a body of work in response to returning to the places of birth and childhood, and listening to the country speak.

Missile Park features a major new commission and draws upon existing works over the past fifteen years of Yhonnie Scarce’s practice.

Scarce is known for her sculptural installations which span architecturally-scaled public art projects to intimately-scaled assemblages replete with personal and cultural histories. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral

Kyra Mancktelow (Quandamooka, Mardigan, South Sea Islander), Born under a tree 1, 2020, ceramic, woven natural fibre, emu feathers and underglaze.

Photography credit: Andrew Willis.

3 July—24 July The Weatherman Callum McGrath Developed in response to the historic murders of gay men in Sydney during the late 1980s and early 1990s, The Weatherman is a new video work that eschews 219

ar t g ui d e .c o m . au 26 June—4 September Legacies Living On Mornington Island Arts Centre

Metro Arts continued...

26 June—4 September Bulurru Dagil-ndu ~ “The people are strong, the spirit is strong, the creator is strong” Djabugay Arts Centre.

De Gillett Cox, Mulga Mayhem, mixed media.

August Featured Artist – De Gillett Cox

Debbie Taylor-Worley, Canvas in Nundle Creek. systematic retelling of this history and instead draws on a vast archive of violence against queer people.

De’s recklessly sumptuous paintings offer an unfettered celebration of life.

Her paintings are full of colour, tropical light, motion and emotion, using a comprehensive range of media including acrylics, drawings, oils and inks.

Tommy Pau, Time, (detail), 2021, linocut on paper, 59.5 x 78.5 cm.

1 July—22 August Torres Strait Enlightenment ~ Coming of the Light 150th Anniversary Tommy Pau

Museum of Brisbane www.museumofbrisbane.com.au

Masaharu Satō, Calling (Japanese version), 2014. © Estate of Masaharu Satō.

Courtesy of Mihoko Ogaki, imura gallery and KEN NAKAHASHI Gallery.

Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm, Free entry.

See our website for latest information.

Tropical Punk Backpack. Image courtesy of Francoise Lane.

31 July—21 August Compassionate Grounds: Ten Years on in Tōhoku Curated by Emily Wakeling.

This exhibition of contemporary Japanese art observes 10 years on from the Great East Japan Earthquake and tsunami.

Japanese artists Lieko Shiga, Motoyuki Shitamichi, Masaharu Hasunuma, Kyun-chome, Masaharu Satō, Natsumi Satō and Haruka Komori, along with Japanese-Australian artists Chaco Katō and Mayu Kanamori, address and record the physical and social impacts of major loss on what could be described as ‘compassionate grounds’.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm.

July Featured Artist – Colley Whisson.

Colley Whisson is an internationally recognised artist, author, teacher and judge.

He strives to capture spontaneous loose impressions each time he paints, and is a master of painting light, in a contemporary impressionistic style.

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7 June—28 August Tropical Punk Backpack ~ Millichip Lane International Collaboration Francoise Lane

Noosa Regional Gallery www.noosaregionalgallery.com.au

City in the Sun, 2021. Museum of Brisbane.

Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm.

19 June—27 February 2022 City in the Sun Various artists

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.

Jennifer Halli, Antipodeans Sculpture, wood-fired sculptures. Image courtesy of the artist.

21 May—11 July Flame Path Alix Brodeur, Angus McDiarmid, Barry Tate, Gyan Wall, Heidi Kreitchet, Isaac

QUEENSLAND Patmore, Jackie Gasson, Jennifer Halli, Kim Jong Pil, Kim Se Wan, Merrie Tomkins, Moraig McKenna, Neil Hoffmann, Owen Rye, Rowley Drysdale, Sandy Lockwood, Shirobey Kobayashi, Stephen Roberts, Wesley Denic.

Sherington; Glen Skien; Jenna Lee; Jennifer Marchant; Jo Lankester; Jody Rallah; Keemon Williams; Kyra Mancktelow; Michelle Wild; Ruth Cho; Sebastian Di Mauro and Thomas Oliver.

6 August—3 September Hi Vis Fumes James Hornsby August 2021 sees the launch of Hi Vis Fumes, a solo exhibition of all new work by Brisbane based, multidisciplinary artist, James Hornsby. Each work originates from a photographic image using traditional studio techniques – however, due to a deliberate misuse of photo editing techniques, Hornsby disrupts and dismantles the photograph, producing a result that offers viewers a surreal interpretation of the original image.

Petalia Humphreys, Inhabit, 2021.

Courtesy of the artist.

16 July—5 September Inhabit Petalia Humphreys 16 July—5 September Peter Phillips

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.

With a knack for artistic experimentation through contemporary material translations, Hornsby’s work has been described as explosive, bold and hyper-real. Honouring previous bodies of work, this exhibition will see a refinement but also an expansion on the distinctive edge that Hornsby harnesses in his practice. Hi Vis Fumes will encompass a variety of elements, expand on series’ of acrylic prints but also be the launch pad for new vibrant and vivacious works on aluminium and steel.

18 June—31 July PIVOT II Across June and July, Onespace Gallery presents its second iteration of PIVOT—a group exhibition dedicated to the exploration of the ‘artist book’. PIVOT II sees a focus on the complexities surrounding where 2D works stops and 3D forms begin. Viewers will explore this oscillation across an array of practices and mediums as PIVOT aims to investigate this ‘hinge’, which shifts an artist’s work from an unencumbered public encounter, to a more intimate insight into their practice.

PIVOT II includes a stellar line-up of Australian artists including: Ana Paula Estrada; Annique Goldenberg; Bill Platz; Carol McGregor; Claudine Marzik; Daniel

The National Film and Sound Archive and Filmart Media.

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 & Sun 10am–1pm.

See our website for latest information.

Perc Tucker Regional Gallery is located within one of Townsville’s heritage buildings on the corner of Denham and Flinders Streets, in the city centre. The Gallery has a diverse program of local, national and international exhibitions.

A public program including floor talks, lectures and performances complement these exhibitions.

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.

Bill Platz, Blue Stage 1 & 2: Kinked Puppets (detail), 2021, drypoint prints (carbon fibre plate) on stained Hosho paper with body colour; wood, flocking, felt and thread, frame: 44 x 37 x 16 cm. Prints: 23 x 34 cm. Photo: Louis Lim. Courtesy of the artist and Onespace Gallery.

7 August—5 September The Dressmaker Costume Exhibition

Robert Preston, Morning Raga on Contemplating Pataya, 1978, gouache on Arches dessin paper, 36 x 33cm. Collection of City of Townsville.

18 June—22 August Robert Preston, Inner Visions: Observation, Abstraction and Imagination, 1955–2021

Joe Ruckli, Untitled, 2019.

19 June—1 August Lightning Without Flash A solo exhibition by Joe Ruckli .

Sarah Snook as Gertrude ‘Trudy’ Pratt.

Photographer: Ben King. Courtesy of FilmArt Media, NFSA.

Inner Visions: Observation, Abstraction and Imagination, 1955–2021 is the first career-spanning retrospective of Townsville-based artist Robert Preston, and the largest and most comprehensive selection of his work to date. The exhibition covers some 66 years of artistic practice and includes key works from every period of Preston’s vast oeuvre, including never-before exhibited student works, studies, commissions and commercial pieces, and the career-defining Communion to the Trees in its entirety, exhibited for the first time in two decades. This expansive exhibition is drawn from collections public and private, and features many works, journals and ephemera drawn from the artist’s own archives, offering new insights into one of North Queensland’s most beloved and influential artists. Curated by Jonathan McBurnie.

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Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

IDEN-DEFY brings together a collection of portraits by First Nation artists that engage in the discourse around individual and communal identity. Portraits of Australian Aboriginal and Torres Strait Islander people are inherently political, the act of identifying as such defies the last 200 years of forced assimilation and asserts the living continuum of blood lines of the Traditional Owners of our continent.

of Townsville Art Collection to include a range of visually dynamic works. a selection of which are presented here.

Graphic Tendencies includes works by Davida Allen, Garry Andrews, Vincent Bray, George Baldessin, Barbara Cheshire, John Firth-Smith, Christian Flynn, George Gittoes, Robert Jacks, Scott Redford, Margaret Wilson and many more. Curated by Jonathan McBurnie.

IDEN-DEFY explores the threads that connect us to our ancestors, to country, to history and to inherited responsibilities.

Together they represent the diverse community discourse around defining what modern indigenous identities are.

Queensland Art Gallery | Gallery of Modern Art

24 July—18 September Collective self

Jun Chen, Blue mountain, 2021, oil on canvas, 100 x 102 cm.

6 July—31 July Jun Chen 3 August—28 August Peter Churcher 3 August—28 August Peter Boggs

Collective self by the Reddy Arts Textile Group shares the individual identities of the collective. Each artist has prepared a set of textile pieces reflective of their personal style and individuality. In Collective self, artists explore their connections to the natural environment, their everyday lives and personal identity. Through individual and collaborative works, this exhibition is an unconventional portrait of the personalities of Reddy Textiles.

Exhibition developed by Moreton Bay Regional Council.

Pinnacles Gallery www.townsville.qld.gov.au

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 6941 Tue to Sat 10am–4pm.

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Fri 10am–5pm, Sat 10am–1pm.

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

William Yang, Australia, 1943 -, Ben Law. Arncliffe, 2016/2020, Inkjet print on Ilford Galerie smooth cotton rag. Image courtesy of the artist © William Yang.

27 March—22 August Queensland Art Gallery (QAG): Seeing and Being Seen William Yang 12 June—17 October Gallery of Modern Art (GOMA): European Masterpieces: From The Metropolitan Museum of Art, New York

QUT Art Museum and William Robinson Gallery artmuseum.qut.edu.au wrgallery.qut.edu.au

Ian Smith, The Meaning Beyond the Sign – The Truth Behind the Ad, 2002, oil and synthetic polymer paint on canvas, 107 x 144 cm. Purchased from Heiser Gallery, 2011. City of Townsville Art Collection.

Courtesy of the artist.

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.

See our website for latest information.

30 April—8 August Graphic Tendencies: works from the City of Townsville Art Collection

Bianca Beetson, Warrior Woman - Martuchi (Maroochy), 2016, digital photograph. USC Art Collection, acquired 2017.

Courtesy of the artist.

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The Townsville region has long been the home of many artists deeply invested in graphic practices, art which uses the visual elements for immediate and satisfying results. With a strong commitment to drawing, which has been translated into disciplines such as printmaking, painting and photography, Townsville and North Queensland artists and collectors have helped shape the City

Fiona Foley, The Magna Carta Tree #2, 2021, inkjet print. Courtesy of the artist and Andrew Baker Art Dealer, Brisbane.

Photo: Mick Richards.

QUEENSLAND QUT Art Museum: 19 June—29 August Fiona Foley: Veiled Paradise

22 May—14 August Plant-blind: We only see things that look like us

The exhibition surveys three decades of Badtjala artist Fiona Foley’s practice.

Plant-blindness is a term used to refers to people’s inability to see or identify the trees and shrubs that surround them. It is a phenomenon that is becoming more common as greater numbers of people live in urban areas and disengage from the natural environment. Redcliffe-based artist collective, Carte Blanche, have reconnected with nature, drawing attention to the diversity of trees that are found in the Moreton Bay Region. Through collaborative and individual works these artists reflect upon the importance of the natural environment, and how it connects us all.

This leading contemporary Aboriginal artist’s work is informed by her ancestral connection to K’Gari/Fraser Island, drawing equally upon its serene beauty and the history of systemic violence and sexual exploitation perpetrated on its shores.

Redland Art Gallery, Capalaba William Robinson, Sunset and misty moon, 1993 from Mountain series I-V, oil on linen. QUT Art Collection.

William Robinson Gallery: 15 July—19 June 2022 William Robinson: Nocturne 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.

Redcliffe Art Gallery moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 Tue to Sat 10am–4pm.

19 June—24 July Redcliffe Art Society of Excellence In its 64th year, Redcliffe Art Society’s annual Exhibition of Excellence celebrates the rich artistic community that live within the Moreton Bay Region. This annual prize is a calendar favourite and brings together the best works by society members from the past year.

www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

31 July—26 September Meewah: Changing views of Table Top Mountain This exhibition draws together the gallery’s holdings of artworks that represent Meewah, also known as Table Top Mountain, one of Toowoomba’s signal landmarks. The changing views of Meewah are integral to national stories about truth, belonging and reconciliation.

Related landscapes of the Main Range escarpment are also featured.

22 May—13 July Baltic Mini Textile 17 July—7 September In Focus 2021

edland Art Gallery, R 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.

See our website for latest information.

16 May—18 July Response: Carol McGregor 16 May—18 July Fragments: A Printed Environment – Tamika Grant-Iramu 25 July—29 August Robyn Stacey: as still as life 25 July—29 August Wish You Were Here Kellie O’Dempsey

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag

Jenny Cope, Russell Island, 2020, found natural materials. Courtesy of the artist.

Vincent Serico, Toowoomba I, 1994 , acrylic on canvas, 91 x 123 cm.Toowoomba Regional Art Gallery – Toowoomba City Collection 286. © Vincent Serico courtesy FireWorks Gallery.

531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10.30am–3.30pm, Sun 1pm–4pm.

Closed Mon & Public Hols.

Free entry.

Teo Treloar, This is impermanence, 2019, graphite pencil on paper, 56 x 76 cm unframed. Winner 2020 JADA / Courtesy of the artist and Andrew Baker Art Dealer.

5 June—25 July 2020 Jacaranda Acquisitive Drawing Award (JADA) Supported by The Friends of the Grafton Gallery, the JADA is Grafton Regional Gallery’s flagship art prize. Established in 1988 the JADA celebrates drawing in all its splendour from hyper-realism that is beyond belief to the expressive and abstract, evoking the poetic and emotional response to the human condition and our environment. Many of the works question and challenge the notion of the traditional drawing; while others provide a contemporary perspective and reinvigorate those traditions.

The 2020 JADA received a record 659 entries from 521 artists throughout Australia with 56 finalists being selected for the exhibition and subsequent tour. The winner of the $35,000 acquisitive prize was judged by Peter McKay, Curatorial Manager of Australian Art at Queensland Art Gallery and Gallery of Modern Art. A Grafton Regional Gallery touring exhibition.

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Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

See our website for latest information.

the Centre is co-commissioned by Le Confort Moderne, Poitiers; Artspace, Sydney; and The University of Queensland Art Museum, Brisbane. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

28 May—4 July A Question of Counterpoint Donna Beningfield Donna Beningfield pushes her exploration into portraiture by working with her sitters to develop emotional responses to their past and present lives. Beningfield transposes the marks of the sitters onto canvas, layered with her own process of mark making.

Martina Ah Sam, Waterholes, 2019, acrylic on canvas, 88 x 98 cm.

7 May–31 July Country In Mind The art of Australian Aboriginal and Torres Strait Islander people is a modern vibrant expression of many Indigenous nations. Representation of Country is full of associative information connecting the past, present and future which always begins with Country In Mind.

The exhibition focuses on work from the central desert, the Kimberley to the northwest, Arnhem Land and the offshore islands in the far north and explores the continuum among communities who make work about Country while also delving into the idiosyncrasies of individual artistic expression. Curated by Christopher Bassi, this project is part of Connecting Stories, an initiative of Creative Arts Alliance as part of the Regional Arts Services Network and is presented in partnership with Blaklash Creative and the SEQN Regional Gallery Network.

9 July—29 August Yana Gair Le (Walk Together) Gail Mabo, Shirley Dawson, Martina Ah Sam, Jack Macale, Nicky Bidju Pryor, Obery Sambo, Susan Peters, Michael Sailor.

This exhibition brings together contemporary works by First Nations artists from Countries and Seas across Australia who reside in North Queensland. In the language of the Gurambilbarra Wulgurukaba people, Traditional Owners of Townsville, ‘yana’ means ‘walk’. In Meriam Mer, the language of Mer (Murray Island) people, ‘Gair Le’ means ‘together’. In this exhibition Aboriginal and Torres Strait Island artists ‘yana gair le’ – walk together.

USC Art Gallery www.usc.edu.au/art-gallery

Mel O’Callaghan, Respire, respire, 2019, performance and installation at Artspace, Sydney. Courtesy the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photograph: Zan Wimberley.

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 more information.

9 July—29 August Centre of the Centre Mel O’Callaghan Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation.

Mel O’Callaghan’s Centre of the Centre was curated and developed

by Artspace and is touring nationally with Museums & Galleries of NSW. Centre of 224

Esther Giles Nampitjinpa, Untitled, 2012.

Synthetic polymer paint on Belgian linen, 183 x 244cm. USC Art Collection, acquired 2016. Donated through the Australian Government’s Cultural Gift Program by Craig Edwards, in recognition of the tireless efforts of Jan Edwards, teacher and mother. © Esther Giles Nampitjinpa/Aboriginal Artists Agency Ltd. Photo: Carl Warner.

Bloom Collective, Murphy’s Creek Gully, gully healing, 2018, still from performance documentation. Photo: Greg Harm, Tangible Media. Copyright Bloom Collective.

13 August—30 October Sites of Connection Leah Barclay, The Bloom Collective (Jan Baker Finch, Renata Buziak, Vicki Kelleher, Erik Griswold, Vanessa Tomlinson), Donna Davis and Emma Lindsay.

Sites of Connection presents work by artists who have engaged in sustained interactions with environmental scientists and their research.

The exhibition does not aim to present work that literally illustrates environmental research, rather, it shows how creative practitioners employ artistic methods to imaginatively explore environmental topics to illuminate ideas, spark curiosity, and generate dialogue. Sites of Connection connects audiences with a range of environmental research in engaging ways and demonstrates how creative practice can complement scientific discourses in building understanding and raising awareness of environmental matters. Presented for Horizon Festival 2021.

13 August—30 October Reading Between the Lines: Uncovering Butchulla History in the K’Gari Research Archive Archives have been founded on colonial systems of record keeping. Institutional archives valued written records over non-literate records and valorised colonial stories which upheld the settler-nation narrative, resulting in a disproportionate representation of non-Indigenous perspectives in the archive and in our

QUEENSLAND nation’s history. Reading Between the Lines: Uncovering Butchulla History in the K’gari Research Archive will present Butchulla stories that have previously been hidden in the settler-colonial narrative of the K’gari Research Archive alongside other creative outcomes.

Presented for Horizon Festival 2021.

Curator: Rose Barrowcliffe.

UQ Art Museum www.art-museum.uq.edu.au

speaks to the Art Museum’s distinct place within the University context and engages with practices and ideas central to research and learning in their many forms.

30 July—22 January 2022 Conflict in My Outlook_Don’t Be Evil Zach Blas and Jemima Wyman, Kate Crawford and 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.

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.

The University of Queensland Art Collection is one of Queensland’s most significant public art collections. Developed over 70 years, it features more than 4,400 works of art, comprised predominantly of Australian artists from the colonial period to the present. The Art Collection and the Art Museum’s creative program support and inform each other. The Art Collection

Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman.

Andreas Angelidakis, DEMOS (Sandstone), 2020, foam, vinyl, fifty parts.

Installation view. Reproduced courtesy of the artist. Photo: Simon Woods.

3 August—19 June DEMOS Andreas Angelidakis

Xanthe Dobbie, Cloud Copy, 2020, detail, virtual reality installation, 4:50 mins.

Courtesy of the artist.

21 August 2020—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on

Sculpture on the Edge is a contemporary site specific outdoor sculpture prize held annually on the escarpment of the stunning Sunshine Coast hinterland town of Maleny at Spicers Tamarind Retreat.

If you are an artist seeking to exhibit your work within a curatorial context, Sculpture on the Edge provides an opportunity to build your career and profile with a first prize of $10,000.

For more information and entry details visit the website: sculptureontheedge. com.au/information-for-artists

sculptureontheedge.com.au

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A–Z Exhibitions

JULY/AUGUST 2021

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

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.

28 July—15 August Domestic Disturbance Keziah Craven

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm.

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.

Until 13 July Namatjira Family and Hermansburg paintings.

5 August—22 August Graham Fransella Paintings and works on paper.

5 August—22 August Ulrica Trulsson Ceramics.

Canberra Glassworks www.canberraglas sworks.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.

Ken Knight, Prospect Point-Antarctica, oil on board, 120 x 122 cm.

Old and new works hang side by side on our walls. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works. Heritage treasures from Norman Lindsay, Pro Hart and David Boyd sit alongside exquisite dot works from the indigenous community.

Megan Cope, work in progress at Canberra Glassworks, 2020, cast glass.

Courtesy of the artists and Milani Gallery, Brisbane.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm.

30 June—18 July Traversed Differences Lisa Myeong-Joo, Natalie Tso, Tanaporn Norsrida, Jana Ortanez, Sineenart Meena (curator).

Keziah Craven, 192 Days: Paper Imprint of Transitional Emergency Housing: Walls 1 & 2, detail, 2019, paper, tape and marker, dimensions variable. Photograph by Brenton McGeachie.

20 May—18 July Unbroken Connections Megan Cope

Margaret Hadfield, Cracked.

18 July—11 August Reinventing Stuff– Upcycling

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm.

See our website for latest information.

Graham Fransella, Crossing, etching, ed.

12/25, 71 x 88 cm.

Unbroken Connections is the exhibition resulting from Cope’s residency at Canberra Glassworks in 2020 and 2021.

During her residency, Cope worked with a variety of techniques to produce a distinct body of work that includes shield forms made from blown glass on which the artist used the ‘battuto’ technique to carve away the layers, and 300 dugong bones cast from recycled television screen glass.

Megan Cope is a Quandamooka woman from North Stradbroke Island in South East Queensland.

29 July—5 September Local Canberra Emma Elizabeth, Tom Fereday, Tom Skeehan, Andrew Simpson and Anna Varendorff. Curated by Emma Elizabeth.

Design is a continually evolving subject.

Local Canberra offers an opportunity to explore the present and future of design through the work of five designers— Emma Elizabeth, Tom Fereday, Tom Skeehan, Andrew Simpson and Anna Varendorff. It will acknowledge the importance of design in today’s culture and recognise those designers whose talent, vision and desire to innovate, will set a standard for the future. The imagination, diversity, and techniques on display will attest to the crucial role these five designers have in the ongoing construction of cultural heritage.

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National Gallery of Australia → Anne Wallace, She Is, 2001, purchased 2002 © Anne Wallace.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

See our website for latest information.

22 July— 8 August Step into the Limelight 12 August— 29 August Shoreline Michael Desmond, Peta Jones, Bryn Desmond-Jones, Ossian Desmond-Jones Testamur Canberra Art Workshop

B&W M16 Studio Artists’ Exhibition. Curated by Naomi Zouwer and Al Munro.

Alana Ford, Silence, 2020, acrylic on canvas, 41 x 31 cm. Courtesy of the artist.

12 August— 29 August Black and White Edges Alana Ford

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

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Told in two parts, this exhibition tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary such as feminism, Know My Name highlights creative and intellectual relationships between artists across time.

Know My Name is not a complete account; instead, the exhibition proposes alternative histories, challenging stereotypes and highlighting the stories and achievements of all women artists.

1 July—18 July Hands On 25th Birthday Hands On Studio Members

Jayden Sattler, Fern, 2020.

National Gallery’s collection and loans from across Australia, it is one of the most comprehensive presentations of art by women assembled in this country to date.

Know My Name: Australian Women Artists 1900 to Now is part of a series of ongoing gender equity initiatives by the Gallery to increase the representation of all women in its artistic program, collection development and organisational structures Curators: Deborah Hart, Head Curator, Australian Art and Elspeth Pitt, Curator, Australian Art with Yvette Dal Pozzo, Assistant Curator, Australian Art.

National Portrait Gallery www.portrait.gov.au

12 June—26 January 2022 Know My Name: Australian Women Artists 1900 to Now

King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm.

Disabled access.

See our website for latest information.

Part Two of Know My Name: Australian Women Artists 1900 to Now showcases art made by women. Drawn from the

20 March—1 August Australian Love Stories

AUSTRALIAN CAPITAL TERRITORY While we watch screens, they quietly watch us. Our data is fed to hungry tech giants and cameras in public spaces use algorithms to maintain order. Bowes reflects viewers back at themselves as disjointed and disfigured caricatures, equal parts captivating and disturbing.

15 July—14 August Don’t be Fooled by the Faces I wear Ben Rak Rak examines the ways in which we conceal and reveal ourselves to become visible, avoid marginalisation or enjoy privileges. This exhibition explores the intersections of printing and photography to trace mutable identities.

photographic explorations throughout Australian country, coastal and suburban towns over the last ten years. Interested in capturing the commonplace, motifs of clotheslines and service stations stitch together an Australian aesthetic that explores the nature of nostalgia.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

Peter Brew-Bevan, Rachel Ward and Bryan Brown, 2006 (printed 2020).

Reconnect and reflect with our new major exhibition, Australian Love Stories (in real life!) as we explore love, affection and connection in all its guises. From the enduring to the forbidden, romantic to platonic, the unrequited, obsessive, scandalous or creative. Swoon over more than 200 artworks from across photography, painting, works on paper, small sculpture and an immersive glass installation.

Catherine Evans, Exploded View no.5, 2021, silver gelatin print, 27 x 35 cm.

15 July—14 August Exploded View Catherine Evans Through multiple representations of the same event, Evans challenges her memory of the 1997 implosion of the Royal Canberra Hospital as it made way for the National Museum of Australia.

Her experimental process combines techniques, playing with the boundaries of the pixel and the notion of impermeability to dwell on the corruptibility of memory in the digital age.

Rebecca Mayo, Embracing the Familiar, 2021, screen-printed plant dyes on natural fibers.

19 June—7 August Embracing the Familiar Rebecca Mayo

19 August—18 September A Young Black Kangaroo Qiulin Li

Harriet Schwarzrock, spaces between movement and stillness, detail, 2021.

Li explores the state and values of public housing in Australia through an intimate view into the lives and spaces of those in community housing around Sydney’s Woolloomooloo. The suburb is home to both the extremely wealthy and the marginalised poor.

Until 1 August spaces between movement and stillness Harriet Schwarzrock.

PhotoAccess Huw Davies Gallery

Charlotte Allingham, Worthy of Love, 2020, digital illustration.

www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm.

15 July—14 August Split Chris Bowes

Ben Rak, Calder Park VIC, 2016, inkjet print, 80 x 100 cm.

19 August—18 September Meanwhile in the Suburbs William Broadhurst Meanwhile in the Suburbs is a collection of images taken from Broadhurst’s

12 June—24 July After Charlotte Allingham and Dylan Mooney.

14 August—18 September Dark Euphoria Meredith Hughes and S.A. Adair.

14 August—11 September Uncalibrated Space Rory Gillen 229

A–Z Exhibitions

JULY/AUGUST 2021

Tasmania

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

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

See our website for latest information.

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm.

13 July—2 August Josh Simpson Down Home

Until 11 July Abolish the Olympics Pony Express 3 August—29 August Rehearsing the Future Alex Last, Nadia Rafaei and Jon Smeathers.

Curated by Sofie Burgoyne for the 2021 CAT Curatorial Mentorship.

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.

See our website for latest information.

Richard Wastell, Old ways, new mornings at Lake Sorell, 2021, oil and pumice on linen, unframed, 153 x 153 cm (stretcher size).

3 July—24 July Painting east from the plateau Richard Wastell

Leanne Halls, Chinese Vase with Dahlias, oil on canvas, 61 x 61 cm.

3 August—23 August Fluctuations Leanne Halls

3 July—24 July In (and out of ) the Grey Sara Maher

The Designers’ Guide: Easton Pearson Archive 2018. Photograph: Carl Warner.

Illustration: Stephen Mok. Donated by Dr Paul Eliadis through the Australian Government’s Cultural Gifts Program 2017, Easton Pearson Archive, Museum of Brisbane Collection.

12 June—17 July Pattern & Print: Easton Pearson Archive Milan Milojevic, Terra Incognita, Ed 1/1 Printed rug, 200 x 128 cm.

31 August—13 September A Duck Billed What ?

Milan Milojevic

Contemporary Art Tasmania www.contemporaryarttasmania.org

Imants Tillers, Blossoming Orchard, 2021, synthetic polymer paint, gouache on 32 canvasboards, nos. 111686–111717, 203.2 x 142.2 cm.

27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sun 12noon–5pm.

Brisbane fashion house Easton Pearson was at the avantgarde of international fashion between 1998 and 2016. The label’s success hinged on the creative relationship between Pamela Easton and Lydia Pearson, whose unique ways of working fostered inventive designs and lasting collaborations while supporting ethical manufacture.

Pattern and Print: Easton Pearson Archive presents the fantastical world of Easton Pearson, where both simplicity and detail shine, and artistry triumphs. It features a collection of Easton Pearson’s most vibrant designs, highlighting the staggering variety of patterns, colours and materials the label employed. A touring exhibition organised by Museum of Brisbane (MoB), toured by Museums & Galleries Queensland.

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

31 July—21 August Fierce Paradise: Paintings from Blairgowrie Imants Tillers 31 July—21 August Waiting for news Locust Jones Pony Express, Abolish the Olympics.

Photograph: Julian Frichot.

‘The Easton Pearson Archive’ gift to Museum of Brisbane has been made possible by the generous support of Dr Paul Eliadis AM, a Brisbane-based philanthropist and patron of contemporary art and design. Donated through the Australian Government’s Cultural Gifts Program. The Archive is complemented 231

ar t g ui d e .c o m . au Devonport Regional Gallery continued... by supporting materials gifted by Pamela Easton and Lydia Pearson. The Archive consists of more than 3,300 garments.

It is supported by more than 5,000 accessories, spec sheets, range plans, look books, photographs and other supporting materials donated by Pamela Easton and Lydia Pearson.

26 June—7 August An Unexpected River Travis Bell Through An Unexpected River Travis Bell explores of the beauty of clay unadorned, place, and the philosophies of making through the disciplined execution of craft.

The show also begins to delve into a more personal inquisition of the forms he makes and how they and the philosophies behind them are influenced through lived experience.

Briant, Selena de Carvalho, Samantha Dennis, Anastasia Gardyne, Sara Maher, Aviva Reed, Mary Scott.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm, or by appointment.

See our website for latest information.

2 July—19 July Landscape Exhibition

6 August—4 September Bright Light Tilley Wood

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm.

See our website for latest information.

26 June—25 September Emerging Curator Program Devonport Regional Gallery Permanent Collection

Sally Rees, Flock, 2020, multi-loop HD video installation. Image courtesy of the artist and the Museum of Old and New Art, Hobart, Tasmania, Australia.

The curator has the opportunity to engage and work with the City of Devonport’s Permanent Art Collection, which consists of approximately two thousand 2D and 3D objects. The curator will be given access to the collection for their research and to produce an exhibition of their choosing based on their impression of this rich material.

24 July—21 August North West Art Circle The NWAC is a group made up of about 60 members from the North West Coast of Tasmania. They share a passion for art and their goal to promote and further develop their arts practice.

18 June—1 November Sally Rees: Crone

Denise Campbell, Hidden Beneath, 2020, acrylic and pencil on canvas, 88 x 65 cm.

23 July—9 August Denise Campbell 13 August—30 August Ella Noonan

Penny Contemporary www.pennycontemporary.com.au Irene Briant, Animal vegetable mineral: Collectors’ Mantelpiece, 2013, mixed media, wooden shelf. Photograph: Jack Bett.

28 August—9 October Un/Touched Wilderness

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

Un/Touched Wilderness will bring together contemporary Tasmanian artists working across a range of media including painting, printmaking, sculpture and installation. Un/Touched Wilderness will contrast the grand narrative of the untamed natural wilderness of Tasmania often coveted through the tradition of landscape painting and wilderness photography, with contemporary artists exploring this landscape on a micro level; collecting, containing, classifying and creating from the diverse ecosystems that form these sweeping vistas. These works make our ecosystems more visible and tangible, while highlighting both the beauty and fragility of our natural surrounds.

Artists include: Lorraine Biggs, Irene 232

A flock of crones will descend on Mona in June 2021 as part of Crone, by Hobart-based artist Sally Rees. This new exhibition features a body of work centred around the folkloric character of the ‘crone’, through which Rees challenges the perceived invisibility of ageing women in society. She seeks to redefine the female elder as a powerful, wise and transgressive figure. Curated by Nicole Durling. The exhibition was commissioned

by Mona, as part of Suspended Moment: The Katthy Cavaliere Fellowship, made possible with funds from the Estate of Katthy Cavaliere in partnership with Carriageworks and the Australian Centre for Contemporary Art (ACCA).

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.

See our website for latest information.

5 December 2020—21 November Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney

Tilley Wood.

In Nest you’ll find artist Alastair Mooney breaking out of the traditional gallery experience. Through his love for Tasmania’s natural environment and native bird species, coupled with a Fine Arts degree, Mooney has been able to create captivat-

TASMANIA ing displays built from recognisable local imagery and intricate hand crafted Huon pine sculptures of native birds both small and large.

between the First Nations Peoples of Canada and Australia with the new QVMAG exhibition Wrapped in Culture, a powerful reclamation project grounded in community. The project was developed in November 2017 when 10 artists created traditional robes (a buffalo robe and possum skin cloak) over a 3-week workshop in Ottawa, Canada.

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.

Ecology Studies (Adrift Lab) has been commissioned by Detached Cultural Organisation and presented by the Tasmanian Museum and Art Gallery.

Tasmanian Museum and Art Gallery Anne Zahalka, Lost Landscapes. Image: Rob Burnett.

5 December 2020—24 October Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka Anne Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary representation of the Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth.

5 December 2020—22 May 2022 Queen Victoria Art Gallery, Royal Park: Skin Garry Greenwood Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood in our latest exhibition as part of the Summer Season program at QVMAG Royal Park.

5 December 2020—13 February 2022 Queen Victoria Art Gallery, Royal Park: Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the nineteenth 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 this December 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.

Wrapped in Culture. Image courtesy of Art Gallery of Ottawa.

22 January—18 July Queen Victoria Art Gallery: Wrapped in Culture Witness a world-first collaboration

www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tues to Sun 10am–4pm.

Free entry.

See our website for latest information.

TMAG aims to provide an environment that both stimulates and educates the general public; collects and conserves material evidence within the areas of humanities, including visual arts, history and anthropology, and the biological and physical sciences. TMAG also undertakes research on the collections within changing intellectual, social and environmental contexts; and interprets and presents its collections and research through diverse programs and publications which provide opportunity for public access and participation.

20 December 2019–ongoing This Too Shall Pass Henry Hunter This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things.

Thomas Griffiths Wainewright (17941847), Henry Foss, c. 1818, oil on canvas.

Collection: Tasmanian Museum and Art Gallery.

11 June—3 October Paradise Lost: Thomas Griffiths Wainewright Romanticism, lust, murder, forgery and incarceration collide in the life of the London critic and renowned convict artist Thomas Griffiths Wainewright (1794-1847).

Paradise Lost: Thomas Griffiths Wainewright is a richly layered exhibition that combines the luscious world of European Romanticism, Tasmania’s oppressive convict history, and Wainewright’s intriguing paintings, portraits and narrative sketches.

Lucienne Rickard at work in TMAG’s Link Foyer.

It is the first major exhibition dedicated to Wainewright as an artist. This is regardless of the long-term acknowledgement that he was one of the most accomplished of the colonial Australian artists, the numerous biographical accounts that have been written about him, and his infamy as a poisoner. Ten of his portraits are in the TMAG collection, and by bringing these together with other artworks by Wainewright and his circle from collections in Australia and overseas, this exhibition presents a new perspective on this passionate, talented and enigmatic artist.

31 March—23 January 2022 Ecology Studies (Adrift Lab)

Presented by Dark Mofo and the Tasmanian Museum and Art Gallery.

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 233

A–Z Exhibitions

JULY/AUGUST 2021

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

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 234

ACE Open

non-acquisitive cash prize of $15,000 supported by Lipman Karas.

www.aceopen.art

30 July—21 August 18 Still Lifes and 3 Landscapes Don Rankin Porcelain Vessels Geoff Mitchell

Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

Flinders University Museum of Art

As South Australia’s flagship contemporary art gallery, ACE Open presents a year-round program of free exhibitions by practicing South Australian, Australian and international artists. Its exhibitions, talks and events are held at its Lion Arts Centre home in the west end of the city.

www.flinders.edu.au/museum-of-art 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. 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.

14 May—3 July Sidney McMahon: Of Sorrow and Release Sidney McMahon and Sam Petersen.

Voitre Marek, Australia, 1919–1999, My Gibraltar, 1948, on board SS Charlton Sovereign, oil on wood, 29 x 20.5 cm; d’Auvergne Boxall Bequest Fund 1996, Art Gallery of South Australia, Adelaide, © the estate of Voitre Marek.

Bridget Currie, Object for slugs, 2015, digital photograph. Private collection, Berlin.

16 July—4 September Message from the meadow Bridget Currie

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm.

Free entry unless specified.

19 Jun–12 September Dušan and Voitre Marek: Surrealists at sea The first major survey of the art of Czech-Australian brothers Dušan and Voitre Marek. From their arrival in Adelaide in 1948, Dušan and Voitre set into motion a surge of new ideas and controversies that challenged the conventions of Australian art. Highlights include the artists’ voyage paintings created during their long sea journey from Europe to Australia and Dušan’s pioneering surrealist films.

BMGArt www.bmgart.com.au 444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 or 0421 311 680 Tues to Fri 12noon–5pm, Sat 2pm–5pm or by appointment.

Barbara Hanrahan, Moss-haired girl, 1977, screenprint, coloured inks on paper, Gift of Jonathan P Steele, Collection of Flinders University Museum of Art 5769, © the Estate of the artist, courtesy of Susan Sideris.

Ramsay Art Prize 2021 featuring Kate Bohunnis with the work edges of excess; photo Saul Steed.

26 July—1 October Bee-stung Lips: Barbara Hanrahan works on paper 1960–1991

22 May—22 August Ramsay Art Prize

This first major retrospective of Barbara Hanrahan’s prolific printmaking career brings to the fore the artist’s feminist critique on the role of women and the family in domestic suburbia within an Australian context and explores the reverberation of these concerns in the 21st century.

A Flinders University Museum of Art exhibition curated by Nic Brown.

Congratulations to Kate Bohunnis, winner of the $100,000 Ramsay Art Prize 2021, the nation’s most generous prize for Australian artists under 40, with the work edges of excess. See the works of all 24 artists in the finalist exhibition and have your say in the People’s Choice Prize, a

Don Rankin, Still Life # 25 (2 Lemons), 2020, oil on canvas, 50 x 50 cm.

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GAGPROJECTS

Nexus Arts www.nexusartsgallery.com

www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS currently presenting virtual exhibitions online.

Gallery open by appointment only.

See our website for latest information.

Hugo Michell Gallery www.hugomichellgallery.com 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 Daily 11am–5pm.

JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.

Frederick Stevenson winemaker Steve Crawford in the Barossa Valley; image taken in 2018 on 120mm film. Photograph: Jack Fenby.

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.

17 July—3 October JamFactory at Seppeltsfield: Fortified All The Things x Ivana Taylor; Casa Carboni x Angela Giuliani; El Estanco x George Criollo; Fino Seppeltsfield x Jordan Gower; Fleur Social x Danielle Rickaby; Frederick Stevenson x Dean Toepfer; Mehl Sourdough x Matt Pearson; Mirror Mirror Patisserie x Danielle Barrie; The Mysterious Mr Black x Drew Spangenberg; Riverside Farm x Ashlee Hopkins; Seppeltsfield Road Distillers x Alexandra Hirst; Yetti & the Kokonut x Alison Smiles.

5 June—29 August JamFactory at Adelaide Railway Station: Gerry Wedd

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.

Tailor Winston, The Skeleton Tree, detail, 2020. Photograph: Aaron Schuppan.

31 July—27 August NEST: A Place Called Home Tailor Winston NEST: A Place Called Home is an evocative, sentimental, and thoughtful exhibition that calls attention to cultural awareness and personal boundaries. Inspired by the childhood urban myth of not putting your hand into a bird’s nest or the mother will reject her eggs when she returns, this sculptural and performative piece retells this mythology while commenting on the socio-cultural climate of contemporary Australian society.

Embodying multiple metaphors concerning gender, personal autonomy, and the cultural importance and significance of Afrocentric hair, Winston creates the conditions for curiosity in the audience member, emphasising the symbolism of the nest as a sacred place of transformation, creativity, and life.

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.

Pepai Jangala Carroll, Ininti, Ininti, Ilpili and Walungurru, 2021. Photographer: Grant Hancock.

23 July–26 September Jam Factory Adelaide: JamFactory Icon 2021 Pepai Jangala Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) Pepai Jangala Carroll 23 July—19 September Jam Factory Adelaide: Social Medea Zoe Grigoris 236

18 June—17 July They Paved Paradise Caroline Walker-Grime Mark Richards, Oasis Inn, Motel & Café, 1957 Ford Fairlane, detail, 2019, Digital Art Winner, 2019 Rotary Art Show.

17 July—15 August Murray Bridge Rotary Art Show This popular annual community-driven event provides an opportunity for emerging and hobbyist artists to exhibit and sell their work. This year’s prize judge is Lauren Mustillo, Visual Arts Program Manager, Country Arts SA.

My local area is vibrant and exciting, but this has come at a cost. Demolition and development has had a detrimental effect on local wildlife, old native plant filled gardens and removal of character homes.

25 July—21 August The 22nd Prospect Community Art Show Various Artists The 22nd Community Art Show showcases artworks made by the people of Prospect or those with a strong connection to our City.

S OUTH AUSTRALIA Dr Catherine Bell, this exhibition uncovers shared perspectives on female identity by drawing upon interdisciplinary and collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. FEM-aFFINITY is a NETS Victoria and Arts Project Australia touring exhibition.

Dave Court, view of Ironbank House, 2021, digital photograph by Sam Berry, used with permission.

PARTY will include digital offerings able to be accessed by anyone in Australia or the world.

22 May—4 July Other Homes and Gardens Nicholas Folland Other Homes and Gardens presents your home and garden, but not as you know it. In this monumental animated installation, Nicholas Folland’s absurd interior design sensibility sees the home in a state of flux—forever anxious in its arrangement, as furniture slides, slams and screeches in a choreographed dance of perpetual destruction.

3 July—29 August Take me with you Isobel Knowles and Van Sowerwine

Caroline Walker-Grime, Weed Creep, (detail), clay impressed with industrial material and weeds.

Artist collaborators Isobel Knowles and Van Sowerwine are bringing the profoundly touching 360 degree stop-motion VR film Passenger to The Riddoch as part of their new exhibition, Take me with you.

Dan Withey, Multiple minds of the same soul, 122 x 102 cm, acrylic on canvas.

Scott Coleman [KAB101], THINK, detail, 2016, spray paint, acrylic on board, 120 x 120 cm.

29 July—27 August Kindness is a Boomerang Dan Withey

27 August—25 September Anti-type KAB101 – Scott Coleman

Exploring further the use of abstract and figurative approaches to storytelling, Withey is curious to explore the fable as an enduring genre that uses animals as anthropomorphic figures, symbolism, and humour and offers lessons in how to live.

Abstraction of written words - a multi contortion of encrypted letters and the building of type into symbols - linear energy seeps into confined space.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

24 June—23 July HOUSE PARTY Dave Court Praxis Artspace presents HOUSE PARTY, a solo exhibition by interdisciplinary artist Dave Court. Responding to the architecture in the Praxis main gallery, Court will create a sensory installation through traditional artistic mediums and the immersion of virtual reality. Not only an immersive experience, HOUSE

Passenger is a 360 degree stop-motion virtual reality film that brings the story of arriving in a new country to life. Your taxi driver, himself a migrant to Australia, navigates the new terrain with you, acting as your guide while also revealing small parts of his own story. Passenger recreates and investigates the geographic and visual dislocation of arriving somewhere unfamiliar, and beginning the journey of finding a new home in a foreign land.

Charming characters, sets and behindthe-scenes footage will offer a rare insight into Isobel and Van’s practice. In addition, the stop-motion short films Clara and Out in the Open will also be on display.

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat & Sun 10am–2pm.

See our website for latest information.

22 May—4 July FEM-aFFINITY Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack, Janelle Low, Eden Menta, Jill Orr, Lisa Reid, Heather Shimmen, Cathy Staughton and Jane Trengove.

FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by

Daen Sansbury-Smith, Djindrin (Willy wag-tail) and Nantu (Kangaroo), 2020, white, yellow and orange ochre, charcoal, and acrylic on canvas.

3 July—29 August Black Crow AR Daen Sansbury-Smith This augmented reality exhibition expands on Narungga and Trawoolwaway artist Daen Sansbury-Smith’s representation of Narungga and Palawa stories, art and culture. Through ochre, charcoal and acrylic on canvas, Sansbury-Smith maps Ancestral memory and connection to country, sharing stories of pre and post-contact Aboriginal history and culture; and animated elements by Isobel 237

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

Samstag Museum of Art

Knowles bring the works to life. The animated AR elements are viewed on a smart device using the EyeJack app.

www.unisa.edu.au/samstagmuseum

17 July—5 September Under the Canopy Libby Altschwager, Julie Bignell, Jo Fife, Anne Miles, Sally O’Connor, Lilija Quill, Ruth Schubert, Sue Shaw, Trudy Tandberg, Diana Wiseman, Stephanie Yoannidis.

University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

See our website for latest information.

Using a variety of printmaking methods, Thumb Print members explore the theme ‘Under the Canopy’.

23 April—17 July RE:SOUNDING James Nguyen and Victoria Pham.

Wes Maselli, 55. Vampire, Sucking, Blood, 2021, digital drawing. Image courtesy of the artist.

James Nguyen is an artist working in in Naarm/Melbourne, who has exhibited across Europe, the U.S. and the Asia Pacific. Victoria Pham is a sound composer, archaeologist and artist who specialises in archaeoacoustics, working between London, Sydney and Paris.

26 June—31 July Artist in residence exhibitions: Memory Palaces Wes Maselli

Jo Davenport, Mundarlo, 2020.

17 July—29 August Earth Canvas Rosalind Atkins, Jenny Bell, Jo Davenport, Janet Laurence, Idris Murphy, Tony Nott, Carmel Wallace, John Wolseley.

Featuring striking new work by leading Australian artists, Earth Canvas highlights engagement with the landscape through land stewardship via a creative lens.

Developed by regional collaborative Earth Canvas: Art in Ag, curated by Albury LibraryMuseum, and supported by the National Museum of Australia.

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

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

See our website for latest information.

Sauerbier House is an innovative artspace providing a platform to support cultural exchange through contemporary visual arts. Sauerbier House offers established and emerging contemporary artists site responsive residency (non-resident) and independent exhibition opportunities. The extended residencies provide a platform for arts practitioners to creatively respond to a complex and culturally significant coastal location. Interactions with other residents, locals and visitors are offered through regular studio sessions, artist’s talks or workshops.

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Exploring the mutual interaction of story-telling with images, objects, locations and emotions, and the importance of this complex for memory making and recall.

26 June—31 July Walking through worlds re-gendering space Emiko Artemis Investigating the experience of gender in the navigation of our inner and outer worlds.

Alex Martinis Roe, A story from Circolo della rosa, film still of a photograph courtesy of the Milan Women’s Bookstore co-operative archive, 2014.

23 April—24 September To Become Two Alex Martinis Roe A film installation that stems from the artists’ engagement with international feminist communities and their political practices. To Become Two traces the stories of six different, yet connected, feminist groups from the 1970s to today who have built communities in Europe and Australia.

Georgia Button, Hiraeth, (still), 2020, digital video installation with sound, 4 minutes (loop). Image courtesy of the artist.

7 August—18 September [GRAFTd] SALA exhibition: Hiraeth Amber Cronin, Georgia Button. Curated

by Suzanne Close.

The Welsh term Hiraeth has no direct English translation but refers to a longing or homesickness for a place you cannot return or one that never was. It is associated with the bittersweet memory of missing something or someone while being grateful for their existence. This exhibition draws on the domestic and agricultural history of Sauerbier House, touching on nostalgia for times and places that are not our own but are entwined within our collective memories and personal histories.

Madison BYCROFT, BIOPIC or Charles Geneviève Louis Auguste André Timothée, still from moving image, 2021.

31 July—24 September BIOPIC or Charles Geneviève Louis Auguste André Timothée Madison Bycroft Working between Marseille and Tarntanya/Adelaide, Madison Bycroft produces compelling practice produces fantastical, fully realised experiences of sculpture, film and performance. In 2021, experience the result of their South Australian Film Corporation and SALA Festival Artist in Residence commission.

A–Z Exhibitions

JULY/AUGUST 2021

Western Australia

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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jahroc.com.au

WESTERN AUSTRALIA

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 3 July—31 July Eveline Kotai, Jane Martin and Angela Stewart

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.

Bringing together the work of three highly accomplished artists, the works in this exhibition are nostalgic, intuitive and unexpected. Traditional approaches to methodology meld with contemporary elements, sharing glimpses into the everyday through detailed still lifes, chiaroscuro treatments and bold colour and patternation combinations.

Rita Kellaway (SA), Gerry King (SA), Jennifer Kemarre Martiniello (ACT), Peter Kovacsy (WA), Jeremy Lepisto (NSW), Madeline Prowd (SA), Kirstie Rea (NSW), Ayano Yoshizumi (SA) and Madisyn Zabel (ACT).

Artitja Fine Art Gallery Cynthia Kuman, Nature orbs, 2020, glazed terracotta, seven parts: 17 x 65 x 65 cm (overall). Kelmscott Senior High School.

30 August Pulse Perspectives

Jo Darbyshire, Bluetongue, Fennel and Crow, 2021, oil on canvas, 260 x 400 cm. (diptych).

21 August—18 September Fennel and Crow Jo Darbyshire New paintings by Jo Darbyshire depict landscapes close to home, explored on solo meanderings during the quietude of lockdown. The work captures the sense of stillness and the heightened perception of the beauty of nature, as well as touching on the sense of foreboding felt during that time.

Penny Coss, Flume 2, 2021, acrylic on 300gsm cotton rag, 56 x 76 cm.

21 August—18 September Changing Patterns Penny Coss Like a record or meditation on all the weathers within us, Penny Coss pours colour onto paper – a repetitious process that echoes conversations with her mother about the weather. Like the body’s rhythmic memory, the symbolic logic of the venn diagram-like paintings, of overlapping circles and other shapes, highlights how things are similar and different.

Marcel Hoogstad Hay, Perceptual Dissonance, 2019, blown and kiln formed glass, 43 x 81 cm. Courtesy of the artist. © Marcel Hoogstad Hay, 2020. Photograph: Michael Haines.

www.artitja.com.au South Fremantle, WA 6162 0418 900 954 See our website for latest information.

WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in.

The selected works provide a window into young people’s private, social and artistic concerns. It is in turns an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

Thanks to the support of Healthway Act-Belong-Commit, you can now explore the exhibition from the comfort of your own home. We hope you enjoy the experience and don’t forget to vote for your favourite work in the Act-Belong-Commit People’s Choice Award.

Until 19 July Balancing Act Our story is not one story, but many stories to share This exhibition attempts to showcase works of art that reflect the depth of Aboriginal and Torres Strait Islander art and culture, with other aspects of the Aboriginal condition. As a result, radical observations about the ups and downs of life will, at times, weave in and out of stories about Country. Equally, across the show, visitors will encounter passages of serenity, corridors of tradition, and trails that speak to the upheavals experienced by generations of Indigenous people.

Until 19 July Tom Malone Prize 2021 The Tom Malone Prize is a highly respected national event within the Australian glass arts community and has played an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists working in this medium.

The 2021 Prize features the work of: Kate Baker (NSW), Clare Belfrage (SA), Hannah Gason (ACT), Marcel Hoogstad Hay (SA),

Patricia Kani Baker, Tunkin, 122 x 101 cm. Minyma Malilu (Baker Family).

Courtesy of Papulankutja Artists and Artitja Fine Art.

Doris Bush, Nungarrayi, 152 x 1 22 cm.

Courtesy of Papunya Tjupi and Artitja Fine Art. Artitja Fine Art is located in South Fremantle in Western Australia open daily, including weekends, by appointment. Up to six exhibitions are held during the year, in rented gallery spaces in South Fremantle and further afield, including Perth city and the historic town of York, WA. Since 2004 Artitja Fine Art has established itself as one of Perth’s most reputable and accessible Indigenous art galleries known for its innovative business model 241

ar t g ui d e .c o m . au Artitja Fine Arts Gallery continued... which includes a quarterly exhibition program in select venues and at all times offering an expert and personalised by-appointment service enabling art lovers to view art in a home environment.

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat, 10am–4pm.

See our website for latest information.

Bunbury Regional Art Gallery

8 May—1 August Maker Davida Palmer 5 June—25 July Going, Going, Gone…

Samantha Laird

Shaun Tan, Grasslands, detail, 2012.

Courtesy of he artist.

19 June—22 August Rules of Summer Shaun Tan

Declan White, The Bowling Alley, 2018, ink on paper, 56 x 76.5 cm. Courtesy of the artist.

21 May—17 July The Bowling Alley Charlie Paganin, Trinity Williams and Declan White.

The Bowling Alley brings together three early career artists: Charlie Paganin, Trinity Williams and Declan White, in a showcase of new directions and practices from DADAA’s next generation of artists. Moving worlds, unique figuration, intensive patterning and brilliant colour set these artists apart. At times abstract as well as deeply personal, this collection of works offers a momentary glimpse into the dynamic, confident and energetic practices of artists working from DADAA’s studios.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

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Object of the Game presents the 2018 Fremantle Arts Centre Print Awardwinning artist’s book Towla by Deanna Hitti, a Melbourne based artist with Lebanese heritage. Towla is a multipage two-colour book printed by the artist that sets out the rules of Backgammon phonetically in both Arabic and Latin alphabet.

The Arabic text spells the instructions in Latin and the Latin spells the instructions in Arabic. Object of the Game includes new work, an interpretive animated video projection narrated by the artist and a public program involving Backgammon tuition and demonstrations.

Jacobus Capone, Echo & Abyss (Chapter 4, Scene 3), 2018, synchronised 10-channel HD video (still), dimensions variable.

Image courtesy of the artist and Moore Contemporary.

24 July—7 September Beating Heart Jacobus Capone This major solo exhibition by Perth artist Jacobus Capone presents three significant bodies of work across video, installation and works on paper. At the centre of Beating Heart is Capone’s epic 10-channel video installation Echo & Abyss, shown in its entirety for the first time. Experienced from within a vast circle of screens, the work draws viewers into sublime, frozen landscapes, which were filmed in locations from Sierre in Switzerland to Greenland’s ice sheet.

The stark enormity, elemental power and slow geological time within these scenes are all measured against the artist’s own body, as he appears at surrender within each landscape.

24 July—7 September The Archaeology of Loss Stanislava Pinchuk

Rohin Kickett (Dushong), Prohibited Area, 2019, acrylic on canvas. Photo credit: Rohin Kickett.

26 June—22 August Noongar Country, Power and Healing: Now Group exhibition.

Australia’s most prestigious, longest running print prize. Now in its 45th year, the FAC Print Award presents a diverse selection of prints and artist books from emerging, established and cross-disciplinary artists, offering a true picture of the state of contemporary Australian printmaking. The winner takes home $16,000 with their work acquired for the City of Fremantle Art Collection.

29 May—18 July Object of the Game Deanna Hitti

www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm, Tue to Sat 10am–5pm.

See our website for latest information.

29 May—18 July Fremantle Arts Centre Print Award

Alison Kennedy, ICU, 2019, white ink screenprint on 30 industrial polyacrylic panels, 240 x 300 cm, 1/1. Image courtesy of the artist.

The Archaeology of Loss is Ukrainianborn, Melbourne-based artist Stanislava Pinchuk’s first WA exhibition of her conceptual poetics and engagement with sites of global conflict. Stemming from her experiences of the current Ukrainian

WESTERN AUSTRALIA civil war, Pinchuk’s practice speaks to personal and collective experiences of cultural displacement while wrestling with history and the material and immaterial costs of conflict. The Archaeology of Loss features her sensitively rendered holepunch topographical drawings, terrazzo sculptures and incidental photography.

Gallery 152

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.

www.gallery152.com.au 152 Avon Terrace, York, WA 6302 08 9641 2334 Daily 10am—3pm See our website for latest information.

2 August—20 August META Art, design, photography from the next generation – an insight into the hearts and minds, dreams and fears of talented year 11 and 12 students from WA schools.

Check out the world through the eyes of exceptional young creatives.

27 August—17 September Contemporary Wood-Carved Netsuke Netsuke were created as toggles to hold pouches and cases on the obi sash worn with the kimono. Over the centuries netsuke have come to be highly personalised statements of great artistic and historical value. This exhibition showcases contemporary netsuke carved of wood by living netsuke craftsmen in Japan, plus netsuke created by contemporary artists. A touring exhibition by The Japan Foundation, Sydney, presented by the ConsulateGeneral of Japan in Perth.

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.

See our website for latest information.

Sarah Thornton Smith, Coming out of the Dark, 2021, gouache on paper, 61.5 x 61.5 x 4 cm. Image credit Sarah Thornton Smith.

Marie Tierney, Untitled, 2021, film still.

5 July—23 July a new calibre: From Disability to Ability An energetic array of paintings, digital works, sculpture and photography by 16 leading artists from WA with a lived experience of disability to celebrate 70 years of Ability WA proudly supporting WA families. Presented with DADAA.

Situated in the heart of The Pickle District in West Perth and the Holmes à Court Gallery @ Vasse Felix is situated at Vasse Felix, Cowaramup, near Margaret River in the State’s south-west. Our changing programme includes events of national and international interest, developed through cultural, academic and business relationships. These events provide opportunities for conversation, discussions and debate about art and Australian culture, and support the gallery’s contribution to the community.

Jacky Cheng, Volume 1, detail, 2021.

Aizome (indigo) dye on handmade kozo papers, stitch with kasuri and silk wrap, papers, 85 x 25 cm.

26 June—29 August Reservoir Jacky Cheng and Sarah Thornton-Smith “Our bodies are comprised mostly of water.

Connecting to water as an element means connecting to a large part of who we are.

Metaphorically speaking, we become the Reservoir that gathers, embody and ultimately channel our innermost truths.”

In this exhibition Reservoir, Jacky Cheng and Sarah Thornton-Smith dive headlong into journeys of personal meditations, leaning into and reflecting on water’s symbolic gestures and element of culture, tradition and safe keeping.

Hannah Pemberton, The End, Perth Modern School, digital print, 2020.

Monique Tippett and Marked, 2021.

Image courtesy and copyright of the artist.

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Call for entries Botanical art in the expanded field.

Expressions of interest are now invited for the York Botanic Art Prize 2021 from artists working across a range of mediums, including, and not limited to, painting, mixed media, works on paper, digital, video, photography, sculpture, and textiles.

Responding to the theme of Western Australian flora, artists whose work challenges traditional notions and conventions of botanical art, in a sense ‘botanical art in the expanded field’, are encouraged to enter.

Finalists will be exhibited in York, Western Australia, at Gallery 152, 22 November 2021 – 30 January 2022.

Winner $11,000 (non-acquisitive) People’s Choice $1000 (non-acquisitive) Expressions of interest close 18 July 2021. For more information and to enter visit gallery152.com.au/ybap Enabling our community to know, grow and protect our local flora

Supported by

Enabling our community to know, grow and protect our local flora

gallery152.com.au/ybap

WESTERN AUSTRALIA Holmes à Court Gallery continued...

16 July—21 August Holmes à Court Gallery at no.10: Orisons Monique Tippett

inspired by elements of design in nature.

Her works begin on the pottery wheel, shaping and creating pieces made from porcelain. When they are fired they become translucent and very strong.

Maier achieves a compelling interplay between form, light and colour in her fine porcelain vessels .

Japingka Gallery www.Japin gkaAboriginalArt.com

George Haynes, Margaret River Break in Winter, 2020. Image courtesy and copyright of the artist.

47 High Street, Fremantle, WA 6160 08 9335 8265 Open daily.

See our website for latest information.

coastal colours of Far North Queensland to her latest exhibition at Japingka Gallery.

Rosella uses fluid paint surfaces that she works into, scraping back linear designs into the underlayers of solid colour.

Rosella Namok’s imagery includes lagoons and bamboo thickets, full moon nights, monsoonal rains over the ocean and clan designs from her community. This exhibition has a lighter feel with the artist using pinks and gold colours and some pastel tones that create space and softness to the painting surfaces.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12noon–4pm.

23 May—19 September Holmes à Court Gallery at Vasse Felix: George Haynes: 2020–21

JahRoc Galleries www.jahroc.com.au 83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm.

See our website for latest information.

Shaun Atkinson, River Song, oil on canvas, 30.5 x30.5cm.

July The Margaret River Series Continues Shaun Atkinson Atkinson is a well-known and established Western Australian artist. His paintings demonstrate a unique sensitivity to light and shadow on the landscape and employ an instinctive palette often unseen by an untrained eye. Atkinson’s fascination with his local environment , The Margaret River is explored further in this new series of works. Each stimulate one to observe and recall metaphors of place together with the strength and fragility of this coastal environment as fleeting moments are captured on the canvas.

August Viviana Maier: Porcelain Objects Maier is an Argentinian born ceramist fascinated by functional objects and

Janice Woods, Minyma Kutjara, acrylic on canvas, 2021, 130 x 90 cm.

16 July—17 August Anangu Women Artists Anangu Women Artists of the APY Lands are recognised for their boldly coloured paintings telling the Tjukurrpa creation stories of their homelands. The narratives centre on Women Creation Ancestors who travelled the country, laying down important ceremonial sites and customary law. The women continue to follow the edicts of law and ceremony from the Tjukurrpa, and this forms the main content of their paintings. Each artist stays within the traditional observations of their own family group in telling these age old stories.

Exhibiting artists include Alison Munti Riley, Teresa Baker, Clarise Tunkin, Maureen Baker, Elaine Woods, Carolanne Ken, Janice Woods, Imitjala Curley, Julie Woods, Madeline Curley, Venita Woods, Pollyanne Smith and Mantuna George.

Rosella Namok, Clan Groups, 2020, acrylic on canvas, 108 x 85 cm.

16 July—17 August Rosella Namok Recent Paintings Rosella Namok Namok brings the tropical heat and the

Ben Galmirrl Ward, Behn River, 2017, natural ochre and pigment on canvas, 100 x 200 cm. Image courtesy of the artist and Mossenson Galleries.

Until 30 July The Alternative Archive The John Curtin Gallery will showcase work by 40 contemporary regional artists, including 16 Indigenous artists, living in communities throughout WA for The Alternative Archive exhibition.

The exhibition features a broad range of artworks that document how regional artists, as story-tellers and keepers of alternative histories, relate to their people, towns, communities and regions.

Co-curated by Chris Malcolm (Director, John Curtin Gallery) and Anna Louise Richardson (Independent curator), The Alternative Archive is the culmination of an ambitious three-year project which presented a series of 13 regional exhibitions, bearing the Alternative Archive name, between February and October 2019.

Artists from as far away as Kununurra and Esperance were invited to create a contemporary visual archive of an aspect of their community drawn from personal relationships with the people, places and stories around them they felt should be highlighted for their implicit personal, cultural or social value. The 2021 exhibition aims to increase understanding of the arts ecology, the practices, and conditions of regional art making in Western Australia by urban audiences.

The artists are: Craig Allsop, Agnes Yamboong Armstrong, Gabrielle Butler, 245

ar t g ui d e .c o m . au John Curtin Gallery continued...

Debbie Carmody, Tina Carmody, Catherine Kgukgi Noble, Chan Dalgarno, Annette Davis, Mary-Lou Divilli, June Djiagween, Alana Grant, Charmaine Green and Mark Smith, Jan Goongaja Griffiths, Peggy Madig Griffiths, Naomie Hatherley, Pansy Hicks, Maitland Hill, Jason Holmes, Karen McClurkin, Serena McLauchlan, Jeanne Melville, Sarah Mills, Claudette Mountjoy, Brenda Mingen Ningarmara, Lyn Nixon, Ellen Norrish, Marianne Penberthy, Deidre Robb, Loreen Samson, Violet Samson, Michelle Slarke, Gary Smith, Tania Spencer, Louise Tasker, Casey Thornton, Monique Tippett, Lizzie Troup, James Walker, and Ben Galmirrl Ward.

KAMILĖ GALLERY

Established contemporary artists stand together to showcase artwork reflecting nature and the global climate crisis at KAMILĖ GALLERY and extending to the Cathedral Square. Opening Saturday 21 August, 2pm–4pm.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information.

www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth WA 6000 [Map 19] 0414 210 209 See our website for latest information.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 6465 4314 Mon to Sat 10am–4pm.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 Fri to Sun & public holidays, 10am–4pm.

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 2116 Thu to Sun 10am–4pm.

Sydney Ball, Ispahan, 1967, acrylic on canvas, 182.8 x 341 cm. The University of Western Australia Art Collection, Gift of Dr Albert Gild, 1969.

10 July—27 November Feeling abstract?

Sydney Ball, George Haynes, Margot Lewers, Erica McGilchrist, Tony Tuckson and Jenny Watson, among many others.

Paintings from the UWA Art Collection, 1950–1990.

Fleur Schell, The Rat Race Carousel, detail, 2021, porcelain, wood, glass objects, dimensions variable.

Helen Bitika Wunaymurra, Social Justice, 1990, acrylic on canvas, 92 x 122 cm.

9 July—7 August Story of the Beginning Exhibition celebrating NAIDOC Week.

Opening Friday 9 July, 6pm–8pm.

Lisa Wolfgramm, Painting #271, 2009, acrylic on canvas, 150 x 180 cm. Cruthers Collection of Women’s Art, The University of Western Australia.

10 July—27 November Matter Joan Campbell, Amanda Davies, Julie Dowling, Sarah Goffman, Rhonda and Susannah Hamlyn, the Hermannsburg Potters Group, Eveline Kotai, Michele Nikou, Susan Norrie, Carol Rudyard, Toni Warburton and Lisa Wolfgramm, among many others. Works from the Cruthers Collection of Women’s Art.

Lucille Martin, (Earth) The Cross - Transformation through Nature, 107 x 150 x 1.5 cm. Exhibited at Mandorla Art Prize.

Courtesy of and copyright the artist.

20 August—18 September We Are Nature First CO2 neutral exhibition in Australia.

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18 June—12 July Subiaco: The Elephants In The Room Fleur Schell “This exhibition acknowledges many of the current challenges that humans and the natural world face as a collective as we float precariously on this pale blue dot, the only home we’ve ever known.” Fleur Schell 2021.

27 February—27 November Creatures: Ochred, Pokered, Carved and Twined A diverse menagerie of animal representations from across Indigenous Australia from the Collection of the Berndt Museum of Anthropology.

Polly Ngale, Anwekety (Bush Plum), 2010, acrylic on linen, 120 x 180 cm.

WESTERN AUSTRALIA 28 June—13 July West Perth: Heal Country! Naidoc Week Exhibition Selected Aboriginal Artists

MOORE CONTEMPORARY www.moorecontemporary.com

Exhibition of paintings by selected Aboriginal artists on the Naidoc theme for 2021 of Heal Country!

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.

Joana Partyka, Unprecedented, 2021, stoneware, glaze, gold lustre, 17 x 11 cm.

Karlee Rawkins, Tiger, 2021, acrylic and charcoal on cotton canvas, 61 x 71 cm.

15 July—31 July West Perth: Hocus Pocus Karlee Rawkins A collection of paintings exploring intuition and the power of nature and creativity. Rawkins’ works play on the edge of obscurity, with subjects softening and shifting amongst layers and patterns. The totem like imagery is woven with personal story, occult and folk art references.

Tom Freeman, Andre Lipscombe, Joana Partyka and Gemma Watson.

Time passes quickly, drags on, accelerates. Time is punctuated by momentous events. Time languishes in archives.

CRITICAL TIME brings together artists who keep time, waste time or chronicle time, charting tempos through meditative, accumulating and reflective practices.

Until 17 July TAP (Tactile Art Project) DADAA Artists A showcase of tactile and multi-sensory artworks intended to be touched, seen, heard and smelt.

Until 17 July Blue Beautiful - Artist in Focus Dylan Madurun An installation by emerging artist Dylan Madurun, whose arts practice connects a variety of subject matter with his favourite colour, blue.

Claire Beausein, Clay, 2021, watercolour, pencil, thread, appliqué on washi paper, 65 x 120 cm.

Dan McCabe, -30.7824228, 121.5114812, 2020, acrylic sheeting on metal panel, custom frame, 87 x 62 cm, unique work. Courtesy of the artist and MOORE CONTEMPORARY. 26 June—24 July On Location Jacobus Capone, Dan McCabe, Kate McMillan and Tom Muller.

17 July—8 August Subiaco: GILGAI Claire Beausein Using watercolour and washi paper that is stitched, layered and torn, the paper’s delicacy speaks of a fragile landscape. A constant moving and shifting created by wind and rain, fire, human endeavor and the rhythm of the seasons create repeating marks that lace the surface of the land and inspire Beausein’s work.

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.

Until 17 July CRITICAL TIME

Chanae Dunstan, Flourish, Overall Winner Hypervision 2020, acrylic on canvas, 120 x 90 cm.

31 July—21 August Hypervision: Bloom Annual Youth exhibition and competition Young WA artists explore their interpretation of the word ‘bloom’ through their greatest period of growth, prosperity or productivity and ask what it really means to bloom, to shine.

Abdul Abdullah, Rocky Boy 2, 2021, oil on linen, 162.5 x 137 cm. Image courtesy of the artist, Yavuz Gallery and MOORE CONTEMPORARY. 7 August—11 September Peripheries Abdul Abdullah and Abdul-Rahman Abdullah.

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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.

new works and demonstrates Searles’ role as the instigator of an innovative art movement utilising Australian plant fibre and found objects.

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.

See our website for latest information.

Michelle Campbell, Urban Still Life, 2018, oil on canvas, 82 x 92 cm.

Until 1 August Urban Michelle Campbell A response to the conflict between development and community wellbeing, Michelle Campbell’s solo exhibition investigates the psychological impact of the changing urban landscape. Through painting Campbell explores personal connections to homes and suburbs as extensions to a sense of self.

Housed in a large and striking heritage building in the heart of Perth, Western Australia, PICA is the city’s focal point for those wishing to experience the best of Australian and international visual, performance and interdisciplinary art.

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.

Showcasing the result of skill sharing workshops between master artists and the local community as part of the Food for Thought project which saw the local community share food, skills and conversations about food culture.

www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information.

In addition to exhibitions generated through the application process, the ZigZag Gallery actively develops exhibitions and partnership projects to enable broader engagement with communities in the region.

Nalda Searles, Ggrrr, 2000, rubber doll body and animal head (both found on roadside1990s), Xanthorrhoea bracts, acrylic medium, 16 x 11 x 11 cm, courtesy of Private Collection.

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ZigZag Gallery

We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2022.

Dean De Landre, Flowers (Howl’s Moving Castle) #1, 2020, plastic beads, liquid nails, acrylic.

A crucial figure in the development of contemporary fibre sculpture in Australia over forty years, Nalda Searles shares her extraordinary approach to craft. This pivotal exhibition embraces previous and

Alicia Butt (SA), Dean De Landre (VIC), Stephanie Doddridge (SA), Hannah Foley (TAS), Shanti Gelmi (WA), Michael Guisanga Tuhanuku (VIC), Nicholas Hanisch (SA), Anna Jalanski (VIC), Bradley Kickett (WA), Renee Kire (QLD), Kate Land (QLD), Alexa Malizon (ACT), Beth Maslen (VIC), Lisa Myeong-Joo (NSW), Natasha Nielsen (WA), Michella Nudelman (VIC), Joshua Ophel (ACT), Natalie Quan Yau Tso (NSW), Harrison Riekie (WA), Yul Scarf (NSW), Grace Ware (VIC), Eli Waters (NSW), Elle Wickens (NSW) and Hope Yates (NSW).

The ZigZag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment.

The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme.

Until 1 August Food for Thought Various artists

14 August–31 October Finders Keepers: Nalda Searles Curated by Sandra Murray for the Indian Ocean Craft Triennial.

In 2021, PICA celebrates 30 years of supporting the work of Australia’s leading artists at the earliest stages of their careers through the iconic Hatched: National Graduate Show, the only national exhibition of its kind. This anniversary offers an opportunity to share and understand the impact and importance of the exhibition that forms a cornerstone of PICA’s annual program. Through an exciting program of events, artist talks, digital engagement and professional development opportunities, PICA invites you to reflect and celebrate the value of this beloved exhibition, both in the past and into the future.

Lisa Myeong-Joo, Between Mother and Moving is a Mountain Range, detail, 2020-ongoing, clover flowers.

8 May—11 July Hatched: National Graduate Show 2021

A–Z Exhibitions

JULY/AUGUST 2021

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

Museum and Art Gallery of the Northern Territory www.magnt.net.au

NCCA – Northern Centre for Contemporary Art www.nccart.com.au

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

The Museum and Art Gallery of the Northern Territory (MAGNT) is the Northern Territory’s premier cultural organisation.

Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols.

See our website for latest information

7 August—25 September Murrŋiny: new forms in East Arnehm metal Hit by shotguns, burnt by dry season fires, rusted by monsoonal rain – discarded signs litter Territory roadsides. The power of the rules and warnings they once shouted have faded like their glossy reflective paint. A group of seven Yolŋu artists from Yirrkala have come to rescue, recycle and rework these battered warriors in ways never seen before.

RAFT artspace

22 May—25 July Container: the box that changed the world In today’s global world you may have had coffee from Brazil or a smoothie containing frozen fruit from China. You could be wearing clothes made in India, watching a TV made in Japan while sitting on a sofa containing wood from Argentina on a laminate floor manufactured in Sweden. All of this has been made possible by a rectangular steel box - the humble shipping container. In this free outdoor exhibition you can literally ‘step inside the box’ to explore six colourful containers scattered around the museum like giant Lego pieces. Each container covers one part of this six part touring exhibition developed by the Australian National Maritime Museum.

you? explores Tarzan’s experience as a queer-bodied human finding a voice.

www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions.

See our website for latest information.

Tarzan Junglequeen, They are all queer, 2021, digital image.

25 June—17 July Do I seduce you?

Tarzan JungleQueen A multi-disciplinary, queer, non-binary artist living in Darwin. They bring together graphic art, word collage, photography, film, and screenprint to create works that deconstruct ideas of gender. Do I seduce

Jimmy Donegan, Wati Kutjara Wanampi, 2021, acrylic on linen, 122 x 122 cm.

18 June—10 July Yanytjari Jimmy Donegan 16 July—7 August Collaborations from Indulkana New work on linen and film by artists of Iwantja Arts.

Mens Collaborative (Peter Mungkuri, Alec Baker, Eric Barney, Tiger Yaltangki, Mitika Burton), acrylic on linen, 198 x 243 cm.

13 August—5 September A portrait of People Caring About Things Zoya Godoroja-Priekaerts The World is Made of Relative Elliat Rich

250

raftartspace.com.au

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Art Gallery of New South

The Cross Art Projects (NSW) 153

Holmes à Court Gallery

Wales (NSW)

5, 145

D

123

at Vasse Felix (WA) 215

Art Gallery of South Australia (SA) 207

DADAA Gallery (WA) 214

Horsham Regional Gallery (VIC) 123

Art Gallery of Western Australia (WA) 213

Darren Knight Gallery (NSW)

Home of the Arts (HOTA) (QLD)

Arts Project Australia (VIC)

Deakin University Art Gallery

22, 110

40, 189

Hugo Michell Gallery (SA) 208

Australian Design Centre (NSW) 147

Australian Catholic University 43

Defiance Gallery (NSW) 154

Australian Centre for Contemporary Art

Devonport Regional Gallery (TAS) 203

Immigration Museum (VIC) 132

2, 111

The Distorted Frame (VIC) 112

Incinerator Art Space (NSW) 161

111, 146

The Dax Centre (VIC) 118

Incinerator Gallery (VIC) 125

(ACCA) (VIC)

Australian Galleries (NSW)

Australian Museum (NSW) 7

at Burwood

154 118

E Eden and the Willow (NSW) 154

Eramboo Gallery (NSW) 163

Australian Tapestry Workshop (VIC)

111

B (BAMM) (NSW) 147, 174

Bayside Gallery (VIC)

147

26, 30, 113

Ballarat International Foto

Biennale (VIC)

8

J Jacob Hoerner Galleries 127

Experimenta 164

JahRoc Galleries (WA)

F

Bathurst Regional Art Gallery (NSW)

Institute of Modern Art (QLD) 24, 191

Everywhen Artspace (VIC) 119

Bank Art Museum Moree

I

Ink Masters (QLD) 191

Australian National Capital Artists (ANCA) Gallery (ACT) 199

Hurstville Museum (NSW) 159

Federation University (VIC) 119

Fellia Melas (NSW) 174

Jan Murphy Gallery (QLD)

Finkelstein Gallery (VIC)

35, 119

The Japan Foundation

FireWorks Gallery (QLD)

188, 189

Flinders Lane Gallery (VIC)

211, 217

John Curtin Gallery

119

Curtin University (WA)

Gallery (NSW)

3, 161 217 125

199

Flinders Street Gallery (NSW) 156

Jewish Museum of Australia (VIC)

Bega Valley Regional Gallery (NSW)

148

Flinders University Museum

Johnston Collection (VIC)

Bendigo Art Gallery (VIC)

113

127, 130

K

Bett Gallery (TAS) 45, 203

fortyfivedownstairs (VIC)

KAMILĖ GALLERY (WA)

218

Blacktown Arts (NSW) 148

Fox Galleries (VIC) 120

Ken Done Gallery (NSW)

168

BLINDSIDE (VIC)

113

120

191

Japingka Aboriginal Art

Beaver Gallery (ACT)

of Art (SA) 207

217

Frankston Arts Centre (VIC) 120

Kingston Arts (VIC)

127

Blue Mountains City

Fremantle Arts Centre (WA) 214

King Street Gallery (NSW)

166

FUTURES (VIC) 41, 121

Koorie Heritage Trust (VIC)

129

Art Gallery (NSW) 148

BMGArt (SA) 207 Boroondara Arts (VIC) 142

266

G Gaffa Gallery (NSW)

Korean Cultural Centre Australia (NSW) 163 155

INDEX

L

National Gallery of Australia (ACT)

Latrobe Regional Art Gallery (VIC) 129

National Gallery of Victoria -

Lauraine Diggins Fine Art (VIC)

129

Lawrence Wilson Gallery (WA) 218 Leonard Joel Linton & Kay Galleries (WA)

NGV International (VIC)

The Sculptors Society 176 S.H. Ervin Gallery (NSW) 177

The Ian Potter Centre (VIC)

134

Sofitel Melbourne On Collins (VIC) 126, 137 Stanley Street Gallery (NSW) 179

National Gallery of Victoria -

34

Linden New Art (VIC)

200

IBC, 135

STATION (VIC, NSW)

138, 179

129

National Portrait Gallery (ACT) 200

Stephen McLaughlan Gallery (VIC) 138

42, 218

Neil Wallace Printmaking Supplies (VIC) 128

Stockroom Gallery (VIC)

New England Art Museum (NSW)

173

Sturt Gallery (NSW) 179

The Lock-Up (NSW)

163

138

Logan Art Gallery (QLD) 191

Newcastle Art Gallery (NSW)

172, 173

Sullivan & Strumpf (NSW) 179

LON Gallery (VIC) 131

Newmarch Gallery (SA) 208

Sutton Gallery (VIC) 138

LUME (VIC)

Nexus Arts Gallery (SA)

Swan Hill Regional Gallery (VIC)

18

Lyon Housemuseum Galleries (VIC) 131

208

138

Niagara Galleries (VIC) 134

Sydney Contemporary (NSW)

Nicholas Thompson Gallery (VIC)

137

Sydney Living Museums (NSW)

M16 (ACT) 200

Noosa Regional Gallery (QLD)

192

Sydney Jewish Museum (NSW) 14

MAC Museum of Art and Culture

Northern Centre of Contemporary

M

Lake Macquarie (NSW) 167

6 23

T

Art (NCCA) (NT) 17, 222

Taka Gin Co.

28

Macquarie University Art

NorthSite Contemporary Arts (QLD) 44, 192

TarraWarra Museum of Art (VIC) 30, 138

N.Smith (NSW) 21, 171

Tasmanian Museum (TAS) 205

Gallery (NSW) 163

Maitland Regional Art Gallery (NSW) 165 Manly Art Gallery (NSW)

165

Thienny Lee Gallery (NSW) 181

O OLSEN (NSW) 176, 175

Tinning Street Presents (VIC) 139

Manningham Art Gallery (VIC) 131

Omnus Framing (VIC)

128

Tolarno Galleries (VIC) 140

Margaret Lawrence Gallery (VIC) 131

Onespace (QLD) 193

Toowoomba Regional Gallery (QLD) 195

Martin Browne Contemporary (NSW) 165

Outback Regional Gallery,

Town Hall Gallery (VIC)

McClelland Sculpture

Winton (QLD) 193

Tuggeranong Arts Centre (ACT) 201

P

Tweed Regional Gallery (NSW) 181

Park + Gallery (VIC)

131

140

Melbourne Etching Supplies (VIC) 128

Penny Contemporary (TAS) 204

Melbourne Symphony Orchestra (VIC) 38

Perc Tucker Regional Gallery (QLD)

Metro Arts (QLD) 191

Perth Instiutute of Contemporary

Umbrella Studio (QLD) 196

Metro Gallery (VIC) 131

University of Sunshine Coast (QLD)

Midland Junction Arts Centre (WA) 219

PG Gallery (VIC) 137

UNSW Galleries (NSW) 181

Mildura Arts Centre (VIC) 133

Philip Bacon Galleries (QLD) 194

UQ Art Museum (QLD)

Mission to Seafarers (VIC) 114

PhotoAccess Huw Davies

MOORE CONTEMPORARY (WA)

219

Monash Gallery of Art (VIC)

132

Piermarq* Gallery (NSW) 175

Victorian Artists’ Society (VIC)

Monash University MADA

Pinnacles Gallery (QLD) 194

Vivien Anderson Gallery (VIC)

Pine Rivers Art Gallery (QLD) 194

Gallery (VIC) 133

twenty twenty six (NSW) 178, 181 U

193

Arts (PICA) (WA) 220

196 31, 197

V

Gallery (ACT) 201

Velvet Buzzsaw Gallery (NSW) 182 140 19, 141

W

Monash University Museum

Powerhouse Museum (NSW) 4

Wagga Wagga Art Gallery (NSW) 182

praxis ARTSPACE (SA)

Walker Street Gallery (VIC) 141

of Art (VIC) 134

Montville Art Gallery (QLD) 192 Mornington Peninsula Regional

Gallery (VIC)

134

209

Wangaratta Art Gallery (VIC) 141

Q Queensland Art Gallery/Gallery

Watt Space Gallery (NSW) 183

Wellington Gallery (NSW) 170, 183

of Modern Art (GOMA) (QLD) 194

Mosman Art Gallery (NSW) 165

Queen Victoria Museum and

West End Art Space (VIC) 141

Mundaring Arts Centre (WA) 220

Western Australia Museum (WA)

Murray Art Museum Albury

QUT Art Museum (QLD) 194

(MAMA) (NSW)

167

Art Gallery (TAS) 204

25

Western Plains Cultural Centre (NSW) 183 Western Sydney University

R

Murray Bridge Regional

RAFT artspace (NT) 222

Redcliffe City Gallery (QLD) 195

Wentworth Galleries (NSW) 184

Museum & Art Gallery of Northern

Redland Art Gallery (QLD) 195

Whitehorse Artspace (VIC) 143

Territory (NT) 222

Riddoch Art Gallery (SA) 209

White Rabbit Collection (NSW) 185

Museum of Brisbane (QLD) 192

RMIT Gallery (VIC) 137

Wollongong Art Gallery (NSW) 185

Museum of Contemporary Art (NSW) 169

Roslyn Oxley9 Gallery (NSW)

Wyndham Art Gallery (VIC)

Museum of Old and New Art

Rusten House Art Centre (NSW)

Gallery (SA) 208

(MONA) (TAS)

Muswellbrook Regional (NSW)

204 151, 169

N

IFC, 175 175

Nanda\Hobbs (NSW) 39, 171

Sauerbier House

National Art School Gallery (NSW) 171

Culture Exchange (SA)

136, 143

Y Yering Station Art Gallery (VIC) 143

S Saint Cloche (NSW) 177 Samstag Museum of Art (SA)

Art Galleries (NSW) 184

9, 210

Z ZigZag (WA) 220

210

267

“You can approach it so that you take people into that not-knowing with you.”

— M I K A L A DW Y E R , A R T I S T, P. 6 9

“We need you to stand beside us and be warriors with us.”

— C L O T H I L D E B U L L E N , C U R AT O R , P. 81

“It’s about pulling apart elements from history to speak to my own presence.”

— S A L O T E TAWA L E , A R T I S T, P. 9 7

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