Art Guide Australia — July/August 2022 by Art Guide Australia

Dhambit Munuŋgurr 12 August–10 September 2022 Roslyn Oxley9 Gallery

Dhambit Munuŋgurr, Dambung’thun - Dancers at Wandawuy (detail), 2021, earth pigments and acrylic on bark, 178 x 58 cm roslynoxley9.com.au

CHIHARU SHIOTA STATE OF BEING

25 June – 23 July 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com annaschwartzgallery.com

Like a Wheel That Turns: The 2022 Macfarlane Commissions 2 July – 4 September 2022 Nadia Hernández Lucina Lane Gian Manik Betty Muffler Jahnne Pasco-White Jason Phu JD Reforma Esther Stewart Australian Centre for Contemporary Art 111 Sturt Street, Southbank, VIC 3006 Melbourne Australia acca.melbourne

acca.melbourne

DANIEL BOYD TREASURE ISLAND Holding a lens to history On now Free entry Major partner

top: Daniel Boyd Untitled (GB) 2015. Private Collection, Sydney bottom: Daniel Boyd Untitled (PW) 2014. Art Gallery of New South Wales, Bulgari Art Award 2014i. All artworks © Daniel Boyd.

artgallery.nsw.gov.au

BUSH DIWAN Developed by 4A Centre for Contemporary Asian Art Curators Amrit Gill Reina Takeuchi

Artists Manisha Anjali Anindita Banerjee Monisha Chippada Sukhjit Kaur Khalsa Amardeep Shergill

VISIT Botanical Gardens Bridge Street Benalla VIC 3672

FREE ENTRY Mar—Aug, 10AM—4.30PM Sep—Feb, 10AM—5PM Closed Tuesdays

Benalla Art Gallery | 5 Aug—16 Oct 2022 Bush Diwan centres on the story of Siva Singh, an early 20th century Benalla resident, Sikh community leader and civil rights campaigner. In responding to the Siva Singh story, artists illuminate two significant—yet little known—moments in Australian history.

CONTACT T 03 5760 2619 E gallery@benalla.vic.gov.au W benallaartgallery.com.au

benallaartgallery.com.au

IMAGE A group of Sikhs gathered at Siva Singh’s property at Reef Hills outside Benalla, 1920. Photo: WJ Howship Collection, University of Melbourne

Martumili Artists Kintyre 2020-2021. Acrylic on canvas, 500 x 300 cm. Image courtesy of Martumili Artists.

ArtGuide_AD.indd 1

tracksweshare.com.au

8/6/22 10:00 am

acmi.net.au

ONE TICKET. TWO EXTRAORDINARY EXHIBITIONS. 25 JUNE – 9 OCTOBER PORTRAIT.GOV.AU portrait.gov.au

Richard Bell: Reader documenta fifteen With contributions by: Larissa Behrendt, Richard Bell, Sylvia McAdam, Andrew McNamara, Alan Michelson, ruangrupa and Chelsea Watego. Co-edited by: Angela Goddard and Megan Tamati-Quennell. Designed by: Žiga Testen and Stuart Geddes. Launching to coincide with documenta fifteen, Kassel, Germany, 18 June - 25 September 2022

griffith.edu.au/art-museum

Boundary Conditions is proudly supported by the NSW Government.

slm.is/boundaryconditions

Sustaining the art of practice

25 June – 20 August 2022

LAWRENCE WILSON ART GALLERY T h e e x h i b i t i o n , Fr o m t h e C r u t h e r s C o l l e c t i o n o f Wo m e n ’ s A r t continues until 10 December 2022 LAWRENCE WILSON ART GALLERY OPEN TUES - SAT 12 - 5PM FREE ADMISSION @LWAGallery

THE UNIVERSITY OF WESTERN AUSTRALIA 35 Stirling Highway, Crawley, WA, Australia 6009 P +61 (0)8 6488 3707 W uwa.edu.au/lwag

sheila F OUN D AT IO N

CRICOS Provider Code: 00126G

Jody Quackenbush, Octopus/deep sea creature mask, 2013, fabric, embroidered flowers, fake pearls, found plastic. Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist.

Art Guide Ad - SAOP.indd 1

uwa.edu.au/lwag

7/6/22 2:42 pm

SEBASTIAN MOODY

Opinion Fatigue

22 July - 27 August 2022

onespacegallery.com.au @onespacegallery onespacegallery.com.au

orange.nsw.gov.au/gallery

bundanon.com.au

A major survey exhibition by influential artist Lindy Lee. The artist’s meditative and thoughtprovoking works explore art history, cultural authenticity, identity and the cosmos.

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.

Building 200A, Kent St, Bentley, Western Australia. 08 9266 4155 jcg.curtin.edu.au

Art_Guide_LL_22_JulyAug_Draft.indd 1

3 June – 28 August 2022

Lindy Lee, Palace of Sunlight (detail), 2017, flung bronze, image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore, © the artist

jcg.curtin.edu.au

9/6/2022 10:39 am

in Contemporary Japanese Art July 29 2022 — Jan 28 2023 The Japan Foundation Gallery

Artists Masahiro Hasunuma Yuichi Higashionna Tomoko Kōnoike Maki Ohkojima Fuyuhiko Takata

Curators Mayuko Murai Emily Wakeling

Presented By

Supported By

jpf.org.au

hota.com.au

sheppartonartmuseum.com.au

Image: Claire Bridge and Chelle Destefano, I’m Deaf and Visible, with Catherine Lillian in What I Wish I’d Told You, 2022, video still

What I Wish I’d Told You

Claire Bridge & Chelle Destefano with Deaf Community

13 July - 28 August Tues to Fri 9.30am - 5pm

Sat and Sun 10am - 4pm

45 Moreland Street, Footscray VIC 3011 03 9362 8888

In partnership with

Supported by

@ footscrayarts footscrayarts.com

footscrayarts.com

bendigoartgallery.com.au

July/August

2022

EDITOR AND PODCAST PRODUCER

Tiarney Miekus

Get in touch EDITORIAL

ASSISTANT EDITOR

editors@artguide.com.au

WEBSITE AND SOCIAL MEDIA COORDINATOR

advertise@artguide.com.au

Autumn Royal

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANTS

Girivarshan Balasubramanian CONTRIBUTORS ISSUE #138

Andy Butler, Brenda L Croft, Steve Dow, Briony Downes, Louise Martin-Chew, Kelly Gellatly, Wes Hill, Neha Kale, Zali Matthews, Tiarney Miekus, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Autumn Royal, Barnaby Smith, Andrew Stephens, Hamish Ta-Mé.

ADVERTISING

SUBSCRIPTIONS

artguide.com.au/subscribe GENERAL ENQUIRIES

info@artguide.com.au STOCKISTS

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

facebook.com/ artguideaustralia IG instagram.com/artguideau TW twitter.com/artguideaust #artguideaust FB

Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066 Art Guide Australia is an independent bimonthly publication produced by Print Ideas P/L. PUBLISHERS

Graham Meadowcroft Kim Butterworth 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: Hayley Millar Baker

front Hayley Millar Baker, Cook Book, Untitled (Pass the

message stick I’ve got something to say), 2017-19, inkjet on cotton rag (diptych), 18 parts, 55 x 55 cm (each). courtesy the artist and vivien anderson gallery, melbourne. back Hayley Millar Baker, A Series of Unwarranted Events, Untitled (The best means, of caring for, and dealing with them in the future), 2018, inkjet on cotton rag, 80 x 100 cm (framed). courtesy the artist and vivien anderson gallery, melbourne.

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.

A Note From the Editor PR E V I E W

Chiharu Shiota: The Soul Trembles Bruce Munro: From Sunrise Road Still in My Mind: Gurindji location, experience and visuality Bush Diwan Sheree Dohnt: Motherhood David Fairbairn: Drawn Together Annette Blair: Quietly Spoken Jessica Loughlin: Of Light Catherine Rogers: Evidence and The Visible Olivia Colja: Return to the Hook F E AT U R E

Nicola Smith: Still Life Dhambit Munuŋgurr: Into the Blue INTERV IEW

Robert Andrew F E AT U R E

The Big Building Boom S T U DIO

Daniel Boyd F E AT U R E

20 Questions: Hayley Millar Baker C OM M E N T

Brenda L Croft: Picture This F E AT U R E

Megan Cope: After the Flood Susan Norrie: Mysterious Forces Todd McMillan: Death in Venice Allison Chhorn: Acts of Empathy

Issue 138 Contributors is an artist, writer and curator based in Narrm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and frieze. BR ENDA L CROF T is from the Gurindji/Malngin/ Mudburra peoples from the Victoria River region of the Northern Territory of Australia, and AngloAustralian/German/Irish/Chinese heritage. She has been a key participant in the Australian First Nations and broader contemporary arts and cultural sectors as a multi-disciplinary creative practitioner—artist, arts administrator, consultant, curator, educator and researcher— since the mid-1980s. Brenda is Professor of Indigenous Art History and Curatorship, Australian National University. In 2023—2024 Brenda will be Gough Whitlam and Malcolm Fraser Chair of Australian Studies at Harvard University, Cambridge, MA, USA. 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. K ELLY GELLATLY is an experienced arts leader, advocate, curator and writer. W ES HILL is Senior Lecturer in Art History and Visual Culture at Southern Cross University, Lismore. Recently, he co-curated, with Angela Goddard, Jeff Gibson: Countertypes at Griffith University Art Museum, Brisbane, from 9 June to 27 August 2022. 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. A NDY BUTLER

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, published by QUT Art Museum in 2021, and she has a forthcoming book, Margot McKinney: World of Wonder, to be published by Museum of Brisbane in June 2022. ZA LI M ATTHEWS is a curator, arts writer and arts worker based in Meanjin (Brisbane). She is interested in Australian contemporary art, and in art which blurs boundaries between digital and physical experiences in a postInternet age. Zali completed a Bachelor of Advanced Humanities (Honours Class I) with an extended major in Art History at the University of Queensland. TI A R NEY MIEKUS is the editor of Art Guide Australia and a freelance writer whose work has appeared in The Age, The Saturday Paper, Sydney Review of Books, un Magazine, Meanjin, Disclaimer, Memo Review, Overland and The Lifted Brow. 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. JA NE O’SULLI VA N is an independent art writer. She has contributed to Vault, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog, and is also a former editor of Art Collector. AUTUMN ROYA L creates drama, poetry and criticism. Autumn is the founding editor of Liquid Architecture’s Disclaimer journal, interviews editor at Cordite Poetry Review and assistant editor at Art Guide Australia. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine. H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

A Note From the Editor “I’ve got something to say,” reads the caption on Hayley Millar Baker’s cover image for this issue, which overdubs a photograph of a young child sitting casually on the phone. The mix of emotions is emblematic of the Gunditjmara artist’s practice, and in this issue we get to know Millar Baker, from her art crushes to her process of creating. But thinking even larger, especially in recent post-election Australia, the sentiment of ‘having something to say’ rings true throughout this issue. Artists do have something to say, from the apparent to the oblique (even those artists who deny that their work ‘says anything’!). We largely say things through language, and for Robert Andrew, a descendant of the Yawuru people, art is a way to reveal the colonial power structures of language. Yet what makes this urgency surrounding words even more compelling is not only Andrew’s incredible combination of concept, beauty and technology, but his own tussles with language. This mixture of personal and political is found in the work of Djapu artist Dhambit Munuŋgurr, who creates famously blue paintings that not only capture Country, but political events from Julia Gillard’s misogyny speech to lambasting the government’s ‘stop the boats’ policy. History also speaks: artist and curator Brenda L Croft tells the tremendous story behind a photograph from the 1990s—you won’t believe the wealth of talent in one image—and our profile on influential artist Susan Norrie chronicles her visits to disaster areas and the Iraq War, documentingthe strange and tragic forces of the world. And, as they say, money talks: we look at the hundreds of millions of philanthropic and government funding funnelled into museum and gallery buildings in the last few years. Does this come at the cost of supporting artists, or is it the investment we need? Read what artists and writers have to say in this July/August issue. Tiarney Miekus Editor, Art Guide Australia

“. . . the sentiment of ‘having something to say’ rings true throughout this issue.” 51

Previews W R ITERS

Briony Downes, Louise Martin-Chew, Zali Matthews, Giselle AuNhien Nguyen, Autumn Royal, Barnaby Smith.

Brisbane Chiharu Shiota: The Soul Trembles Gallery of Modern Art 18 June—3 October

Chiharu Shiota’s exquisite, renowned artworks trace life and death, the intangible aspects of human existence, and the way we remember and dream. Known for her evocative large-scale installations created from thouChiharu Shiota, Where Are We Going?, 2017/2019, sands of delicate red and black threads, her largest white wool, wire, rope, dimensions variable. survey to date is now showing. courtesy of galerie templon, paris/brussels. Spanning more than 100 works and organised installation view: shiota chiharu: the soul by Tokyo’s Mori Art Museum, the exhibition features trembles, mori art museum, tok yo, 2019, photogr aph: kioku keizo. courtesy of mori art many of Shiota’s large-scale immersive installations, museum, tok yo. interspersed with what Gallery of Modern Art curator Reuben Keehan describes as “more archival presentations that give a sense of the history of her practice and the real depths of the themes that she’s been exploring for some time”. Australian audiences may already be familiar with these themes: for the 2016 Biennale of Sydney, Shiota delivered an unforgettable installation of beds suspended in black thread, drawing on the historic sandstone site of Cockatoo Island, and ensnaring the spirits of the past. More recently, figurative forms have reappeared in Shiota’s work. “Those often take the forms of body parts like truncated arms or legs and come directly from her experience,” explains Keehan. “Even though they’re bronze, they’re so beautifully cast that they appear quite fragile.” Alongside these body-centered works will be a new never before seen installation for Brisbane, which will be acquired by the gallery. Born in Japan, Shiota now lives in Berlin, having spent time in many places around the world (including Australia when she attended Canberra School of Art in the 1990s). While her practice has a series of recurring motifs such as boats, suitcases, journeys and migration, Keehan affirms that, “There’s no strict reading of the work. These motifs inspire it, but what the audience takes away from it is a very personal thing.” —LOUISE M A RTIN- CHEW

Chiharu Shiota, Uncertain Journey, 2016/2019, metal frame, red wool, dimensions variable. courtesy of blain | southern, london/berlin/new york. installation view: shiota chiharu: the soul trembles, mori art museum, tok yo, 2019, photogr aph: kioku keizo. courtesy of mori art museum, tok yo.

Melbourne From Sunrise Road Bruce Munro

Heide Museum of Modern Art 25 June—16 October

For over four decades, the acclaimed English-Australian artist Bruce Munro has held an enduring fascination with how time, memory, and transience are experienced individually and collectively. From Sunrise Road, the artist’s first Australian museum exhibition, returns to the beginning of this: Sunrise Road in Sydney’s Palm Beach was where Munro was living when he began creating in the 1980s. Bruce Munro, Time and Place, 2021. heide museum, Celebrated for his experiential, immersive light2021, melbourne, austr alia. copyright 2021 bruce based sculptures, Munro is exhibiting a series of intimate munro. all rights reserved. indoor artworks that are embraced by a large-scale installation, Cadent Spring. This all-encompassing piece arises from Munro’s critically acclaimed Field of Light, envisaged in 1992 after visiting Uluru and installed in 2016, where it can still be experienced today. Cadent Spring—a 50-meter-wide installation—also emerges from the concept of warming your hands around a fire and passing along this warmth into the palm of another. “It’s about connectivity between people,” explains curator Kendrah Morgan. A core piece within Cadent Spring is a convex positioning of stainless-steel waterlilies and abstract clockfaces. Adorned with shimmering fibre optic lights, it echoes the cyclic, and at times incomprehensible, nature of past, present, and future. “Light is my medium,” says Munro, “and a beautiful quality of light is that it captures the ephemeral . . . [it] has a spiritual essence about it and makes it ideal as a medium to express abstract concepts.” Munro’s dedicated archival practice, which weaves literary and philosophical references, also informs From Sunrise Road, alongside the practicalities of shipping work internationally in these times. The exhibition was delayed by Covid-19 and the 2021 Suez Canal obstruction, and Munro responded to such events by generating new two-dimensional works that are “based on his photographs and relationship with light and colour”, says Morgan. It’s Munro’s poetic engagement with light as a means of conjuring a circulation of memories and shared experiences that unifies the works in the exhibition. —AUTUMN ROYA L

Fraser Coast Still in My Mind: Gurindji location, experience and visuality

Hervey Bay Regional Gallery and Gatakers Artspace 11 June—21 August

Brenda L Croft, Self-portraits on country, Wave Hill, 2014, (installation detail), pigment print on archival paper, 42 x 59.5 cm. courtesy the artist and niagar a galleries, melbourne.

In 1966 in the Northern Territory, 200 Gurindji workers pushed forward the land rights movement in Australia. Known as the Wave Hill Walk-Off, the strike was led by Gurindji Elder Vincent Lingiari, protesting Aboriginal land dispossession and worker exploitation. Now, Still in My Mind examines this significant moment. Titled after Lingiari’s words, “that land . . . I still got it on my mind”, and curated by artist Brenda L Croft,

this exhibition of video, painting, photography and installation departs from 1966, relaying stories about what comprises home, community and Country into today’s context. Croft’s own history as a descendant of Stolen Generations is interwoven with personal stories from Kalkaringi and Daguragu community, as well as archival footage and film. The nationally touring exhibition tells an important story of the battles of cultural dispossession, fuelled by First Nations resilience and determination. As Croft says, “This exhibition and its many layers will allow other First Nations and non-Indigenous people to understand what we went through and who we are now in the 21st century.” Hervey Bay Regional Gallery director Ashleigh Whatling agrees, adding, “The quotes from the letter that Vincent Lingiari wrote in 1966 are relevant today.” While a resident in Hervey Bay for only six months, and identifying herself as an outsider, Whatling acknowledges that, “Badtjala native title is an ongoing fight, and I hope the exhibition will inspire people to keep that going.” With the majority of works showing at Hervey Bay for this iteration, Croft’s video installation Retrac(k)ing country and (s)kin will exhibit in the new Gatakers Artspace in Maryborough. Whatling says, “Sometimes Maryborough and Hervey Bay can seem a little bit far away from each other, but it’s all Badtjala land . . . Connecting our sites in this way is a potent acknowledgment that Badtjala people have been looking after this entire region for thousands of years.” —LOUISE M A RTIN- CHEW

Benalla Bush Diwan

Benalla Art Gallery 5 August—16 October

Bush Diwan takes as its departure point the remarkable life of Siva Singh. A Punjabi Sikh from India who migrated to Benalla in 1897, Singh left an immense legacy with his community and religious leadership, and his civil rights activism in the early decades of the 20th century. For A group of Sikhs gathered at Siva Singh’s property Bush Diwan, five female artists—Manisha Anjali, Anindita at Reef Hills outside Benalla, 1920. photogr aph: wj Banerjee, Monisha Chippada, Sukhjit Kaur Khalsa and howship collection, university of melbourne. Amardeep Shergill—offer work that both celebrates Singh’s life and addresses wider social and cultural points. Amrit Gill, co-curator of Bush Diwan alongside Reina Takeuchi, says the exhibition was inspired by a desire to “highlight the story of a local resident and the story of Asian community formation in Australia’s regions”. “The Punjabi word ‘diwan’ means gathering or religious event,” Gill adds. “The themes of community formation, gathering, reclaiming identity and faith following migration, and anti-racism are explored in Bush Diwan . . . We considered what is left behind in migration and how we form and reform identity in our adopted homes through ceremony and cultural practices.” The five South Asian-Australian artists embrace screen, sound, performance, sculpture and textiles. Gill highlights the work of Canberra-based Shergill which integrates “traditional phulkari embroidery into rigid sculptural forms, invoking strength and resilience in her utilisation of a cultural practice most often associated with women.” While based on Singh’s life and times, Bush Diwan also asks expansive and urgent questions about multiculturalism in Australia, via innovative artistic forms and storytelling modes. “Something I think will surprise viewers will be the way the artworks are not necessarily a direct retelling of the Siva Singh migration story, but rather a conflation of stories of migration and community formation,” says Gill. —BA R NA BY SMITH 55

Bunbury Motherhood Sheree Dohnt

Bunbury Regional Art Gallery 18 June—7 August

A newborn shares a moment of skin-to-skin contact on their mother’s chest. A woman lies on the couch with a cat on her lap and a child by her side, staring into the midSheree Dohnt, Skin on Skin, 2022, watercolour on dle distance. A child holds a question card from the game paper, 15 x 20 cm (framed). Cards Against Humanity, reading “Daddy, why is mummy crying?” These watercolour paintings are part of Sheree Dohnt’s Motherhood, showing the joys and challenges of women’s experiences of parenting. The Bunbury-based artist—and a mother herself—interviewed 14 women of varying ages and backgrounds, asking questions including how they measure success, the hardest part of parenting, and what they miss about life before children. She also requested photographs of the participants in ordinary moments of motherhood. Dohnt transformed these answers and photographs into intimate portraits, “making the invisible moments visible”, she explains. The children are not present in all of the images, which range from sentimental to confronting. “I had to remember what really struck me, what response or what conversation gave me goosebumps, or what felt really important to them—a gut feeling of what moment was going to be portrayed,” she says. “Sometimes it was surprising to hear that my perspective was not the same.” Dohnt was inspired by the National Gallery of Australia’s Know My Name exhibition and Bryce Dallas Howard’s documentary Dads. She created Motherhood to show a new perspective, and hopes to expand it with further conversations across even more demographic lines. “I’m very aware of the history behind the portrayal of the mother and child,” she says. “Media puts an expectation on mums to always be positive, so the work is perhaps not showing the mums’ finest moments or most polished looks—but I believe that’s where the real magic is.” —GISELLE AU-NHIEN NGU Y EN

Sydney Drawn Together David Fairbairn Hawkesbury Regional Gallery 5 August—16 October

David Fairbairn, Double Lives, D.F.& S.A. No 2., 2021, acrylic gouache on paper, 172 x 158 cm.

David Fairbairn’s deeply felt, emotive portraits are a soulful meditation on ageing and companionship. These are perhaps long-time themes for the widely respected artist, yet in moving from single portraits to double portraits for Drawn Together, he has brought new dimensions to his ongoing study of intimacy. For him, the process of creating portraits with two subjects allows “more scope for a psychological examination and interaction between the personalities”. In some of Fairbairn’s recent works, for the series Double Lives, the two subjects depicted are none other than Fairbairn himself and his partner, the artist

Suzanne Archer—the drawings became an exploration of new emotional ground. “I believe it is not that common for a male artist to express the intimacy of a relationship in a substantial body of drawings, paintings and prints,” says Fairbairn, who lives and works in Wedderburn, New South Wales. “While I have made works [that feature] my partner extending back to the early 1980s, this is the first time I have made work that includes both of us in such personal poses. What distinguishes these works is the familiarity and unique insights generated by a relationship that extends back more than three decades.” While these particular drawings are rooted in Fairbairn’s personal life, there is an undoubted universality to the exhibition. One can’t help being affected by the softness and vulnerability that Fairbairn channels through his figures. “The works are intensive and obsessive observations of ordinary men and women in their later years,” he says. “Many of them evolve over a long period of time, mimicking the same checks, adjustments and redirections as the lives of the sitters. They also reflect my own ageing process and pose many larger questions about the nature of mortality.” —BA R NA BY SMITH

Canberra Quietly Spoken Annette Blair

Canberra Glassworks 15 June—14 August

Annette Blair has been blowing, sculpting, carving, and painting glass for over 20 years—and now she’s exquisitely demonstrating this knowledge and experience in her first solo exhibition at Canberra Glassworks, Quietly Spoken. Bringing together over 100 individual objects moulded from glass, the pieces include hardware tools, nails, paint cans, brushes, flower petals, leaves, and food. Arranged in clustered groups, these ordinary items resemble sculptural, suburban still life forms. Many of these objects are inspired by those found around Blair’s house, in the sheds of her father and grandfather, or items from European still life paintings. Crafted with glass, their original function is rendered obsolete, ensuring they can be reconsidered with fresh eyes. “I’m really interested in how you can have relationships with these objects,” says Blair, “and how they can remind you of a time, place, or person to create a connecAnnette Blair, A quiet afternoon in May, (detail), 2022. photograph: adam mcgrath. tion that goes beyond their utilitarian functions.” This nostalgic interest in the history and memories of objects also extends to the inevitability of decay. In a testament to her technical skills, Blair bends, twists, and coats her objects in rust, as if they had been thrown away and left out in the elements. She paints bruises on fallen leaves, and carves away the body of an eaten apple. Encapsulated in glass, these damaged and decayed objects become immortalised and remembered. “I like that while glass is seemingly very breakable, it’s also very permanent,” says Blair, “and in creating an object which might have originally been made out of a material like tin or wood in glass, I’m able to both celebrate and preserve it. I hope that viewers can engage with the works to build stories about them, and see them as the still lifes they are—little moments in time, preserved.” — ZA LI M ATTHEWS

Adelaide Of Light Jessica Loughlin

JamFactory Adelaide 15 July—18 September

Over the last 20 years, Jessica Loughlin has explored the idea of stillness through glass. Her minimalistic kiln-formed works interact with light to create moments of emptiness, asking the viewer to pause for a moment and simply look. Of Light showcases Loughlin’s career as Jessica Loughlin, receptor of light ix, 2018, kiln JamFactory’s Icon for 2022, an annual merit bestowed formed and cold worked glass, 62 x 645 x 446 mm. upon one maker each year. While the show includes older photogr aph: r achel harris. glass works never before exhibited in Australia, there are new pieces too. Loughlin takes continual inspiration from the physical world. “Anywhere north in South Australia is so huge and so empty of objects that the landscape becomes light,” she says. “I use my experience of being in landscape to work out how to make something that communicates that one aim of creating stillness.” Loughlin’s technical fascination with glass provides constant new ways to work with the medium—different forms of glass yield different results. “Some lights just appear white, and yet when you look more and more closely, you notice colours,” she says. “I really like that subtlety, and playing with light and material, but also playing with perception and questioning what we’re seeing.” Working with glass for so long, the artist sees it now as a language with many interpretations and possibilities. “I’m starting to really understand what it is that I’m attracted to about my topic,” she says. “In my really early work, I was using the idea of a horizon line almost as an image to represent an idea—I was understanding the feeling I was trying to get in my work, but I wasn’t understanding the language to be able to create that. Over time, I’ve really understood what it is I’m trying to do within my work, and being able to isolate that a little bit better.” —GISELLE AU-NHIEN NGU Y EN

Canberra Evidence and The Visible Catherine Rogers ANU Drill Hall Gallery 24 June—14 August

Alongside digital photography, artist Catherine Rogers also relies on analogue techniques like cyanotype—a distinctive photographic printing process—and the pinhole camera to create her images. For Rogers, these Catherine Rogers, from Pictures for Waiting Rooms traditional methods require an intimate connection series, 2015-2022. between artist and image, allowing for more opportunity to manipulate the picture-making process. Through her camera lens, coins become stars in the night sky and grand chandeliers mimic long, tentacled jellyfish. “I like pushing the technology but primarily I’m a picture maker,” she says. Marking the first survey of Rogers’s photography, Evidence and The Visible includes work from across four decades. Highlighting her ongoing interest in the historical gamut of photography, the Sydney-based artist explains, “I like learning

about all the different ways to create a photograph, especially the history behind William Henry Fox Talbot’s invention of the negative.” Light sensitive techniques like cyanotype feature heavily in the exhibition and reflect Rogers’s love for experimentation. “In the 1800s, people were experimenting with all kinds of metals to make photographs—gold, platinum, palladium. It was about sharing science. People get so worried about photoshopping an image but since its conception, photography has always been manipulated.” Often blurring the boundaries between real and fabricated images, Rogers questions the truth of a photograph: a hallmark of her practice is using texture and detail to create uncertainty. By focusing on tight corners in vacant interiors, moody seascapes and tactile landscapes, Rogers generates a disconcerting ambiguity in her images. In The Moon (Perhaps) series, close-ups of materials like wet plaster, orange skins and water are used to construct scenes easily mistaken for celestial environments. “The pictures I’ve made of the moon are entirely fabricated. Most are taken just down the road at low tide in the bay, of rock surfaces and objects that look ethereal. I’m not attempting to pretend they’re real, but I am absolutely interested in making an image worth looking at.” —BR ION Y DOW NES

Perth Return to the Hook Olivia Colja

Kolbusz Space 22 July—24 July and online

A sharp two-stanza poem by Margaret Atwood ends with the lines “a fish hook / an open eye”. It offers an uncomfortable positioning of being both inside and outside the boundaries of control within individual relationships. Navigating such an in-betweenness of chaos and composure especially drives Olivia Colja’s art and her exhibition Return to the Hook. “In a way I’ve always been preparing for this show,” says Colja, who has been creating and exhibiting for Olivia Colja, Fetish, oil on canvas, 100 x 100cm. more than a decade, alongside being a youth worker and advocate for culturally and linguistically diverse young women. Colja speaks of how difficult questions around intimacy propel her latest work. “Competitive love is dangerous and Returning to the Hook is a line between knowing what’s moral and what’s socially taboo, but still behaving in a harmful way towards yourself and others. It can be subtle and unconscious, or aggressive and explosive,” explains Colja. With 15 large-scale paintings bursting with layers of maroons and crimsons shifting into blues, yellows, and shades of white and black, Colja’s abstract works interrogate what it means to be ‘good’. This includes being a good artist, a good woman and a good person. “By dealing with my own cultural challenges, I’ve returned to colours that I find both comforting and difficult to work with,” she says. “I deliberately do this because I want the colours I begin painting with to become different colours by the time a painting ends.” These themes are also considered in relation to fish and marine life. As Colja explains, “I’ve spent a lot of time exploring the Ninagloo Reef . . . I’ve had strong reactions after swimming with the most beautiful kinds of fish and you see their vulnerability and curiosity. And then they are hooked, and we eat them.” —AUTUMN ROYA L

Still Life Known for painting startingly minute moments from cinema, Nicola Smith’s newest works draw upon a reference closer to home: childrearing and domestic life. W R ITER

Nicola Smith, On the contrary (Simon in the bath), 2016, oil on belgian linen, 45.5 x 75 cm.

Wes Hill

“I see the moving image as a painterly medium, inevitably impressionistic, a play of flickering light and shadows.” — N IC OL A SM I T H

Nicola Smith, I waited for something to happen (Je tu il elle) 9, 2020, oil on Belle Arti Italian primed gesso board, 2 units, 35 x 92.5 cm.

Nicola Smith makes paintings about moments. Her practice has, up to this point, revolved around film stills, derived from movies by directors like Chantal Akerman, Buster Keaton and Benoît Pilon, among others. Smith often produces multiple paintings of scenes that were shot only a few seconds apart from each other, suggesting an interest not in appropriation or repetition, but in capturing how no two moments, however close together, can ever be exactly the same. By re-interpreting a film’s colour scheme and selectively painting each mise-en-scène intuitively, the Sydney-based artist brings compositional considerations to the fore. As thoughtful iterations of specific filmic moments, Smith’s works hint at how it is actually very difficult to explain why one painting may resonate more than another very similar one—a phenomenon of taste that owes as much to chance as anything else. For Smith’s latest solo exhibition at Sarah Cottier Gallery, her sixth at the Sydney venue, change is in the air. Antonio is titled after her young son, born in January this year, right around the time that Covid-19 hit an intense peak. Film has taken a backseat to family in these latest paintings, but Smith continues to use recurring perspectives, this time supporting studies of overlooked moments of domesticity. Of the iterative aspects of her practice, Smith states: “I’ve always loved looking at European Impressionist paintings in which the artist returns to the same landscape, looking out the

window onto the same boulevard at different times of the year, different times of the day.” For Antonio, the artist’s Potts Point apartment is what Mont Sainte-Victoire was to Cézanne; or, more aptly, what breastfeeding was to Mary Cassatt. The new works, all of which are watercolours (perfect for busy schedules), return repeatedly to scenes that are redolent of the first few months of new parenthood, when lounge rooms, bedrooms and kitchens are peacefully haphazard—evidence of little sleep, new love, obliging house guests and unacquainted routines. “The new works are painted fast,” says Smith. “Beds feature extensively in Akerman’s films—characters lying down, waiting, sleeping in hotel rooms and at home—and they are often in my works from her films. They also feature in the new works, with figures that are lying down, sleeping, and resting.” Born in Sydney in 1981, Smith is the younger sister of Gemma Smith, an abstract painter, also based in Sydney, whose treatment of colour and gesture, although very different, conveys a similar sense of sophistication complicated by searchfulness. After attending the National Art School in the 2000s, Smith had a five-year spell in Hobart, studying honours at the University of Tasmania, working part-time at the Museum of Old and New Art and undertaking a 12-month studio residency at Contemporary Art Tasmania. The move to Tasmania gave Smith time to find and refine her oeuvre—to articulate how the

Nicola Smith, More Impressions, 2019, oil on Belgian linen, 51 x 68 cm.

compositional decisions she makes in the moment of painting respond to the comparative decisions made by the actors, stage designers and directors whose imagery she pinpoints. “I see the moving image as a painterly medium, inevitably impressionistic, a play of flickering light and shadows,” says Smith. “It’s of little importance if the viewer is familiar with the film or with the filmmaker, although I do adore the films from which I paint. The painting is all its own, but it is interesting what details come into focus when honing in on a particular moment, one film still within the 24 that make up a second of footage.” In her more cinephilic works, which Smith still produces, and has done throughout the pandemic (in collaborative exhibitions with the video artist Elise Harmsen—also an Akerman fan), a palpable sense of ennui exudes from often ‘European-looking’ subjects, portrayed in beds, baths, and smoking and drinking at tables. Endowed with Criterion chic, the paintings are also about the legacies of such postures—the transference of old-school cinematic nonchalance into vaguely digital dispositions. By contrast, a lot of ‘doing nothing’ in Smith’s new paintings are simply part of the everyday fabric of familial life. What is remarkable about them is how realism itself appears nostalgic. It’s as if Smith is deep in these moments of coping with newborn life but from some perspective in the future, performing an Impressionistic ‘push-pull’ between veracity and transience, the concrete and the abstract.

Given the sketchiness of our futures under lockdown, such an immediate yet far-reaching gaze now seems philosophically heavy. While signalling a change of emphasis for Smith, Antonio isn’t without precedent. Staged at Sarah Cottier Gallery in 2019, New Hampshire 2006 was, at the time, both unexpected and emphatic. It consisted of muted, unfussy landscape paintings that Smith made 13 years earlier when she was an artist-in-residence in the United States, in forms and tones evocative of the Australian modernist Clarice Beckett and the reclusive American painter Albert York—both artists who were at odds with their times. Like that show, Smith is again casting off expectations that she be a ‘second-degree’ cultural commentator, championing, instead, the vagaries of first-hand observation. Attracted by gestures of disaffection, Smith is, like Akerman, equally motivated by self-discovery. Without a care in the world for delineating between modern, postmodern and contemporary art, she perfectly fits the role of the sketch artist; out for the search more than the find.

Antonio Nicola Smith

Sarah Cottier Gallery (Sydney NSW) 9 July—6 August

Into the Blue The brilliant, blue bark paintings and larrakitj (hollow logs) of Dhambit Munuŋgurr have seen growing acclaim for not only their formal qualities, but how they speak of Country and contemporary politics. W R ITER

Kelly Gellatly

While Djapu artist Dhambit Munuŋgurr seemed to burst onto the scene with her tremendous installation of vibrant blue bark paintings and larrakitj (hollow logs) for the National Gallery of Victoria Triennial in 2020, she had in fact been painting for over 40 years, since the age of 12. Munuŋgurr comes from an extraordinarily creative lineage; one where art, politics and Yolŋu lore coexist. Her artist grandfather Muŋgurrawuy Yunupiŋu (c.1904-1979) was a contributor to the 1963 Yirrkala Church Panels—the first significant claim to land by Indigenous Australians through the documentation of ancestral narratives. And her artist parents Mutitjpuy Munuŋgurr (1932-1993) and Gulumbu Yunupiŋu (1945-2012) were both first prize winners at the National Aboriginal and Torres Strait Islander Art Award (NATSIAA). Munuŋgurr’s uncle Dr M. Yunupiŋu AM (1956-2013) was the lead singer of Yothu Yindi, and her son Gapanbulu Yunupingu plays yidaki in the group and sometimes fronts the band. Art has always been a part of Munuŋgurr’s life—as she says in an interview for The Guardian, “It keeps me alive.” Yet even with this creative background, it is remarkable that in just a few short years her unique and singular visual language has seen her become one of this country’s most celebrated artists. Munuŋgurr, who works in the north-east Arnhem Land community of Yirrkala, is now rightly part of a cohort of Yolŋu painters who are together transforming our understanding of what it means to be a contemporary artist in Australia today. Munuŋgurr’s journey as an artist is one of determination and resilience, and is now well told,

but bears repeating, nonetheless. After being hit by a car in 2007, Munuŋgurr suffered life-threatening injuries, which have seen her confined to a wheelchair with restrictions to both her movement and speech. Painting became central to her recovery. To this end, Munuŋgurr was given special permission from the community to deviate from the Yolŋu custom of only painting with natural ochres collected from Country (such as gapan [gypsum], ochre and sand) and to instead use store-bought acrylic paint, which saved her from having to grind pigments by hand. Painting with her non-preferred hand with a marwat (human hairbrush), Munuŋgurr initially echoed the traditional Yolŋu palette by working in orange, red, yellow and black acrylics. However, over time, she also began to include non-earth colours (such as green, for trees) in her work. She came upon blue around 2019, choosing it “because the earth is blue, the sky is blue and the sea is blue”, and has settled on a dazzling array of blues for her paintings since that time. Munuŋgurr is not afraid to enter into the arena of contemporary Australian politics in her work. Paintings from her last solo exhibition, such as Order and Welcoming the Refugees / Scott Morrison and the Treasurer, both 2021, included contemporary Yolŋu participants in important political events, emphasising the fact that these events and the perspectives they bring to bear, affect and implicate all Australians, including Yolŋu people. In the commanding bark diptych Welcoming the Refugees / Scott Morrison and the Treasurer, Munuŋgurr depicts groups of Yolŋu men and women

Dhambit Munuŋgurr, Self Portrait in Bush Sauna, bark painting, 195 x 104 cm.

lef t Dhambit Munuŋgurr, bark painting, 234 x 114 cm. r ight Dhambit Munuŋgurr, Djirikitj, Larrakitj, 272 x 37 cm.

“It keeps me alive.” — DH A M BI T M U N U ŊGU R R

pushing the former prime minister and former treasurer out to sea in her own version of ‘turning back the boats’. In the left-hand panel of the work the Yolŋu are welcoming the refugees to their shores; whereas in the right, Dhambit’s lively brushstrokes make the Yolŋu figures jostle and move in a combined show of determination and force, as the former prime minister and former treasurer are evicted from our shores and delivered into the threatening jaws of a large shark. Given the artist’s previous paintings of Macassan fisherman, and the long history of cross-cultural trade that has enriched the Top End for centuries, the work takes on a particular significance, overturning colonial notions of ‘discovery’ and of the cultural isolation of Indigenous Australians in ‘remote’ communities. In another astute take on contemporary politics, Order depicts former prime minister Julia Gillard’s misogyny speech—an iconic moment in Australian politics that is now known around the world. Munuŋgurr portrays Gillard standing in parliament surrounded by seated politicians, with a group of Yolŋu in the bottom left of the composition storming the House, their spears held aloft while dancing the songline of “Bol’ŋu” or “thunderman”, which is an embodiment of the wet season. As the new works for her forthcoming exhibition at Roslyn Oxley9 Gallery demonstrate, Munuŋgurr’s

art continues to be a powerful force of self-expression and biography, and a generous source of learning about Yolŋu culture and beliefs. Named after Archie Roach’s 1990 debut single Took the Children Away (which was her mother’s favourite song), Munuŋgurr’s painting of the same title shows the authorities—in their cars and boats— forcibly removing the children to the Methodist Mission on Croker Island, which was established in 1941 and, shamefully, not closed until 1968. In a characteristically imaginative mix of real-life history and popular culture, Munuŋgurr includes the girls from Rabbit Proof Fence hiding under the trees, along with mothers from the community crying for their stolen children. Before 1970, no Yolŋu women painted sacred themes on bark or larrakitj in their own right. If we reflect upon the relatively short journey from there to today—and to a world where Munuŋgurr’s iridescent blue works combine ancient lore and 21st century politics—we are reminded, yet again, that Indigenous art is contemporary art, and that the works coming out of the Buku-Larrnggay Mulka Art Centre are some of the most rich and vital forces in artmaking in Australia today.

Dhambit Munuŋgurr

Roslyn Oxley9 Gallery (Sydney NSW) 1—23 July

Robert Andrew, Data Stratification - ngan-ga, 2021. installation view: inscribed, milani gallery. photogr aph: carl warner.

Interview

W R ITER

Robert Andrew

Tiarney Miekus

In the last decade, Robert Andrew has become known for his works combining technology and ochre, particularly his palimpsest pieces, which over the course of an exhibition reveal a Yawuru or site-specific, local Aboriginal word. It’s a revealing of language, culture and history, exhibiting everywhere from the National Gallery of Australia to the National Gallery of Victoria. Now Andrew is showing at the Museum of Old and New Art (Mona), responding to lutruwita’s (Tasmania’s) buried history and working with local pakana knowledge holders and speakers of palawa kani: the revived language of Tasmanian Aboriginal people. Andrew talks about this collaboration, discovering his Aboriginal heritage, becoming an artist later in life, and the power dynamics of language. TI A R NEY MIEKUS:

Your most well-known works use machinery, ochre, oxides and water to reveal what’s often a Yawuru word on a gallery wall. The first was in 2013 and revealed “Mimi”, which is “mother’s mother”. It set a trajectory for the next 10 years, but how did that work come about? ROBERT A NDR EW

It definitely has. It started when I had my studio at home, a little room, and the mechanism was built there for my Honours year. I was looking at language and education, particularly my own education, and the layers that have been built up within Australian history—the colonisers’ history that has been covered up. And going back to my own childhood at primary school, there were blackboards and chalk. I wasn’t very good at English subjects, but I started off in my studio with a blackboard and those ideas about writing and rewriting over and over again, which is the idea of palimpsest where you still have that imagery of what lays behind. So, I had a chalkboard and I was trying to build up layers of chalk and I was using either the water pistol we used to spray the cats when they were doing bad things, or a squirty bottle—and it was spraying onto the blackboard to remove the buildup of a few layers of chalk that I’ve put on there. Even now, all the works have that black chalkboard layer underneath: you don’t see it, it just gives an added depth. And then bringing that idea of the reveal in, and the mechanics of how to do that.

That process of revealing is so central. RA

A lot of my work revolves around the idea of that slow reveal, of taking back layers, taking back this white facade which represents my own Western education and views—revealing, as I find out more on Indigenous history and my own family. TM

That intent on revealing coupled with the blackboard is interesting, because you would have used blackboards as a child, and it was only later at the age of 13 you learnt of your Indigenous heritage. It would have been a huge moment. RA

Yeah, it was. It was my grandmother showing us my great-great-grandmother Mimi—and that’s where I first came across the word. And Mimi’s partner was a Filipino man from Broome. It was a picture of both of them—although not together. But it was seeing Mimi who was from the Broome area, and her family and sisters. And I’d see all my rellies on my mum’s side, when we’d go up to Broome or Darwin in the school holidays, but I was never aware, really. It made sense once I knew we had Aboriginal heritage, where the variations within our family came from. It was a little difficult, but I was proud to know that I had Aboriginal heritage. Even in those times when there was a lot of racism on TV and news about Aboriginal people. But for me it was hard to locate myself within my Indigeneity. My schooling was about

“A lot of my work revolves around the idea of that slow reveal, of taking back layers . . .” — ROBER T A N DR E W

the Aboriginals in the desert, so I didn’t know how to fit into that part of my heritage and where that belonged. I didn’t know the term ‘urban Aboriginal’. It’s obvious in retrospect because all my rellies were living within cities or country towns. But there was a huge, huge distance in time and place between my learnings of Aboriginal people and where I was. It took me a long time to actually locate myself within that. TM

Art would eventually become central to that, but you attended art school later in life. What were you up to in your twenties and thirties? RA

I started really late. It was mid-forties I started art. I grew up in Perth and stayed there until I was 21 and then worked with Telstra for seven years and lived up in Broome. My skill set comes from these different places that I’ve worked at along the way, which is really helpful. And when I was in Broome— I really liked living there, but there’s a song about people being young, unintelligent and inebriated. You know, that’s where I was. I didn’t follow up on anything. I visited a few rellies, but it was just about going out and enjoying myself. From there I came over to Newcastle and was working with my older sister, Deb, for seven years in furniture making and manufacturing. And Deb, from a younger age, has had more of a connection with that side of family and her Indigeneity. From Newcastle, I came to Brisbane to be with my partner and she introduced me to like-minded peers and mentors in the Contemporary Australian Indigenous Art (CAIA) department at Queensland College of Art. And going back, it was my sister Deb who did a very similar course in Geelong where she learnt about our family, and that sparked my interest into our history, seeing what she got out of it. It was quite confronting for me to hear what she was relaying back to us—not just about our family, but also about other histories. At that time, I was also doing 3D modeling and animation work for architects and engineers, using my computer skills, and then took this opportunity to study more about family and history. Looking back on it now, it was going from having a wage to no wage. I’m not exactly sure what I was lef t Robert Andrew, Tracing Inscriptions, 2020. Installation view: Overlapping Magisteria The 2020 Macfarlane Commissions, Australian Centre for Contemporary Art. photogr aph: andrew curtis.

thinking! But I’m glad I was thinking that way. TM

I’ve seen a few of your palimpsest works and other mechanically based pieces, and I’m always struck by how captivating the works are not just visually, but how the audience becomes so attentive to engaging with the mechanics, the formalism, of the artwork. How do those pieces actually ‘work’? RA

That’s nice to hear the way people engage with the work. It’s that slowing down of time for people, bringing people in. The whole mechanism operates on slow time, over a longer period of time. You’re getting such a small moment, but then you can project that forward: you can see the history of the work and anticipate it moving forward. With the palimpsest works, it’s layers of ochres and oxides built up and then white chalk—but it gets seen as ink going onto the surface, as opposed to the idea of the water spraying and taking little sections of that ochre and white chalk off, and having it bleeding down to reveal what’s behind. There’s layers and layers in my process of programming, and I put the text on there as the space that doesn’t get eroded. There’s a different program for each day depending on the length of it: if there’s a hundred days, there’s a hundred days of programming. It takes off different sections on each day. TM

Do you start with the technology first or the concept first? What gets a new artwork going? RA

There’s a spark that triggers something that grows. For instance, there was a recent work at IMA and it was just three drips of water onto a book. It was A.O. Neville’s book, Australia’s Coloured Minority [Neville was a British bureaucrat in the early 1990s, officially titled as Chief Protector of Aborigines] and it was sitting on a rock on a large black plinth with ochres within the pages. And over time it’s eaten into the book, into the pages, and all the ochres dribbled out. Each day it flowed down the long plinth. It came from seeing that book—and being someone who explored Chernobyl in school—and seeing a book sitting there with knowledge, this text being slowly eaten away by water. It was this idea of time and the power of a drip of water.

Robert Andrew, Water waking country - Wulani yinamirlgan buru, 2022—ongoing (detail). courtesy the artist & milani gallery, brisbane. commissioned by the biennale of sydney with generous support from the austr alia council for the arts. installation view, 23rd biennale of sydney, rīvus, 2022, museum of contempor ary art austr alia. photogr aph: document photogr aphy.

Robert Andrew, Data Stratification - ngan-ga, 2021. installation view: inscribed, milani gallery. photogr aph: carl warner

Then seeing this movement and change within Indigenous culture, this constant movement of it. And also taking away the power of that [A.O. Neville’s] language too. It was a cathartic piece. It’s this back and forth between them [the technology and concept] and I don’t just go, “Oh, I like lasers. I want to make work with lasers.” As much as I like lasers! Instead, I want to use the tool, the mechanism as well as design—and I make all the mechanisms myself, so I’ve got that control over the aesthetic to a degree. But people look at it and say, “Oh, where do you buy those from?” As if it’s off the shelf, which is good because I’m wanting to make a mechanism, but having that subversion of the mechanism not being the focus. And I have to have the idea of the mechanism because I’ve always got to know how to achieve something. I’ve got to start a work knowing that I can make it, rather than having these grand ideas of laser beams [laughs]. TM

Going back to what you said about the colonising effects of language—your works show this so clearly, even the font you choose, it has that impact of language being linked to power dynamics. Has language always been important to you in that way? RA

It’s interesting, something I struggle with is language. There’s always been a disconnection for me with ideas and being able to articulate things or comprehend things without constantly going over them. At times it makes me frustrated, but I see some parallels with coming into someone’s culture and taking away something that has their whole knowledge system, their strength of ideas, and their place within the Country—and taking that away and forcing them to use another language. This was strongly encouraged everywhere within Australia with all Indigenous speakers, and it’s something I’ve only got a little insight into with my own difficulties with language. This is a tangent, but I’ve seen A.O. Neville’s rejection letter to my great-grandmother for her application for citizenship, saying that she was ‘mixing’ and hanging around with other Aboriginal half-caste girls: there was implications of language within it. It’s this idea that you’ve got to speak the language and ‘do as we do’ to get the benefits that we get. But still, there’s a revival language in a lot of places that have lost that connection. And Tasmania is one of those places that has lost that connection to their language and are reconstructing it from the words found in Western explorers who’ve gone through and written these down.

How does it feel at the end of a palimpsest work when you see that Yawuru word on the gallery wall? RA

I don’t like to talk about translation, but it’s like a translation of emotion. With the palimpsest works, sometimes I miss seeing the end of it. But when I do [see the end], it’s a moment. Definitely a moment. I don’t know whether I could put it into words because it’s something I can only imagine. I don’t have the luxury to have a work that goes for three months in my studio to see it. So then being there and seeing that word within that space—it lives. There’s an energy. The end is a critical point where it becomes cohesive as a whole, as that artwork. And knowing how well the oxides stain, even if they paint it over it’s still held within those walls. Also, that first spray onto the white surface is a moment as well. TM

As we speak, you’re currently preparing for an exhibition at Mona, collaborating with Aboriginal linguistic consultant Theresa Sainty. How did that come about and what will you exhibit? RA

I was made aware of Theresa and her work—she’s undertaking a PhD in looking into language and place names. I put my proposal towards Mona, wanting to collaborate with the traditional owners and knowledge holders of that area—and Theresa was brought to my attention as having that strong connection to language. Whenever I collaborate with language within the work, it’s always a different story of where the language is, and who’s speaking it. It gives a deeper insight into the places. Theresa and I have been going back and forth, chatting about the works, and they’ve evolved over time to sit within the language, sit within the Country. Theresa’s gifted me a group of words for each work— there’s two main works, a video work and a soil work— but you won’t see or hear any of the words in parts of the work. It’s where a combination of different works have come together, and you’ll see how there’s also cutting into the rock, and revealing the sandstone and the layers within the sandstone. So it’s talking to Theresa and understanding the words of that place, then moving my work at the component level to talk about that Country and that language.

Within an utterance Robert Andrew Mona (Hobart TAS) Until 17 October

The Big Building Boom From The Fox: NGV Contemporary to the Sydney Modern Project, to major overhauls of regional art spaces, hundreds of millions of dollars are being funnelled into museum buildings. But are these new buildings being privileged over artists, or is this the future investment we need? W R ITER

Andrew Stephens

Daytime render of winning concept design for NGV Contemporary by Angelo Candalepas and Associates, and public green space, facing south. render: darcstudio.

“We need cultural infrastructure investment to be matched or exceeded by cultural programming investment.” — PEN EL OPE BEN T ON ,

E X E C U T I V E DI R E C T OR OF T H E N AT ION A L

A S S O CI AT ION F OR T H E V ISUA L A R T S ( N AVA )

When the first sod of earth is turned sometime this year to begin work on the new National Gallery of Victoria building, The Fox: NGV Contemporary, the focus will be on the future—namely, the building’s certain glory as the centrepiece of the new $1.7 billion Melbourne Arts Precinct revamp around Southbank. The distinctive design of the new building is marvellously upbeat: bright, airy and welcoming, it boasts breathtaking archways, rooftop gardens with views, and a 40-metre-high spherical entrance hall that is vibrant with potential, its galleries spiralling upwards. By the time it opens with fanfare in 2028, few will recall the NGV wasn’t the only art institution embarking on a bold venture back in 2022: art galleries around the nation seem to be amid an extraordinary building boom. It’s an upsurge of optimistic construction and renovation that runs counter to the persistently depressing narrative of closures and struggle that has been coming out of the fundsstrapped arts sector since Covid-19 hit Australia in early 2020. Many arts industry watchers might well ask why this construction boom is happening now, and what it all signifies. They might wonder if it is more evidence of “theme park” culture privileging sparkly venues and blockbuster entertainment over small organisations and cash-strapped working artists—or if it’s simply the arrival of long-awaited investment, from various government and private sources, giving major art venues the expansions and upgrades they need and deserve. Certainly, a lot of money is being spent. For NGV

Contemporary, the Fox family (of Linfox logistics company fame) has contributed $100m, and the Ian Potter Foundation $20m. More than $344m is being spent on the Sydney Modern Project, announced in 2011, which includes a grand new light-filled building opening in December alongside its parent, the redeveloped Art Gallery of New South Wales. In Melbourne, the $40m ACMI redevelopment was long awaited and finished last year—a year that also saw the opening of the Gold Coast’s $60.5m Home of the Arts (HOTA), and of the redevelopment of the Art Gallery of Western Australia (AGWA). While the $200m Aboriginal Art and Cultures Centre in Adelaide is not set to open until 2025, 4A Centre for Contemporary Asian Art in Sydney’s Haymarket has reopened following a recent multi-million-dollar renovation. Also soon reopening is the new Artspace, completing renovations of its Gunnery building in Woolloomooloo. In the regions, there is a lot of action, too. Shepparton Art Museum (SAM) has become the city’s long-awaited $50m cultural gem, opening last year, while the Rockhampton Museum of Art reopened in February after a complete makeover, expanding its site with massive new spaces to make it a Queensland destination thanks to a federal, state and local government funding partnership totalling $33m. Further south, the Newcastle Art Gallery has just embarked on a $36.5m redevelopment while Bundanon, at Shoalhaven on the south coast of New South Wales, opened its new $34m Art Museum

The Bridge, Bundanon. photogr aph: zan wimberley.

and Bridge for Creative Learning in January. And Castlemaine Art Museum recently received $6m for an upgrade, with an emphasis on accessibility through its art deco frontage. This all amounts to over $1 billion of investment in just a few years. Among the commercial galleries and artist-run spaces there’s also been plenty of activity, despite the dire Covid-impact reports. New spaces include Milk, Void, 1301SW and 99% Gallery in Melbourne. Meanwhile in Sydney there’s Sketch Collective Gallery, Max Patte + Lightworx Gallery, HAKE House of Art, and Culture Vault. NAP Contemporary is a new Mildura gallery and Wester Gallery in Newcastle is opening in July. Add to these a number of broader arts ventures, such as the Walsh Bay wharf development in Sydney, a new arts precinct in Melbourne’s inner-suburb Richmond, and the STH BNK development in Melbourne—this last one is an extraordinary collaboration between the Centre Pompidou in Paris and property developer Beulah for a new 3000-square-metre contemporary arts space. Penelope Benton, the executive director of the National Association for the Visual Arts (NAVA) says this boom in construction and investment in the arts is certainly something to be celebrated, and she welcomes the investment and expanded ability to draw in new, larger audiences. However, she has concerns about the lack of overarching strategy and vision across the sector. “We’d like to see Australia have a strong national arts

infrastructure of public and private presenting organisations investing in the people and the work that will fill these new spaces,” Benton says. She envisions investment aimed at creating a healthy and interconnected arts ecology, which she says “is what has been missing for too long” in Australia. “We need cultural infrastructure investment to be matched or exceeded by cultural programming investment.” Benton knows that many galleries—especially ageing regional sites—have been struggling to maintain their existing buildings, add to their art collections, tour work, present public programs and, importantly, pay artists fairly. “So many [artists] have fallen through the cracks with the pandemic and extreme weather events,” she says. “So many galleries and artists are in a great deal of financial strain and a lot more needs to be done.” NAVA surveys undertaken since the onset of the pandemic have shown that a majority of visual artists and arts workers remain deeply concerned by income security. One survey showed many were hit by a double whammy: losing their university jobs and also suffering show cancellations related to their arts practice. Along with visual art organisation closures, artists also reported significant reductions in both their output and their confidence, she says. Benton praises the Australia Council for the Arts for the way it has, over 40 years, ensured that funding is spread and invested in a careful mix of both presenting art and supporting organisations that have an impact at all stages of artists’ careers, and across regional and urban areas. Yet she has been very

Sydney Modern Project render as produced by Kazuyo Sejima + Ryue Nishizawa / SANAA. © art gallery of new south wales,

frustrated in recent years by the former Morrison government not having any long-term vision built into its allocation of arts funding, with large amounts of pandemic-relief money being directed at large, shortterm entertainment events that created a quick burst of success. “Without the strategic oversight, that money is a lost opportunity to invest in the ecology.” At the AGNSW, director Michael Brand expresses a strong interest in fostering that ecology. He says great cultural developments such as the Sydney Modern Project enhance the global perceptions of cities, states and nations. “They express the identity, history and creativity of a place,” he says. “Our positioning as a gateway to New South Wales is evidenced in the meaningful relationships we have with regional communities, art galleries and other cultural institutions. We celebrate the cultural and linguistic diversity of Sydney through our exchange with communities with rich histories and lived experiences.” Brand says the expanded AGNSW campus will extend its appeal to diverse local, national and international audiences not just through engagement with works of art, but also through digital capabilities, specialist resources, programs and events. “ This is a rightly ambitious project for a global city such as Sydney and a new public asset that will deliver cultural and economic benefits beyond the city for

generations to come. In the broadest sense, an iconic project like this elevates the prominence of visual arts in our society. It will provide more art to more people and more opportunity to artists—to work in exciting new ways and with greater international recognition.” At the NGV, the new building designed by Angelo Candalepas and a team of architecture and engineering firms, is going to be Australia’s largest contemporary art and design space, and it even has sports stadium-style branding to reflect its stature—it will be named The Fox: NGV Contemporary to reflect the Fox family’s philanthropy. But director Tony Ellwood stresses the broader function of the new building and says its design offers “a rich and all-encompassing cultural experience” in the way it incorporates learning spaces, studios and “laboratories” for artwork conservation. While visitor numbers are also no doubt a key consideration (Ellwood started in 2012, when there were 1.57m visitors a year, and he doubled the figure by 2019) he also emphasises how the NGV will be able to offer a breadth of shows across its three venues: NGV Contemporary will have 13,000 square metres of extra display space for art and design, bringing the total of the three NGV sites to 31,000 square metres. Even so, University of Melbourne arts policy lecturer Kim Goodwin is concerned about the trend

in recent years to funnel what she describes as “cultural policy money” into infrastructure. “You have to question what is the point of having all these grand buildings if you have no arts ecology to develop future Australian talent and leaders,” she says. “You have to question who is this money really for? Is it a ‘trickle down’ idea for the arts—if you create these big fancy buildings and make the city a cultural destination then the rest will somehow just sort itself out?” She worries, too, about an increased “commercialisation and festivalisation” of arts and culture— and at the idea that major building infrastructure can be a saviour of the arts. “To use an ecological metaphor, you’ve got to have the soil as well as what’s planted in it. We definitely don’t have enough [funding] going to the next generation of artists—and potentially we have lost the next generation of artists because of Covid causing so many to have left the sector.” Getting it right is a complex matter of feeding investment into all levels, Goodwin says. She cites the Victorian Government’s most recent budget which— as well as helping fund big ventures like the Melbourne Arts Precinct and NGV—was welcomed in the way it invested $17.5m in smaller ventures, such as creative places for artists to develop their work, and developing regional arts and suburban sites such as the Footscray Community Arts Centre. “These [venues] have a much more multifaceted role.”

That broadness of function is clearly integrated at the new purpose-built Shepparton Art Museum (SAM). As well as exhibition areas, this monolithic building has been created as a true community hub with an external amphitheatre, Kaiela Arts (an Aboriginal arts centre), hands-on ceramics studios and community arts inclusion. Rebecca Coates, the recently retired director who oversaw the enormous development, said at the time of opening that her guiding principles were generosity and sharing. “This is going to be a beacon and a point for people coming together,” she says. “Shepparton needs something that expresses who we are and where we sit in the world, the diversity and inclusion of our community.” The Fox: NGV Contemporary will open in 2028, while the Sydney Modern Project will be open in late 2022. Artspace will also be reopening in late 2022. The Aboriginal Art and Cultures Centre will open in 2025. Shepparton Museum of Art, Rockhampton Museum of Art, 4A Centre for Contemporary Asian Art, ACMI, Home of the Arts, Bundanon and Art Gallery of Western Australia are all currently open and exhibiting.

Studio

Daniel Boyd

“If you don’t fit within a canon— you obviously have to question it, expand it.” — DA N I E L B OY D

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-Mé

Neha Kale

For Daniel Boyd, the past isn’t a single story. It’s a source material that changes depending on who’s looking at it, a set of fictions that can be cracked open and remade. The renowned artist, a Kudjala, Ghungalu, Wangerriburra, Wakka Wakka, Gubbi Gubbi, Kuku Yalanji, Yuggera and Bundjalung man with ni-Vanuatu heritage, is best known for shimmering paintings comprising tiny ‘lenses’. This metaphor for how we see, what’s hidden and exposed when we look at an image, also extends to the sculptures and spatial interventions that are increasingly guiding his work. Boyd works out of a sprawling Marrickville warehouse that hints at the poetics of his practice. Every element speaks to a careful geometry—from the paintings that command each wall, their proportions playing off each other, to the art books carefully displayed in a wooden case. Here Boyd, who’s preparing for his solo Treasure Island at the Art Gallery of New South Wales, speaks about wrestling with the language of representation and challenging his viewers’ perception of the world.

PLACE

My studio offers an accessibility that I wouldn’t have elsewhere. We exist in a small bubble. I live 500 metres from here and my kids go to school close by. This studio is also conducive to creating larger works. I was in the Venice Biennale in 2015 and [in a previous space] had to paint the painting on its sides. Venice was the first time I saw it in its position upright! Now, there is less stress being able to make large-scale works as I have the opportunity to experience [them]. It is hard to manage a regular studio practice [but] I try to keep normal studio hours. In the beginning, there were times that it was about being inspired to be in the studio. But once you get into the rhythm of a studio practice, it is a pretty straightforward thing—you come in and have to work. There may be something that informs how I start: a feeling, an event that happens in the world. Each work relates to another work and hopefully people see that. My work is not chronological. I see my paintings as [part of] a whole. DA NIEL BOY D:

PROCESS

When I first started, I was trying to understand the language of representation. I was at art school and the National Portrait Gallery had purchased this [historical] painting of Lieutenant Cook. I had an DA NIEL BOY D:

interest in portrait painting, figurative painting—and the images that have a lot of presence in Australian culture are those related to British imperialism and colonialism. Because of the forced dislocation of my people, this was my cultural inheritance. My parents and grandparents were afraid to speak about their experience. If you don’t fit within a canon—you obviously have to question it, expand it. So, my first works were about trying to question that linear narrative, trying to make sense of where I fit. I took a painting of Cook and reworked it. I guess it was about questioning influence and authority. [After] painting my No Beard works [portraits created in the 2000s reinterpreting colonial historical figures], I felt like that language had run its course and I became interested in wider things. My idea of the lens was about trying to create a surface that wasn’t static and about exploring our relationship to light. It started as a way of abstracting something, about a different way of seeing something. It was a representation of concealing and the power of withholding. If you have a singular narrative, you mythologise around a singular narrative and you are negating other experiences. Hopefully this helps people see this in a more empathetic way.

A photograph is a window into a particular moment in time and space. But a still image means so many things to so many different people. There’s not just one way into it. It’s about multiplicity. [For me] it always starts with the audience. The audience is there to activate the work and the way they move in front of my work gives it life. PROJECTS

I always saw myself moving in the direction of [larger works]. It was just about finding the right opportunities. When I got the brief for the [Australian War Memorial] commission, they kind of wanted something on a plinth in a very traditional language. And I just didn’t know how all of these nations who were here before the British colonised this continent could share a relationship with the idea of protected country. So [For Our Country, a recent sculpture for the Australian War Memorial] had to relate to that idea of multiplicity. For Our Country operates in all these different modes. People can go there to contemplate, they can go there to mourn, they can go there to pay respect. For me, For Our Country wasn’t about people fighting for the Australian forces, it was about the frontier wars as well. Trying to represent history is so flawed. DA NIEL BOY D:

I first used the reference to Robert Louis Stevenson’s novel Treasure Island when I was in art school. Last year, I had a show in Seoul, South Korea called Treasure Island that looked at the idea of power and representation, the will of a particular culture. It was about how people form understandings and project it onto the landscape. This idea was there from the very beginning. When I painted We call them pirates out here [in 2006] I took the two Aboriginal men out of the painting and replaced them with grass trees, which were known as blackboy trees. This process of Indigenising the landscape was also a tool to colonise it. Truth-telling is important. Treasure Island [Boyd’s current solo show at the Art Gallery of New South Wales] is about creating equity through perception. I think it’s also about shifting someone’s reality. I hope it gives people the tools to understand someone else’s experience in a more poetic way.

Daniel Boyd: Treasure Island

Art Gallery of New South Wales (Sydney NSW) Until January 2023

W R ITER

Tiarney Miekus

20 Questions

with Hayley Millar Baker Between 2016 and 2019, Gunditjmara artist Hayley Millar Baker created five photographic series in black-and-white. Appropriating and citing images and research from history, alongside digital editing to create layered assemblages, Millar Baker’s images speak to Aboriginal experiences and build a complex conversation on time, memory and identity. These exquisite images are now showing in There we were all in one place. We asked Millar Baker 20 quick questions about the exhibition and her art experiences.

Describe your practice in seven words?

Auto-fiction, multifaceted—conceptually and visually, retrospective, currently shifting!

Your first art love?

Paul Gauguin and Lin Onus.

Why do you shoot mostly monochromatic works rather than colour?

I actually shoot in colour and colour grade to a monochromatic palette. In saying that though, the images I have used from my grandfather’s photographic archive in my previous work, I’m the Captain Now, 2016, and Cook Book, 2017-2019, are shot in blackand-white. I think there is a romantic quality to blackand-white photography and film. It’s nostalgic; it suggests robust narratives that require investigation through connection to film noir. It purposefully eludes any particular era, but suggests the past, memory and history—any time that isn’t right now. And I find that desaturating an image removes any extra distractions that could potentially take the eye away from finding or following the quietly placed storyline markers.

Best advice you’ve been given about making art?

I am the artist—I call the shots.

Why do you think you gravitated towards photography to explore Aboriginal experiences, identity, culture, and memory?

It was a no brainer for me. I trained and practiced in painting for many years but when my late grandfather’s photographs suddenly came into my possession in 2016, I knew I needed to use them to revision our (collective South-East Aboriginal) stories, and give permanent voice to our departed once-voiceless ancestors. I got a little bit of my family history written (collected) into ‘history’, and those stories will now be cared for and managed by those institutions.

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

I’ve been thinking about this question all week. There are just so many people for so many different reasons. If I had to ‘go big or go home’, I reckon Shirin Neshat for her film work, and Tracey Moffatt for her photographic work.

Quick advice for young artists?

Position yourself and take your time.

Best time of day to create?

Definitely all day every day, but my best ideas and developments come to me at unreasonable hours of the night when I should totally be asleep—but instead I’m thinking about art, of course!

What would a typical working day look like for you?

A lot has changed for my typical working day over the past couple of years. For one I added another child in 2020 to our little family—two young kids and an extended pandemic lockdown changes quite a lot for someone’s art practice! A typical working day for me looks like an early start, lots of meetings, some procrastination, and a smidge of progress on my projects (I’d like a bit more than a smidge, but progress is progress!). My projects tend to be big and require a fair amount of time for development, so I like to take that time.

Do you think about the viewer when creating and how they may receive or experience your work?

The viewer’s experience of the work had previously been a big influence on the way I made my work. I’m very conscious of how long someone looks at a piece of art or positions themselves as either relating or not relating to art. Previously I was making very heavy and historically loaded works so it was important to me how viewers would connect and experience an understanding. But now that I am centering semi-autobiographical and auto-fiction narratives, I’m less concerned with the audience’s reading of the work and more interested in the experience of the work, which comes down to the install to be experienced in its optimum state. Because in reality, once the work is out in the world, my job is done.

The first photograph you ever took?

I had so many disposable cameras as a kid. My first photograph could have been a wonky photo of my childhood dog Conan (RIP).

What is it about photography as a medium that you enjoy?

In the simplest way: I enjoy its flexibility of bending realities and truths while it still remains credible as ‘documentation’.

Photographers who’ve influenced your work? I’m inspired by an artist’s mind, the way they navigate and communicate their ideas and concepts. I’d have to say I’m inspired by mostly painters and filmmakers/ films. I work in an abstract way with photography so I like to get lost in the minds and ideas of artists who create their works in more abstract or symbolic readings. That said, the minds of many photographers have inspired different ways of thinking throughout different stages of my practice but most recently I’ve been enthused by the work of Hannah Wilke and Julie Rrap.

lef t Hayley Millar Baker, Toongkateeyt (Tomorrow), Even if the race is fated to disappear 1 (Peeneeyt Meerreeng: Before, Now, Tomorrow), 2017, inkjet on cotton rag, 125 x 85.5 cm. deakin university art collection, purchased 2019. courtesy of deakin university art collection. r ight Hayley Millar Baker, A Series of Unwarranted Events, Untitled (The circumstances are that a whale had come on shore), 2018, inkjet on cotton rag, 67 x 67 cm (framed). courtesy the artist and vivien anderson gallery, melbourne.

An art experience that’s stuck with you?

Ask me in December when I return from my three month residency in Prato, Italy! For now, I’ll shout out to Amrita Hepi for her work Dance Rites that was exhibited in the 2017 Tarnanthi at ACE Open. Viewing that work for the first time knocked the next domino in my mind. The previous domino was knocked by artist Hannah Wilke in 2008.

Beauty or politics? Both.

Is there a link between art and cultural change for you? How do you see that relationship?

Classic ‘Hayley Millar Baker’ drink order at the bar?

Of course, because art generates dialogue, empathy, investigation, reflection, relationships, and ideas that directly influence human behaviour—maybe not right away, but art stays with you and develops quietly over time.

What camera do you use?

Your survey show There we were all in one place is currently touring Australia. What can we expect to see?

I only drink once in a blue moon, but I’d love a Piña Colada.

So many! Lately and for upcoming projects I’ll alternate between my Fuji GFX and Mamiya RB67. Nothing compares to the monster that is the RB67!

For the recent exhibition Ceremony at the National Gallery of Australia (and showing at UQ Art Museum) you showed your first film work. How did shifting from photography to film feel?

It felt great and like it was a logical medium to explore more complex themes in a delicate and minimalist way. And I have to say I love puzzles—and filmmaking is the ultimate puzzle! So many ways to shape a project, and luckily I had an incredible team to reign me in and be by my side to bounce off.

You can expect to see all five photographic bodies of work from 2016 to 2019—all together! Having all the works together—I’m the Captain Now ,2016; Toongkateeyt, 2017; Cook Book, 2017–2019; A Series of Unwarranted Events, 2018; and The trees have no tongues, 2019—marks a deeply retrospective exhibition for me. Now having pivoted in my practice, having this tour acknowledges that first chapter in my professional art practice.

There we were all in one place Hayley Millar Baker USC Gallery (Sunshine Coast QLD) Until 6 August

Picture This The photograph on the right is an incredible snapshot: captured in 1995, from left to right are First Nations artists—and one politician—Brook Andrew, Brenda L Croft, Destiny Deacon, r e a, former New South Wales premier Bob Carr, Richard Bell, Judy Watson and HJ Wedge. It was taken during the Australian opening of a significant, cross-cultural project of Australian First Nations and Black British creatives. Multidisciplinary creative-led researcher Brenda L Croft reflects on this photograph—and what it means today. W R ITER

Brenda L Croft

A popular idiom is that a picture paints a thousand words. In the case of this black-and-white happy snap, a thousand stories could be told. To the unaware viewer a group of people—also black-and-white— stand smiling, one awkwardly, in front of an obscured portrait of a young woman in a white-walled room. Clothing and hairstyles indicate the timeframe as mid-1990s and there is a familiarity of many of the faces captured. When this photograph appeared on my screen, I was transported back to April 1995 to the opening of True Colours: Aboriginal and Torres Strait Islander Artists Raise the Flag at The Performance Space, then located in Sydney’s First Nations heartland, Redfern. The exhibition was a collaborative project between Boomalli Aboriginal Artists Co-operative (founded by Sydney-based First Nations artists in 1987) and Black British curator and critic Eddie Chambers. The collaborative project was created for INIVA (Institute for International Visual Arts), which was established by renowned cultural theorist Stuart Hall in 1993–94 in the United Kingdom. Curated by Hetti Perkins during her tenure as exhibitions manager and curator at Boomalli, the collaboration was organised at the invitation of Chambers, under an INIVA franchise secured by Chambers to stage a series of exhibitions in the United Kingdom. INIVA’s origins can be traced to what Chambers calls the “pronounced emergence of Black British artists in the 1980s Britain”, in much the same manner as Boomalli’s origins reside in the collective cultural actions of the first wave of urban-based Australian First Nations artists in the same period. The two converged in True Colours in 1994, but

the project’s origins dated from 1990 during a cultural exchange in Bristol. I was then Boomalli’s general manager, and was overseas having attended the 2nd International Indigenous Women’s Conference in Karasjohka, Norway, before travelling to the major Australian First Nations cultural festival, Tagari Lia: My Family, held in Glasgow and London. In London, I visited Shaheen Merali, co-founder of Panchayat Collection (an archival collection centred on documenting activism by UK-based artists of Asian heritage), who recommended I contact Chambers in Bristol, where he was running the African and Asian Visual Artists Archives. We met in Bristol, exchanged catalogues, posters and slides, and over the next few years the Boomalli/INIVA project developed—I still remain indebted to many Black British artists and curators for their generosity in sharing ideas. One of Chambers’s first INIVA projects was Black People and the British Flag in 1993. That year Chambers visited Boomalli at its ground floor premises—gallery, studio, stockroom and office space —in Chippendale. Formerly an automotive repair business, the building also housed First Draft artists’ studios on the upper floors. True Colours was held the following year, opening at Bluecoat Gallery, Liverpool, touring to South London Gallery and The City Gallery, Leicester, before returning to Australia where it opened at The Performance Space in 1995. While the thematic construct for True Colours was in response to Black People and the British Flag, it was also framed by the 1988 Bicentenary Protest (heightening awareness of First Nations injustice), prime minister Paul

True Colours: Aboriginal and Torres Strait Islander Artists Raise the Flag, opening at The Performance Space, 199 Cleveland Street, Redfern, April, 1995. L–R: Brook Andrew, Brenda L Croft, Destiny Deacon, r e a, NSW Premier Bob Carr, Richard Bell, Judy Watson, HJ Wedge. photogr aph: jason mumbulla.

Keating’s Redfern Speech for the International Year for the World’s Indigenous Peoples in 1993, and the International Decade for the World’s Indigenous Peoples (1995—2004). Presenting the work of eight contemporary First Nations artists—myself, Brook Andrew, Richard Bell, Destiny Deacon, Lin Onus, r e a, Judy Watson and HJ Wedge—the True Colours catalogue essay, ‘Truths, Myths and Little White Lies’, was co-authored by Perkins and me from a deliberately political historiographical standpoint, as opposed to an art historical context. Reflecting a First Nations truth-telling to the ‘mother country’, the New South Wales Board of Studies requested permission to reproduce the essay in full in its Aboriginal studies kit. This drew howls of ‘revisionism’ from within the recently elected John Howard Liberal government—from the prime minister’s office down—echoed by dog-whistling talk-back radio commentators and conservative supporters. We were doing the talking back—on our terms, refusing to be silenced. All of this frames the spatial, geographical and political context of this black-and-white photograph, featuring seven of the eight artists (Lin Onus was absent), standing alongside the newly elected Bob

Carr, who officially opened the exhibition. This was his very first public appointment as premier and arts minister, in a role he held for over a decade as New South Wales’s longest standing premier. Carr appears ill at ease—maybe a case of debutant’s nerves, or perhaps it wasn’t his anticipated First Nations cultural experience? He was certainly green in his dealings with Blackfellas—his office had unexpectedly faxed through his speech notes earlier in the day for me to review and approve, leaving me slightly amused. Boomalli exhibition openings were always wonderful—a cross-section of Mob from community organisations across the inner-city, rubbing shoulders with non-Indigenous supporters from funding agencies, cultural institutions, social justice advocates and collectors. Even though they are not in the picture, I can see them in my mind’s eye, just out of frame. Heartfelt memories are tinged with the bittersweet, as so many of them are no longer here. We were not just creative colleagues, we were, and still are, friends and family—change-making innovators, provocateurs and liberators, and comrades-in-arms.

After the Floods After losing her studio in the recent Lismore Floods, Quandamooka artist Megan Cope is having a busy few months, exhibiting everywhere from Melbourne to Shepparton to Paris. W R ITER

Andy Butler

Megan Cope, Reclaim the Earth, Palais de Tokyo (15 March 2022—4 September 2022). photogr aph: aurélien mole.

Megan Cope, YARABINDJA BUDJURUNG I, 2021, colour lithograph and photo-lithograph, printed on five sheets, 106.5 x 365.5 cm. printed by martin king at austr alian print workshop, melbourne. co-commissioned by the national gallery of victoria and the austr alian print workshop. victorian foundation for living austr alian artists, 2021. © megan cope. photogr aph: matthew stanton.

Megan Cope, Flight or Fight #1 Old Rivers, Deep Water (Lake Qadisiya & Lake Assad), 2018–2019, used engine oil, ink and acrylic on paper and linen, mounted in North Stradbroke Island blue gum. image courtesy of the austr alian war memorial.

The last time I saw Megan Cope was pre-Covid, at the opening of the 2020 Adelaide Biennial of Australian Art, just as whispers of a pandemic were starting to circulate. For the Biennial, she’d made perhaps her most ambitious work to date, Untitled (Death Song), a sculptural installation constructed of materials related to the mining industry. The sculptures were instruments, with musicians playing a score based on the bird song of bush stone-curlew. “The bush stone-curlew is very important to our people on Quandamooka Country,” says Cope. “They’re really part of the landscape, like our extended family. We’re tied to them through kinship.” It’s also a messenger for death: with Untitled (Death Song)’s materiality drawing on extractive mining, speaking directly to the environmental throes that the world feels like it’s currently going through. Cope and I are now sitting down in Melbourne. She’s in town for an opening at the National Gallery of Victoria for New Australian Printmaking—and she’s had a whirlwind couple of months. Untitled (Death Song) is currently exhibiting at Palais De Tokyo in Paris for Reclaim the Earth, and she’s just arrived back in Australia after the opening. “We had six French musicians, directed by [Australian] Isha Ram Das, to activate the work,” she explains. “They had to learn the instruments, and create a composition based on the death song of the curlew.” The French musicians had never seen or heard of the native Australian bird before. They were agog when she showed them videos of it on YouTube. Cope is visibly thrilled when discussing the reception of her work in an international context. Her practice is so specific to the geopolitical and colonial contexts of Australia—yet its resonance goes well beyond the unique context of Australia, speaking to universal themes. “Seeing my work there, it gave me a certain level of confidence and pride. Pride not just in myself, but in the energy and survival and the power of our people and Country. I believe so strongly in that.” France is going through its own colonial reckoning, as well as navigating a world on the edge of climate collapse: in this context Cope’s work, which is ultimately rooted in Quandamooka ways of listening to the world around us, clearly resonates. Yet 2022 has been difficult for the artist. In the lead up to the Paris exhibition she lost her studio in the recent Lismore floods, unsure if she’d be able to make it overseas. “I was cleaning up mud still, I couldn’t find my passport,” she remembers. “Then there was another flood.” The climate catastrophe playing out in Lismore has prompted a turning point in her practice. “My whole life depended on that studio,” she says. She’d been in Lismore for just two years before it was lost. She’d arrived there when Covid kicked off, hunkering down in a granny flat behind artist Karla Dickens’s house. She loved it so much she decided to stay long-term.

Cope has lost materials and tools that she’s collected over 20 years to make much of her work, as well as archival research and documents. The reality is she doesn’t have the set-up to make the same large-scale sculptures she’s previously made—but this period is a turning point. “I’m being philosophical about it. Everything happens for a reason,” she says. She will set up a studio again, but back home on Quandamooka country. “My time on Bundjalung country has finished. It kept me productive and safe and well. But if you’re gonna start again, you need to do it somewhere you’ll never have to leave. My family is like, ‘Come home now’.” While she’s lost many of her tools and materials, Cope has adapted, beginning a series of what she calls “living sculptures”. A prototype Kinyigarra Guwinyanba was shown at Milani Gallery earlier this year. They’re oysters that have attached themselves to wooden poles, collected from listening to the shifting tides of the ocean. “To attract oysters you need some empty oyster shells—they like to grow on their ancestors, they like to be in clusters.” An iteration of this work will be shown in Korea at the Busan Biennale. Meanwhile she’s also exhibiting a new body of work at Shepparton Art Museum for Art in Conflict, and is showing in the group exhibitions Agent Bodies at RMIT Gallery and Embodied Knowledge at Queensland Art Gallery. Back in Melbourne we head to the opening of New Australian Printmaking (where Cope is one of four exhibiting artists alongside Patricia Piccinini, Shaun Gladwell and Tim Maguire). It includes the largest print work she’s ever made: a three-metre cartographic work titled YARABINDJA BUDJURUNG I. It shows Quandamooka country with a seven-metre level rise of water, and is part of a series she’s been making since 2009, named After the Flood. We chuckle at the title of the series—it describes where she’s at in her life now. After the Lismore floods, she says her life and practice still feel full of possibilities.

New Australian Printmaking

Ian Potter Centre: NGV Australia Until 11 September

Art in Conflict

Shepparton Art Museum Until 31 July

Agent Bodies

RMIT Gallery Until 14 August

Embodied Knowledge

Queensland Art Gallery 13 August—23 January 2023

Mysterious Forces From the Iraq War to natural disasters, since the 1970s acclaimed artist Susan Norrie continues to show us scenes of tragedy and mystery. Now her work is being situated alongside other contemporary female artists. W R ITER

Briony Downes

West Australian philanthropist Lady Sheila Cruthers was a strong supporter of acclaimed artist Susan Norrie. Consistently purchasing work from each of Norrie’s exhibitions, particularly in the 1990s, Cruthers added Norrie to her growing, famous collection of work by female artists. Now, Norrie’s work— which spans photography, painting and film— is serving as a weighty, dark exhibition springboard. With works from the Cruthers Collection of Women’s Art donated to the University of Western Australia in 2007, curator Lee Kinsella has now chosen to exhibit several of Norrie’s paintings, executed in a dark palette and sensuously tactile in their application of paint. Norrie’s paintings are part of an exhibition of works from the university collection that includes portraits by 20 artists including Yvette Watt, Adrienne Gaha and Susan Wyatt, positioned on an opposing wall. “Norrie’s works are conceptual in that they engage with the subjective processes of both making and viewing art,” says Kinsella. “Her paintings present lush and beguiling surfaces that allude to uncanny and potentially troubling currents beneath.” While Norrie’s most recent work is with film and video, storytelling has remained a crucial element of her practice. Starting out as a painter in the 1970s, Norrie has also embraced photography and installation throughout her career. “I’ve worked with film and video for over 20 years but have continued to paint,” she says. “There seems to be a real division in the art world in terms of my practice. A lot of people feel it’s painting versus video, but I feel they connect and comment on each other because my ideas and concepts are the most important aspects of my practice.”

With her filmmaking, Norrie extends her viewpoint outwards from the self to present a global portrait of multifaceted human experiences. Describing herself as “a citizen journalist”, Norrie has regularly travelled to environmentally volatile locations in the Asia-Pacific region to record and investigate the experiences of those who live there. Propelling interests for Norrie are climate change, human-made and natural disasters, and how traditional knowledge is contrasted with science and technology. Research into volcanoes and seismic activity or “disaster surveying” has played a particularly important role in her film and screen-based practice. Often presented in a multichannel large-scale format, Norrie’s video work is immersive, filling the gallery space with filmed footage that slips between documentary, art film and meditation. For Norrie, two experiences have proved pivotal to how she currently works: travelling to the Lusi mud volcano in Indonesia and being deployed to Iraq as an official war artist. Caused either by natural elements or excessive drilling practices, the Lusi mud volcano erupted in East Java in 2006, spilling waves of toxic mud and gas across the landscape and displacing the tens of thousands of people living nearby. At the time, news about the disaster was scarce. “There wasn’t enough information coming out of East Java, so I had to go there to find out what was happening,” explains Norrie. The resulting work, HAVOC, a 16-channel video installation, became Norrie’s presentation for Australia at the 52nd Venice Biennale in 2007. “I think that’s where video became important for me.

Susan Norrie, HAVOC, 2006–2007. © susan norrie.

“To a degree, my work deals with the tragedies of the world but it’s also very much about the mysterious forces of the world.” — SUS A N NOR R I E

Susan Norrie, HAVOC, 2006–2007. © susan norrie.

As a medium it is contemporary but it’s also able to depict certain contexts really effectively. The use of documentary and telling stories has always been important to me.” Works like HAVOC encompass the viewer with visuals, fully occupying our field of vision with the information Norrie wants us to see. With the Lusi mud volcano, Norrie returned to the site 10 years later to track changes to the landscape and to document how locals had continued to live in the wake of the eruption. The two-film installation, Aftermath, 2016, revealed this experience and was shown as part of Susan Norrie: Field Work 2006-2016, a major exhibition held at the Ian Potter Museum of Art in 2016. “Revisiting sites, not seeing them as one-offs, to go back and see what had happened to the people after 10 years was essential,” says Norrie. “I realised at the time there wasn’t a lot of context, not only in Indonesia, but also for Australia, in relation to the Asia-Pacific. I wanted to expand Australia beyond itself.” As a result of her investigative work in HAVOC and Aftermath, in 2016 Norrie was commissioned by the Australian War Memorial to be an official war artist for Australia. She was deployed to Camp Taji in

Iraq where she spent time documenting her everyday life on film. “We went to Taji two weeks after the Battle of Mosul started,” she explains. “The Australian Defence Force was there, and they were training the Iraqi soldiers to defend their own country.” Likening the process of documenting these important moments to the history paintings of Renaissance artists, Norrie says, “Hundreds of years ago painting was used in the same way film or video is used now as a way to document history. Making this kind of work has really expanded not only my sense of the world, but also my sense of self. To a degree, my work deals with the tragedies of the world but it’s also very much about the mysterious forces of the world.”

From the Cruthers Collection of Women’s Art Lawrence Wilson Art Gallery University of Western Australia (Perth WA) Until 10 December

Death in Venice From standing on clifftops to attempting to swim the English Channel, for over two decades Todd McMillan has created art on endurance, melancholia and absurdity—and he’s taking this further. W R ITER

Jane O’Sullivan

When Todd McMillan starts taking a video, it’s like “punching in at work”, he says. “I find myself actively seeing and actively enduring time.” Early in his career in the 2000s, he made video works that circled endurance, time, futility, melancholy and the sublime. He stood on a clifftop for the timelapse video work By the Sea, 2004, and filmed an attempt to swim the English Channel for Ague, 2009. He also recorded footage of the shy albatross off the coast of Tasmania for a body of work he made in 2011 and 2012. More recently, he has made paintings of clouds that were not so much copies than imaginative summaries of hours of footage shot on residency in Sweden. Video is partly a diary practice for McMillan, but it has also become a way for him to distil his experiences and gain distance on them. He does not want to record his subjects, but explore the symbolic and emotional meanings around them. When lockdown made travel difficult, he found himself going back to videos he’d made in Antarctica in 2015. He and his partner, the artist Sarah Mosca, were working towards their second collaborative exhibition, and had begun talking about Invisible Cities, Italo Calvino’s fantastical descriptions of Venice. “In that book, the closer you get to a description of a place, it all falls apart,” McMillan says. Calvino’s experimental book became the framework for their current exhibition Sunrise, Sunset at Penrith Regional Gallery, which considers what it means to bear witness. Mosca’s archival photos of statues, Echoes, 2022, and Signs, 2022, are printed on glass and displayed in freestanding supports.

100

Walking around them raises questions about documentation, authenticity and photography. McMillan’s Antarctica footage has been transferred to a flickering 16mm film. It shows rock and ice rising out of sea and is titled Venice, 2022, as though the desolate landscape could be Venice in the future, or was once in the past. “Using this footage from Antarctica and calling it Venice blurs the line between the sign and the signified to a point where it becomes, for me, more alive,” McMillan says. Beside it, he has placed a painting of the Bridge of Sighs in Venice. The bridge connects the palace and the prison, and earned its name from prisoners viewing the city for the last time. McMillan’s Bridge of Sighs, 2021, is foggy. It’s not possible to see the other side, or which way things might be going. Another work conjures Venice through a video of shifting sea, displayed on a flatscreen and flanked by sandbags. It’s subtitled with lines of dialogue from the 1959 movie of Nevil Shute’s novel On the Beach. The lines form a kind of lament and drive the sense that time is running out. Absence is felt throughout Sunrise, Sunset. Like a character in a Beckett story, McMillan’s works are always circling something. He’s expanded on these ideas for his upcoming solo exhibition, Bridge of Sighs. The new paintings feature seascapes, mountains and hazy glimpses of sky, but, as McMillan says, “I’m not trying to capture the essence of the sea or trying to correctly or successfully render a mountain. They’re more from a description read than something seen.” He sees these new works as “a collection of short stories” that are “not pointing

Todd McMillan, Mountains (Assergi), 2022, oil on board, epoxy, 75 x 56 cm.

101

Todd McMillan, Trees (Evening), 2022, oil on board, epoxy, 51 x 40 cm. Todd McMillan, Albatross, 2022, oil on board, epoxy, 75 x 56 cm.

to the journey ‘across the bridge’ but rather attempting to describe it over and over again”. Two of these paintings return to the motif of the albatross. The shapes are blurred. “I spent weeks getting rid of them, putting them back in . . . to a point where they’re just there,” he says. “In literature, the albatross is meant to represent the human soul and yet, it’s on the precipice of extinction. Whether the soul exists or not doesn’t matter to me. It’s that the albatross might go, and there’ll be the word left that pointed to the bird, that pointed to the thing that possibly meant the most essential part of us. It’s that sense of vertigo.” Another painting could be the moon, or it could be the sun burning through cloud cover. For McMillan, the ambivalence of these works is about creating “a moment of pause, or reprieve, between two states”. This idea of reprieve is core to his practice. “Melancholia, as a condition, has always been at the heart of my work,” he says, but it’s never been about making people feel worse, or promising things will get better. “I’m certainly not the person to be saying that,” he laughs. “It’s more, there is importance in this thing.

102

Not to revel, but to be sympathetic, and to think or feel that thing. “We experience time from birth to death, and there are moments that are worth recalling and telling again. Because what is the substance of our lives, except for the things we thought were significant?”

Bridge of Sighs Todd McMillan

Nicholas Thompson Gallery (Melbourne VIC) 6—23 July

Sunrise, Sunset Sarah Mosca & Todd McMillan Penrith Regional Gallery, Home of the Lewers Bequest (Penrith NSW) Until 14 August

“Because what is the substance of our lives, except for the things we thought were significant?” — T ODD MCM I L L A N

Todd McMillan, Sea (Night), 2022 , oil on board, epoxy, 75 x 56 cm.

103

Acts of Empathy With her parents migrating to Australia in 1984, Adelaide-born artist Allison Chhorn uses film to explore migration, displacement and intergenerational trauma—all with highly empathic affect. W R ITER

Steve Dow

Adelaide-born Cambodian-Australian artist Allison Chhorn’s short films contain blurred and abstracted images of people. While she usually strays from filming the faces of her human subjects, their shadowy bodies belong close to home: her artistic engagement is an act of empathy with migrant displacement, intergenerational trauma, and the tricks of memory in her own family. Consider Chhorn’s 2021 Blind Body, a 15-minute experimental documentary featuring her grandmother Kim Nay, a survivor of the Khmer Rouge, the brutal regime that murdered up to two million people between 1975 and 1979 in Cambodia. The film’s Khmer title translates as “body with darkened eyes”. Chhorn employed a small DSLR video camera to create an impressionistic portrait of her grandmother, now in her late 80s and long partially blind. “I tried to imagine what it might have been like in her experience, not being able to see, seeing shapes very abstractly,” Chhorn says. “Then also focusing more on sound, as a way to map her space.” Kim Nay has imparted only fragments of her experiences in her homeland under Pol Pot’s dictatorial control to her granddaughter, “because of the language barrier. I don’t really understand the Khmer language, [just] bits of it”, says Chhorn. There is a mnemonic dichotomy at play between past and present: “Even though she is elderly and has signs of dementia, her long-term memory is very strong, and she remembers stories from more than 40 years ago. At other times, I can see her short-term memory is failing, and she has trouble remembering

104

things she did just a minute ago.” Some family members disappeared during the Khmer Rouge period, “the exact details of how they were lost are still unknown”, says Chhorn. Others were separated and later reunited. Chhorn’s family came to Australia by plane in 1984 after several years in a refugee camp. Emerging from her visual arts studies at the University of South Australia, Chhorn realised that locations, equipment, and people—her family—were within reach to make films on her own “in a very DIY, low-key way”. Chhorn’s seven-minute film Missing, also from 2021, features a photograph of her mother and her mother’s missing friend from the KhaoI-Dang camp, which opened on the Thai-Cambodian border in 1979. It was a huge compound of bamboo and thatched houses that sheltered nearly 140,000 refugees at its peak before finally closing in 1993. “There were several friends she made in the camp; they all learnt how to sew together,” says Chhorn. “Then when they all migrated to other countries, particularly Australia, the United States and Canada, they all lost touch for a moment. A few years later, they reconnected. But one particular friend, she [Chhorn’s mother] hasn’t been able to track down again.” In her latest work, Skin Shade Night Day at ACE Open, Chhorn herself is the abstracted figure in the multi-channel video installation, performing rituals such as gardening and cooking, all in a shade house. “It’s about me re-performing those rituals and activi-

Allison Chhorn, Skin Shade Night Day, 2022, shadow of tree cast onto shadehouse, multi-channel video installation (video still). courtesy of the artist.

Allison Chhorn, Skin Shade Night Day, 2022, shadow of figure with light through curtains, multi-channel video installation (video still). courtesy of the artist.

105

“. . . they resonate closely with the other themes: grief, anticipatory grief, isolation, and the psychological states as well.” — A L LIS ON CH HOR N

Allison Chhorn, Skin Shade Night Day, 2022, shadow of tree cast onto shadehouse, multi-channel video installation (video still). courtesy of the artist.

ties,” she says, a means of “embodying empathy” with “what is normally considered lower-class laborious skills and work”. The shade house in the work was inspired by seeing a family friend’s large shade house, around 20-metres-long by five-metres-wide, during a trip to Darwin. Previously, her own family had a farming business based in greenhouses, which are hot and humid, but a shade house allows greater ventilation. “The purpose of the shade house is to protect the plants inside, and I see that as a direct metaphor for a domestic house, and the way that families create protection, ways that nurture the children and help them grow.” There is intergenerational trauma, says the artist. “Even though we didn’t have the traumatic experiences my parents went through, I did some research into the newer generation, which can be more susceptible to anxiety in general and not be able to deal with it in normal ways.”

When she turned 18 (Chhorn is now 30), the artist visited Cambodia, “and it was a real culture shock, having been brought up in Australia. The stark poverty everywhere, even in the city. I know it’s been developed more recently, but it’s still a developing country.” After more than a decade away, Chhorn is preparing to return to show her films Blind Body, Missing and The Plastic House at the 11th Cambodia International Film Festival in Phnom Penh in late June and early July. “To other Cambodians, they feel very appreciative of seeing their own culture displayed on screen,” says Chhorn, “and then with other audiences who are non-Cambodians, even though they don’t see any similarities with the cultural aspects, they resonate closely with the other themes: grief, anticipatory grief, isolation, and the psychological states as well.”

Skin Shade Night Day Allison Chhorn ACE Open (Adelaide SA) Until 13 August

lintonandkay.com.au

Bec Juniper Fluvial 24 June – 17 July Subiaco

Bec Juniper, ‘Riverend Morning’, 2021 [detail], mixed media on canvas, 165 x 165 cm

Selected Aboriginal Artists Naidoc Week Get Up! Stand Up! Show Up! 1 July – 18 July West Perth

Lorna Fencer Napurrula, ‘Warputi (White Potato)’, May 2004, acrylic on linen, 147 x 183 cm

Environment Andy Quilty, Douglas Kirsop, Ingrid Windram, Jules Sher, Jenni Doherty, Jacinda Bayne 1 August – 22 August Subiaco

Andy Quilty, ‘(reduce the price of) speed - Sixty Eight Rd 2’, mixed media on Fabriano paper, 28 x 37.5 cm

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

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

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

lintonandkay.com.au

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

TIMO HOGAN 6 August - 17 September 2022

Opening 6 August, 12:30pm

Northern Centre for Contemporary Art Presented by Salon Art Projects Timo Hogan, Lake Baker, acrylic on linen, 200 x 290 cm (courtesy Spinifex Arts Project)

nccart.com.au

Petrit Abazi Piers Greville Stanislava Pinchuk This project is generously supported by Dr. Prash P. and the Northern Centre for Contemporary Art, Darwin

manifesta14.org

A Geelong Gallery exhibition

25 June to 11 September 2022

Free entry

Geelong Contemporary Art Prize

Exhibition partner Dimmick Charitable Trust

Fiona McMonagle For most of history anonymous was a woman 2021 watercolour, ink and gouache on paper, Courtesy of the artist and Sophie Gannon Gallery, Melbourne © the artist geelonggallery.org.au

KUDLIL A SEASON 2022

— FRIDAY 30 SEPTEMBER

Image: Julie Blyfield, flowers of the sea, 2022 detail, bi-metal-copper/sterling silver heat coloured, wax sealant. Courtesy the artist. Photography Grant Hancock.

FRIDAY 1 JULY

Mel O’Callaghan / Centre of the Centre Julie Blyfield / flowers of the sea Mel O’Callaghan’s Centre of the Centre was curated and developed by Artspace and is touring nationally with Museums & Galleries of NSW.

unisa.edu.au/samstagmuseum

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

OPENING SATURDAY 6 AUGUST

SOFT COPIES 6 AUGUST - 6 SEPTEMBER 2022 Coming to terms with our preoccupation with online spaces, these artists assess how we construct, alter and share our sense of identity. With a focus on materials and process they unsettle the distinctions between the tangible and the digital. Kalanjay Dhir Alexandra Jonscher Nadia Odlum Warden Curated by Andrew Christie

Upcoming 25 June - 30 July Megan Evans 6 August - 6 September Soft Copies 17 September - 5 November Brett McMahon

info@annandalegalleries.com.au ANNANDALE GALLERIES

annandalegalleries.com.au

annandalegalleries.com.au (02) 9552 1699 Wed - Sat 11am - 4pm

flg.com.au MAAS 2022 Art Gallery Guide FLG outlines.indd 1

28/05/2022 2:11:49 PM

Richard Young: Gunnai Vibrations 4 June – 28 August 2022

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

Gunnai Vibrations is a major exhibition of powerful new works by Gunnai/ Yorta Yorta/Gunditmarra artist Richard Young, and his first to be presented on Country.

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

gippslandartgallery.com

Image Richard Young (born Australia 1962) Gunnai / Yorta Yorta / Gunditmarra Untitled, 2022 Acrylic on canvas, 212 x 122cm Courtesy the artist. © The artist

TODD McMILLAN

BRIDGE OF SIGHS NICHOLAS THOMPSON GALLERY

6 TO 2 3 J U LY 2 0 2 2 nicholasthompsongallery.com.au

leonardjoel.com.au

hamiltongallery.org

umbrella.org.au

artist Talk: 2pm Saturday 6 august 35 Derby street Collingwood ViC 3066 Open 7 days 10am – 6pm t 03 9417 4303 melbourne@australiangalleries.com.au australiangalleries.com.au image: King of the southwest 2016 etching, soft ground etching, aquatint, sugar lift and roulette on copper 90 x 60 cm edition 30

Daniel Moynihan Rare Sightings: Etchings 2 – 20 august 2022 Au s t r a l i a N Ga l l e r i e s MELBOURNE

australiangalleries.com.au

All the things I should have said that I never said David Sequeira

08.05–21.08 2022

Bunjil Place Gallery

bunjilplace.com.au

2 Patrick Northeast Drive

Narre Warren VIC 3805

David Sequeira, untitled, India 2022, cotton kurtas. Courtesy of the artist. Photography: Eryca Green

bunjilplace.com.au

2 July – 28 August 2022

Finalists: Moorina Bonini (VIC) Elham Eshraghian-Haakansson (WA) Hannah Gartside (VIC) Nadia Hernández (NSW/VIC) Annika Romeyn (ACT) Emma Singer (SA)

A $15,000 non-acquisitive triennial award and exhibition designed to support young female artists in the early stages of their career. Held in honour of Ellen José, a pioneering indigenous artist, radical activist and social justice campaigner who lived in the Bayside suburb of Black Rock for over 20 years. The award is a partnership between the Ellen José Memorial Foundation and Bayside City Council.

Image: Emma Singer Ngayuku Ngura (My home) (detail) 2022 acrylic on linen, 6 panels: 304 x 366 cm. Courtesy the artist and Mimili Maku Arts, South Australia.

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

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

bayside.vic.gov.au/gallery

ANIAANIAANIA 1-A, 2022, acrylic on canvas, 82 x 66cm

ANIAANIAANIA a series of 12 paintings each a remembrance of the Melbourne poet and painter Ania Walwicz (1951-2020) forming part of the exhibition

RUARK LEWIS Durational Painting 23 July - 13 August

CHARLES NODRUM GALLERY www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria 3121 charlesnodrumgallery.com.au

e t a l up We invite you to experience unexpected encounters with art and the OptiKA Kingston Photographic Award as you’ve never seen it before! Featuring over 30 projections of artworks by Victoria-based artists responding to OptiKA’s curatorial theme: FOCUS on 2030: Inspiring a Zero Emissions Future. Vote for your favourite entry in the People’s Choice Award and go into the running to win a $250 gift voucher for Stomping Ground Brewery & Beer Hall Moorabbin! Voting closes 5pm Saturday 23 July.

23 JUNE – 23 JULY 2022, 5-10pm For more information visit kingstonarts.com.au The City of Kingston supports local climate action. Join the community in making a pledge via yourkingstonyoursay.com.au/netzero2030

kingstonarts.com.au

Fiona Foley: Veiled Paradise 25 June–9 October 2022 McClelland 390 McClelland Drive, Langwarrin Open Wednesday–Sunday 10am to 4pm mcclelland.org.au

Image Fiona Foley, The Magna Carta Tree #2 (detail) 2021, inkjet print. Courtesy the artist and Andrew Baker Art Dealer, Brisbane. Photo Mick Richards.

This exhibition is supported by the Australian Government’s Restart Investment to Sustain and Expand (RISE) Fund, and by the Victorian Government through Creative Victoria. Fiona Foley: Veiled Paradise is a QUT Galleries & Museums travelling exhibition.

mcclelland.org.au

LAUNCH / SATURDAY

JULY / 4:30 PM 02 JULY / 07 AUGUST

JEREMY BLINCOE & ELLIE CHALMERS-ROBINSON Influx and Efflux

STOCKROOM

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

Jeremy Blincoe Larval Subject Two, 2022 cypress, stainless steel, faux fur 160 x25 x25 stockroom.space

Urbino II - Battle 2021 oil on canvas 120 x 180 cm

Ross Laurie New Paintings and Works on Paper 12 July – 6 August 2022

kingstreetgallery.com.au T: 61 2 9360 9727

kingstreetgallery.com

art@kingstreetgallery.com

CAROLINE ZILINSKY BARREN LAND 27 JULY – 13 AUGUST, 2022

nandahobbs.com

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

Natalya Hughes The Interior 30 July–1 October 2022

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

Natalya Hughes, The Interior, work in progress, 2021. Courtesy of the artist, Sullivan+Strumpf, and Milani Gallery.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

ima.org.au

SELECTED WORKS FROM THE TARRAWARRA MUSEUM OF ART COLLECTION CURATED BY VICTORIA LYNN Showing together with Sonia Leber and David Chesworth: Where Lakes Once Had Water

SUPPORTED BY

MAJOR PARTNER

IMAGE: Mandy Martin Romantic Coastal Landscape 1986, oil on canvas, TarraWarra Museum of Art collection, Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2013.

twma.com.au

30 JULY - 13 NOV 2022 twma.com.au

Fiona and Sidney Myer Gallery

Rashid Rana

Beauty Lies 28 July – 3 September 2022 Tuesday – Saturday 12-5pm 40 Dodds Street Southbank

Faculty of Fine Arts and Music IMAGE: Rashid Rana Beauty Lies | 2019- 2020 | Single Channel Video, 16 min on Loop

finearts-music.unimelb.edu.au

Travelling TravellingStories: Stories:AATribute TributetotoMichael MichaelNelson NelsonJagamara Jagamara 1717June June2022 2022toto2323July July2022 2022

Travelling Stories: A Tribute to Michael Nelson Jagamara 17 June 2022 to 23 July 2022

Michael Nelson Jagamara in in Brisbane, 2015 Michael Nelson Jagamara Brisbane, 2015

Pat PatHoffie: Hoffie:I Iwill willtell tellyou youalmost almostnothing nothing 2929July July2022 2022toto3 3September September2022 2022

Michael Nelson Jagamara in Brisbane, 2015

Pat Hoffie: I will tell you almost nothing 29 July 2022 to 3 September 2022

(Detail) Contrapasso 2022 oiloil onon canvas 206x215cm (Detail) Contrapasso canvas 206x215cm (Detail) Contrapasso 2022 oil on2022 canvas 206x215cm

www.fireworksgallery.com.au | 9/31 thompson st bowen hills brisbane | 07 3216 1250 | tues - sat

Kate Nixon, process image, 2022. Courtesy of the Artist. Annette Blair, On any given day (detail), 2022. Photo by Adam McGrath.

KATE NIXON

On reflection 15 June to 14 August 2022

Quietly Spoken

ANNETTE BLAIR

Canberra Glassworks

1 1 Wentworth Ave Kingston ACT canberraglassworks.com T 02 6260 7005 open Wed to Sun 10am to 4pm canberraglassworks.com

gragm.qld.gov.au

Drawing from the Curtin University Art Collection, Soft/Hard: radical love by R. Goo responds to the theme of ‘Queering the Gallery’. Image: Olga Cironis, I just want her to be safe, 2019, blanket, Greek fabric, thread, 108 x 188 cm. Curtin University Art Collection, purchased 2021. Courtesy of the artist and Art Collective WA

3 JUNE - 28 AUGUST

Building 200A, Kent St, Bentley Mon to Fri 11am-5pm Sun 12-4pm Closed Public Holidays Free admission 08 9266 4155 @johncurtingallery gallery@curtin.edu.au jcg.curtin.edu.au

Image: Once known child artist The Golden Road (detail) c1949 pastel and charcoal on paper Curtin University Art Collection

Carrolup coolingah wirn The spirit of Carrolup children jcg.curtin.edu.au

A–Z Exhibitions

JULY/AUGUST 2022

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

ATTENDING 6 AUG - 30 OCT

An exhibition about looking and looking again.

Peter Booth Lesley Duxbury Emma Fielden Amias Hanley Vee Labson Mike Parr Victor Pasmore Susan Purdy Katie West

138 Commercial Road Morwell www.latroberegionalgallery.com Open Daily: 10 am to 4 pm IMAGE: DETAIL Susan Purdy, ‘The Lost Forest’ 2009, Rayogram photographs, 15 panels totalling 20.04 m, Latrobe Regional Gallery Collection, 2014, purchased with the assistance of the Gallery Friends Trust

latroberegionalgallery.com

VICTORIA

ACAE Gallery www.acaearts.com.au 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 03 9193 3449 Tues to Sun 10am–5pm. See our website for latest information.

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

Sarah Mottram, Parametric Interactions, oil paint, archival pen and watercolour on primed canvas, 90 x 90 cm. 14 June—18 July In Focus: Conversations With Eight Contemporary Artists Sarah Mottram

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–5pm. See our website for latest information.

ARC ONE Gallery www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm, Tues by appointment.

Lyndell Brown and Charles Green, Activism is learning, 2020, oil on linen, 185 x 185 cm. Beverly Burton, Ngayuku Ngura My Country, 2021 (AK22587), synthetic polymer paint on linen, 122 x 91 cm. © The Artist, Tjala Arts and Alcaston Gallery, Melbourne, 2022.

8 June—16 July The Last Cool Skies Lyndell Brown and Charles Green.

20 July–5 August Beverly Burton 10 August–26 August Noŋgirrŋa Marawili

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

Peter Daverington, Place of Plenty, 2022, oil on linen, 154 x 122 cm. 20 July—27 August Chapter 22 Peter Daverington

The Passing Winter, 2005, Yayoi Kusama. Tate: Purchased with funds provided by the Asia-Pacific Acquisitions Committee 2008. © Yayoi Kusama. Photo: Tate.

Art Gallery of Ballarat

16 June—13 November Light: Works from Tate’s Collection See art in a new light this winter with ACMI’s exclusive Melbourne Winter Masterpieces exhibition. Surround yourself with striking classical works from J. M. W. Turner, gaze into Yayoi Kusama’s creative mind and immerse yourself in the light installation by James Turrell. Enrich your exhibition experience with ACMI’s scintillating events program, featuring curator tours, late night access, talks, creative workshops, performances and more.

www.artgalleryofballarat.com.au

Chiharu Shiota, State of Being (Diary), (detail). 25 June—23 July State of Being Chiharu Shiota 30 July—24 September Future Perfect Continuous Angelica Mesiti

40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. 7 May—28 August Trevor Smith: A fanciful feast Crocheted objects made in response to the objects in the Gallery’s Lindsay Family Sitting Room. 137

cascadeart.com.au

VICTORIA Art Gallery of Ballarat continued... 7 May—18 September Monochrome Black, white and grey ceramic works and paintings from the Collection. Colour, or its absence, plays a significant role in how we see and perceive things. Without the use of colour, we interpret things differently and are more likely to focus on emotional state, causing us to pause and look closer and longer.

Ararat Gallery TAMA www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. The TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today.

Art Lovers Melbourne Gallery www.artloversaustralia.com.au 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–4pm or by appointment.

Clarice Beckett, Misty evening, Beaumaris, circa 1930, oil on board. Maud Rowe Bequest, 1937. Collection of the Art Gallery of Ballarat. 21 May—16 October Light + Shade: Max Meldrum and his followers A celebration of the Tonalist movement of the 1920s and 1930s, including works by Max Meldrum, Clarice Beckett and Justus Jorgenson.

Lionel Lindsay, White fan, 1935, wood engraving, printed in black ink on paper. Donated under the Australian Government's Cultural Gifts program by Max and Nola Tegel, 2016. Collection of Maitland Regional Art Gallery. © Estate of Lionel Lindsay. By permission of the National Library of Australia. 21 May—7 August Lionel’s Place

Simone Thomson, Song Lines, 91.5 x 122 cm. 9 July—30 July Here, Hear!

Ada Bird Petyarre, 1930–2009, Anmatyerre, Alyawarre, Atnangkere, Utopia Region NT, Awely, (detail) 2000, batik, silk with azoic dyes, hand painted, 300 x 115.5cm. Purchased by Tamworth Regional Gallery Friends and Tamworth Regional Gallery 2000. Photograph by Lou Farina.

Emerging from this year’s NAIDOC theme, Art Lovers Australia proudly presents Here, Hear! This exhibition showcases a range of artworks from Wurundjeri peoples and Aboriginal Australians from across the country. The exhibition explores themes of connecting to Country and storytelling while acknowledging the long history of Aboriginal and Torres Strait Islander communities fighting for change today. Together, we show up and listen! At our Melbourne gallery, we have works by Lowell Hunter, Simone Thomson, Aunty Zeta Thomson, Brad Turner, Bianca Gardiner-Dodd, Wayne Quilliam and Nicholas Currie.

Until 14 August The Utopia Collection On loan from Tamworth Regional Gallery.

Prints and watercolours by Lionel Lindsay from the collections of the Maitland Regional Art Gallery and the Art Gallery of Ballarat. Lionel Lindsay honed his skills in etching and wood engraving so finely that by 1927 he was hailed as the most internationally successful Australian printmaker of all time. 26 May—3 July Rachel King: Terrain The new paintings in Terrain are born from real places, objects and natural forms in the Goldfields region and sit just on the edge of recognition. Backspace Gallery exhibition.

Jenny Watson, Car, 2001, lithograph, edition 8/20, 10 x 20cm. © The artist, Anna Schwartz Gallery, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography and Video. Until 2 October Prints & Drawings: Works from the TAMA Collection

Brendan Walsh, Never Mind XXII, mixed media. 139

ar t g ui d e .c o m . au Art Lovers Melbourne Gallery continued...

increasingly screen-based lives, the natural world provides something of an antidote, offering an environment that simultaneously provides calm and solace, as well as stimulating our senses. A profusion of flowers, plants and trees, of greenery and brilliant colour, PLANT/LIFE will bring together the work of artists who are inspired by the beauty and diversity of the botanical world. From over-scaled sunflowers, to soft-sculpture succulents, along with drawings, ceramics and specially commissioned wall paintings, this exhibition will present an immersive celebration of the plant life that surrounds us. Curated by Kirsty Grant.

6 August—10 September The Art of Gestalt Gestalt is founded on a psychological theory about perception. It suggests that the whole is more important than the sum of its parts. Gestalt in art explores the way pattern, perception and juxtaposition come together to create a unified work of art.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

Aunty Irene Norman, Fishing Net and Gathering Basket, 2022, jute string, rope and raffia. serving food to furs used for warmth, bedding, carrying babies, children as well as shelter. Solid tools used for daily life and weapons used for hunting are shared alongside modern uses of photography and methods used to produce Indigenous items. The Mullum Mullum Indigenous Community includes a variety of talented artists with works ranging from paintings and drawings to burning and carving.

Arts Project Australia www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–5pm, Sat & Sun 12noon–4pm

June Patterson, Untitled, 2022, gel pens on canvas. 23 July—11 September ArtSpace at Realm: Social Fabric Bernie Milne, June Patterson, Janette McDonald, Andrea Marchetti, Robyn Weston, Elroy Hendricks, Kaye Balcome and Leanne Battle. Social Fabric is a group exhibition by eight artists currently working within the supported studio at Nadrasca Community. The exhibition presents works from these artists’ independent practices across painting, drawing and textiles, together with collective outputs. 27 June—2 September Maroondah Federation Estate: The Artistic Magnitude of Mullum Mullum Artists from Mullum Mullum Indigenous Gathering Place Mullum Mullum Indigenous Gathering Places’ new exhibition showcases the multi-talented artists within the local Indigenous Community. The exhibition presents art down through the ages, from the Ancestors to modern times—from soft weaving used for gathering and 140

Anthony Romagnano, European Earwig, 2020, pencil on paper, 56 x 38.5 cm. © the artist. Represented by Arts Project Australia, Melbourne. 25 June—14 August PLANT/LIFE In the context of our fast-paced and

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm. See our website for latest information. The Australian Centre for Contemporary Art (ACCA) plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural conversation and setting the agenda for contemporary art. 2 July—4 September Like a Wheel That Turns: The 2022 Macfarlane Commissions Nadia Hernández, Lucina Lane, Gian Manik, Betty Muffler, Jahnne Pasco-White, Jason Phu, JD Reforma and Esther Stewart. Curators: Max Delany and Annika Kristensen. ACCA is excited to present Like a Wheel That Turns: The 2022 Macfarlane Commissions, the third edition of a multi-year partnership that supports the commissioning of ambitious new projects by leading contemporary artists. Taking its title from artist Marlene Dumas’ quote, ‘Painting doesn’t freeze time, it circulates and recycles time like a wheel that turns’, the exhibition acknowledges painting’s ability to speak across generations – to personal, social and familial connections and histories, as much as to cultural and artistic references and legacies. Like a Wheel That Turns brings together a diverse group of artists whose work might collectively derive from a studio-based practice, but who share an interest in the intersection between painting and other materials, forms or disciplines, including architecture, literature, performance, ecology, music, healing and the wider field of human relations. Activating ACCA’s gallery spaces through a series of distinct yet intersecting site-responsive projects, Like a Wheel That Turns implicates the viewer within the temporal frame of painterly materiality, inviting us to consider how painting might extend beyond the specificities of its medium and the confines of the frame.

VICTORIA

Australian Centre for Contemporary Art (ACCA) → Gian Manik, Untitled, 2017, (detail), oil and synthetic polymer paint, enamel, aerosol, crayon, pen, pencil and synthetic marker on canvas, 1000 x 225 cm. Made in partnership with students from Hedland Senior High School, South Hedland. Courtesy of the artist and Sutton Gallery, Melbourne.

Australian Galleries

Australian Tapestry Workshop

www.australiangalleries.com.au

www.austapestry.com.au

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

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tues to Fri 1pm–5pm. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis.

Daniel Moynihan, Going to work – tree arm, 1989-2019, etching, soft ground etching, aquatint and sugar lift on copper, 29 x 24 cm, edition 25. 2 August—20 August Rare Sightings: Etchings Daniel Moynihan William Kentridge, Colleoni, 2021, mohair tapestry in collaboration with Marguerite Stephens, 300 x 250 cm, edition of 6. 5 July—23 July Tapestries William Kentridge Australian Galleries Melbourne in association with Annandale Galleries Sydney.

2 August—20 August Mini Beasts Monique Auricchio 2 August—20 August Landscapes Tasmania Wayne Viney 2 August—20 August Hand-coloured Linocuts Kit Hiller

Victoria Manganiello, detail, Ancient Futures, 2022. 14 June—26 August Material Technology: Victoria Manganiello (USA) 2022 Artist in Residence Victoria Manganiello will present meticulous hand-woven textiles and kinetic sculptures created using modern technologies. These new works explore the intersections between materiality, technology, geography and storytelling. Victoria Manganiello is a textile artist, educator, producer and collaborator based in Brooklyn, NYC. 141

The Stan Gallery is a newly introduced creative space centred around community values and the championing of local artists. Continuing to enhance the cultural fabric of the South-Eastern suburbs, The Stan is a small independent gallery that provides visitors with new exhibition openings every 3-4 weeks and a rotation of additional curated sometime overseas pieces for sale. The dynamic roster of art that The Stan oversees, takes on a curatorial aesthetic that proves to be both engaging and diverse in its range of disciplines. The Stan Gallery supports not only established artists, but also mid-career artists and those just emerging. Currently in its very first year, The Stan Gallery is thrilled to welcome you into a community-centred setting where artists, enthusiasts and admirers can experience the thought provoking and creative talent of art by local artists. For information on past, present and future exhibitions see our website. 49 Stanley Avenue, Mount Waverley, VIC 3149 PH: 1300 49 STAN Email: info@thestangallery.com www.thestangallery.com Opening Hours: Thurs and Fri 10am – 5pm, Sat and Sun 10am – 4pm. thestangallery.com.au

S H I V A

Oilstik

P R O F E S S I O N A L O I L PA I N T

Oil paint in a Stick. Ideal for sketching and outlining, Shiva Oilstik Artist Colours are refined linseed oil blended with quality pigment and solidified into a convenient stick form. • •

Oilstiks are self sealing. 48 Standard Professional Colours

• •

18 Iridescent Colours 6 Fluorescent Colours

Available in store at the Thornleigh, Nowra and Richmond stores or online! arthousedirect

facebook.com/arthousedirect

www.arthousedirect.com.au

arthousedirect.com.au

VICTORIA

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. See our website for latest information.

Bendigo Art Gallery www.bendigoartgallery.com.au 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. 19 March–17 July Elvis: Direct from Graceland Created in partnership with Graceland, this exclusive exhibition explores the extraordinary life and style of Elvis Presley. One of the most iconic public figures of the 20th century, Elvis’s influence on music, design, art and pop culture was profound. He is arguably the single greatest influence on the history of modern men’s fashion, constantly referenced and re-mixed by designers and celebrities today. The exhibition features a wide range of costumes and ultra-cool outfits, vintage memorabilia, and treasured items from his beloved Graceland home.

20 August—19 February 2023 Treasures of Dai Gum San: Chinese artistry from the Golden Dragon Museum

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. See our website for latest information.

Chunxiao Qu, Untitled, 2019, LED neon and wire with transparent acrylic suspension frames, 128 x32.3 cm. Courtesy of the artist.

Annika Romeyn, Endurance 9, 2021, watercolour monotype on paper, 228 x 168 cm. Courtesy of the artist and Flinders Lane Gallery, Melbourne.

8 June—25 June Person, woman, man, camera, TV Brian Fuata, Bryan Foong, Alex Hobba, Rosie Isaac, Chunxiao Qu, Sarah Rodigari. Curator Chelsea Hopper. 29 June—16 July methods for collapse Gabriella Imrichova

Elham Eshraghian-Haakansson, Edges of place, 2022, 3-channel installation with sound, HD, retro television on a persian carpet, 13:52 min. Courtesy of the artist. 2 July—28 August Ellen José Art Award for young woman

Guan Wei, Water view no. 14, 2011, synthetic polymer paint on canvas. La Trobe University, Geoff Raby Collection of Chinese Art. © Courtesy of the artist. Photograph: Jia De. 20 August—19 February 2023 In Our Time: Four Decades of Art from China and Beyond: the Geoff Raby Collection

20 July—6 August Channels x Composite Curators Channels Festival and Composite Moving Image Agency & Media Bank. 10 August—27 August Begotten, not made Kate O’Boyle

Finalists: Moorina Bonini (VIC), Elham Eshraghian-Haakansson (WA), Hannah Gartside (VIC), Nadia Hernández (NSW/VIC), Annika Romeyn (ACT), Emma Singer (SA) A $15,000 non-acquisitive triennial award designed to support young female artists in the early stages of their career. The Award is held in honour of Ellen José, a pioneering indigenous artist, radical activist and social justice campaigner who lived in the Bayside suburb of Black Rock for over 20 years. Managed by Bayside Gallery, the Ellen José Art Award is a partnership between the Ellen José Memorial Foundation and Bayside City Council.

Ezz Monem, In Search of Mohamed, 2021, dimensions variable. Courtesy of the artist and THIS IS NO FANTASY. 10 August—27 August Mohamed Mohamed Mohamed Ezz Monem Tripod shaped censer, Qing dynasty, 19th century, enamel, brass; with gilt metal handles and feet. Golden Dragon Museum.

1 July—30 September Online: Blindside Mobile Curators Siying Zhou and Ashley Perry. 143

galleryelysium.com.au

VICTORIA

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. Brunswick Street Gallery provides professional exhibition space to selfrepresenting local and national artists, as well as creative studio spaces for makers and designers. The gallery comprises of seven gallery spaces, a stockroom, and four creative studios housing some of Melbourne’s leading makers and designers. 25 June—8 July Fifty Squared Art Prize Featuring hundreds of artworks from artists from all across Australia and beyond. Opening event Saturday 25 June, 6pm–9pm. 15 July—31 July Ships In The Night Carla Adams A series of textile portraits by Carla Adams. Opening event Saturday 15 July, 6pm–9pm. 15 July—31 July To be True Emma Labattaglia

Cool Down, Stop Acting Crazy. Opening event Saturday 15 July, 6pm–9pm. 15 July—31 July Corrugated town Laura Baker Crumbly buildings with tin roofs, chicken wire fences and hand-painted signs. Opening event Saturday 15 July, 6pm–9pm.

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

15 July—31 July This Is How My Body Moves Rubee Hay A conversation between the artist and her body. Opening event Saturday 15 July, 6pm–9pm. 4 August—21 August Passing Time @MCRT.Studio The result of @MCRT.Studio’s artist residency in Tasmania. The artist was able to use subjects he met during the residency and inspirational historical articles sourced from local museums. Opening event Friday 5 August, 6pm–9pm.

Installation shot of some things to throw away by Dean Cross. Photograph by Christo Crocker.

4 August—21 August No Forests On Flat Earth Anita Modok

Curated by Sarah Hibbs.

26 May—9 July some things to throw away Dean Cross

Concerned with climate collapse, Anita Modok’s new series of photographically rendered forest landscapes are transformed surreal earthscapes, depicting uncannily familiar, yet unknown and perhaps future worlds. Opening event Friday 5 August, 6pm–9pm.

Emma explores expressing her layers of emotion through oil stick, oil paint, oil pastels and dry pastel on linen and canvas. Opening event Saturday 15 July, 6pm–9pm.

Installation shot of Do you like it here? by Ju Bavyka. Photograph: Christo Crocker. 26 May—9 July Do you like it here? Ju Bavyka

15 July—31 July Wavering Radiant Dustin J Voggenreiter

Bundoora Homestead Art Centre

A collection of new monochromatic vinyl works, exploring identity and ambiguous ancestry. Opening event Saturday 15 July, 6pm–9pm.

www.bundoorahomestead.com 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 Weds to Sat 11am–4pm. See our website for latest information. Gabby Love, Erosion, 2022, acrylic on canvas, 58 x 66 cm. 4 August—21 August Happy Little Clouds Gabby Love A playful and ironic take on processing stress through escapism, and navigating the tension of disconnection from one’s body and surroundings. Opening event Friday 5 August, 6pm–9pm. 4 August—21 August The Longing Susan Cabassi

Jack MacRae, Cool Down, Stop Acting Crazy, acrylic on canvas, 120 x 900 cm. 15 July—31 July BOJA Jack MacRae

The Longing I long for intimate connection I long to be vulnerable safely I long to lean and feel held I long to let go to the possibility Am I alone Opening Friday 5 August, 6pm–9pm.

Lotte Frances, Don’t Ask Me, 2022, oil, acrylic, oil pastel on canvas, 140 x 120 cm. Courtesy of the artist. 9 July—17 September Alone, but so at home Lotte Frances Faint Echoes Pia Johnson 145

Image: Regina Jose Galindo Guatemala feminicida, Ciudad de Guatemala (2021) Fotos Jose Oquendo

ISTHMUS 2022

Guest curated by Tania Cañas

Opening Wed 24 June 6.30pm - 8.30pm Exhibition Wed 24 August - Sun 16 October 2022

Wyndham Art Gallery Great Art. Deep West. 177 Watton St, Werribee Vic

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

VICTORIA Bundoora Homestead continued...

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

An exhibition of new paintings exploring the inner landscape and creating from a place of stillness and awareness. These works investigate the idea that there is a higher order and purpose to life through synchronicity and connection to the natural world. The creative process is embodied as a vehicle for intuition, spiritual experience and transformation.

Buxton Contemporary www.buxtoncontemporary.com Narelle White, Silver Tongue, Red Veil, 2020, Den Haag beach sands in porcelain, glaze. Courtesy of the artist. 9 July—17 September Tiny Wonders Narelle White Mapping the curious heart Darebin Art Collection. Bundoora Homestead Art Centre is delighted to present four stirring exhibitions this Season. Upstairs, three solo exhibitions by artists Lotte Frances, Pia Johnson and Narelle White explore gender, politics, the body and the self. Our fourth exhibition celebrates new acquisitions to the Darebin Art Collection alongside key works in our archive. Mapping the curious heart presents the work of eight First Nations women with strong culturally led practices, and traces the way we gather, map and pin down our ideas through art. These exhibitions will be supported with a series of talks and programs over the coming months.

Aunty Janet Turpie-Johnston, Marvellous Melbourne - The Liveable City, (left), 2022. Katie Roberts, Stolen Land, (right), 2022. 24 June—23 July YARRA/BIRRARUNG — Spirit in the City of Melbourne Aunty Janet Turpie-Johnston and Katie Roberts Aunty Janet Turpie-Johnstone, a salt-water woman from Portland and Katie Roberts a non-Indigenous artist, have both been making work about the Yarra/Birrarung for many years; Aunty Janet Turpie-Johnstone through her PhD research and Katie Roberts for over the last fifteen years of her artistic practice. This exhibition presents their two parallel artistic endeavours to listen to the land and the river. These paintings and works on paper convey the layered historical and contemporary stories of on Wurundjeri land and Melbourne/Narrm.

Susan Jacobs, Cope, 2018-2022, bronze. Courtesy of the artist and Sarah Scout Presents, Melbourne.

Bunjil Place Gallery www.bunjilplace.com.au

3 June—6 November Susan Jacobs: The ants are in the idiom

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

The ants are in the idiom is a presentation of newly commissioned work by Australian-born, London-based artist Susan Jacobs. A meditation on the relationship between language and matter, the exhibition is an expansive sculptural environment that draws the viewer into a web of visual riddles.

Still from film-work, Birrarung dhumdjerring – Birrarung speak-together.

David Sequeira, untitled, India 2022, cotton kurtas. Courtesy of the artist. Photography: Eryca Green. 8 May—21 August All the things I should have said that I never said David Sequeira “I use repetition of form, colour and process to signal the rhythmic patterns of both change and continuity. I think about my work as a convergence of East and West, the spiritual and the aesthetic, the ancient and the contemporary.” — David Sequeira.

Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339

24 June—23 July Birrarung dhum-djerring – Birrarung speak-together Indigo Perry, Andrew Darling, Brooke Wandin and Ryan Tews These four exhibiting artists had a dialogue through their creative artforms about Reconciliation and river ecology on Country along the upper reaches of Birrarung (Yarra River), creating a filmwork with soundscape, creative-writing fragments and a fibre-artwork which is a topographical depiction of Birrarung. The artists were profoundly affected by their Birrarung dhum-djerring – Birrarung speak-together. 18 June—30 July COMING HOME Wendy Jordan Pelz

Jacobs’ poetic approach to materials is underpinned by research into systems of thought that have shaped – and mis-shaped – human knowledge. Playful allusions to science, psychology and mythology jostle with visual puns and word games. Enlivened by the imaginative potential of misinterpretation, the exhibition is a rhizomatic sculptural network that stimulates a process of associative looking in the viewer. Curated by Jacqueline Doughty. 3 June—6 November Still Life Mikala Dwyer, Nicholas Mangan, Angelica Mesiti, Clare Milledge, Vera Möller, James Morrison, Jahnne Pasco-White, Isadora Vaughan, Adele Wilkes, Mulkun Wirrpanda and John Wolseley. In Still Life, imagination and empirical observation unite in contemplation of life’s interconnectedness. Exquisite drawings and models from the University 147

ar t g ui d e .c o m . au Buxton Contemporary continued...

Angelica Mesiti, Over the Air and Underground, 2020, 5-channel video, 10-channel mono audio, 9 min. Commissioned by the Busan Biennale 2020. Courtesy of the artist, Galerie Allen, Paris and Anna Schwartz Gallery, Melbourne. of Melbourne’s Herbarium collection represent artistic and scientific traditions in which natural organisms are depicted in isolation from their environment. These teaching tools contrast with contemporary artworks by eleven artists that celebrate the complexities of nature, emphasising interdependence and shifting states of being.

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.

24 June—16 July Text Tile Curated by Tia Ansell, Anna Fiedler and Madeline Simm - CAVES Guest Curator Program 2021 Benjamin Baker, Sarah CrowEST, Kathryn Tsui, Genevieve Griffiths, Louise Weaver, Christopher Duncan, Claudia Bloxsome, Rachel Hope Peary, Tia Ansell, Jade Townsend, Sera Waters, Daegan Wells, Melanie Cobham, Emily Hartley Skudder, Arielle Walker, Alice Alva, Akira Akira, Phoebe Patcher, Anna Dunnil, Melinda Harper, Bronte Stolz, Jacqueline Stojanovic, Isabella Darcy, Kate Tucker, Jahnne Pasco-White, Spencer Lai, Camille Laddawan, Hannah Gartside, Laura Skerlj, Phoebe Millicent, Mashara Wachjudy, Angie Pai, Katie West, Matt Arbuckle, Lucina Lane, Vita Cochran, Paul Yore, Nadia Hernandez, Kate Just, Kathy Temin, Elizabeth Pulie, Amelia Dowling, Jackson McLaren, Ruth Cummins, Maggie Brink, Jimmy Roche, Aidan Renata, Jemi Gale, Anna Varendorff, Anne-Marie May, Clare Wohlnick, Anna Fiedler and Madeline Simm. 22 July—13 August A Physical Reader Nathan Beard, Devi Seetharam and Sophie G. Nixon—Curated by Jeremy Eaton— CAVES Guest Curator Program 2022. 19 August—10 September Matthew Ware

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. Through exhibitions, education and publishing, Centre for Contemporary Photography (CCP) places contemporary Australian photography and video in conversation with significant historical and international practice, expanding the context for current Australian lens-based arts.

Tom Ross, Birrarung, 2021. Image courtesy of the artist.

Vita Cochran, embroidery practice, 2021, 47 x 36 cm. Courtesy of the artist. 148

15 July—31 July CCP Focus: Architectural Photography Various artists, curated by Tom Ross and Fleur Watson.

CLIMARTE Gallery www.climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon– 5pm. See our website for latest information.

Opening July ART + CLIMATE = ACTION CLIMARTE Gallery presents groundbreaking participatory exhibitions, addressing interconnected and interdependent ecological impacts as well as effective, justice-based solutions to the Climate Emergency. Additionally, the Gallery hosts robust programs of public-facing events that delve into critical discourse between art, science and civil society. Launching in July is this new initiative, a program to produce, present and partner with powerful climate justice artwork on an ongoing basis.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm. See our website for latest information. Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist and social comment to installation and conceptually based work. 25 June—16 July Airs & Modes Shane Jones

Guy Stuart, Afternoon Light at the Refinery, 2020, oil on canvas, 138 x 182 cm. 25 June—16 July From Rural to Urban Guy Stuart

VICTORIA 2 July—3 September Into the Everywhen Shaun Allen, Dylan Charles, Eden Fiske, Tiarna Herczeg, Kiernan Ironfield, Cassie Leatham, Jahkarli Romanis & Shahn Stewart. Curated by Shahn Stewart and Eden Fiske of Alchemy Orange. An exhibition expressing the philosophy of the Everywhen, bringing a sensory reminder of what Always Was, and Always Will Be. 26 July—27 August Visible Vapor Ella Bendrups

Ruark Lewis, ANIAANIAANIA 1-A, 2022, acrylic on canvas, 82 x 66 cm. 23 July—13 August Durational Painting Ruark Lewis

In Visible Vapor Ella Bendrups presents a new collection of ceramic vessels. Constructed using coils, her simple forms serve as a blank canvas for the unpredictable and expressive patternation achieved through the alternative technique of barrel firing.

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

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.

D’Lan Contemporary www.dlancontemporary.com.au

Counihan Gallery www.moreland.vic.gov.au

Craft Victoria

30 July—11 September Leftovers of a Ghost Emme Orbach and Noah Spivak

233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. See our website for latest information.

40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tues to Fri 10am–5pm, Saturday 11am–4pm. See our website for latest information.

The Counihan Gallery opened in 1999. We are named in honour of the Australian artist and activist Noel Counihan (19131986), who was a champion of social justice and a vocal supporter of free speech. 4 June—24 July Silence #1.6.1 Pimpisa Tinpalit

Emma Shepherd, Kidd, 2022, linen and silk weavings. Photographer: Ilsa Wynne-Hoelscher. 21 June—23 July Equilibrium Emma Shepherd Equilibrium explores form through plain and double weave within the constraints of a four shaft loom. The work looks at the contradiction between the softness of the cloth and how sculptural shapes can be formed through the use of wire. The weavings invite people to peer in and through the pieces, to experience them from different angles.

Noel Counihan, Tête, 1969, oil on canvas, 92 x 111 cm. Moreland Art Collection. 23 July—4 September Counihan Collection Noel Counihan

Mark Smith, HOPE, 2020, material, stuffing, thread. 50 x 30 x 20 cm. Image courtesy the artist & Arts Project Australia.

Image courtesy of the curators.

30 July—11 September Malleability Mark Smith

Boxer Milner Tjampitjin, circa 1935– 2009, Warla , 2001, synthetic polymer paint on linen | 180 x 120 cm. © Boxer Milner / Copyright Agency 2022. Until 29 July SIGNIFICANT An annual selling exhibition presenting museum quality modern and contemporary works of art by leading First Nations artists. Featuring two major collections of early Papunya boards alongside works by founding masters including Tim Leura Tjapaltjarri, Uta Uta Tjangala, Shorty Lungkata and Mick Namarari Tjapaltjarri, the exhibition also includes early and important bark paintings by Yirawala, MawalanMarika, Peter Maralwanga and John Mawurndjul, and in the contemporary section, works by Emily Kame Kngwarreye, Rover Thomas, Doreen Reid and Boxer Milner. 149

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

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

Schenberg and Melbourne based artists Marta Oktaba, Michael Staniak and Evan Whittington. Holding in the hand explores the hand and the haptic as sites for digital interface. It investigates the ways an emerging generation of artists embed artistic processes, materials and surfaces with code and meta-language attempting to understand our mediated worlds. Curated by James Lynch, Deakin University.

Divisions Gallery www.arts.pentridgecoburg.com. au/divisions-gallery Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thu to Sun 12noon–6pm. Divisions Gallery is an art space by Pentridge Arts. Drawing from the history of the site as well as contemporary practices, Divisions Gallery is dedicated to showcasing the work of our resident artists and those further afield. Pentridge Arts aims to create a new paradigm for art and culture – with future plans for Divisions Gallery to expand into one of Pentridge’s heritage buildings.

Sarah Goffman, Plastic Arts, 2009, PET plastics, acrylic and enamel paint. © and courtesy of the artist. Photograph by Mike Myers.

15 July—14 August The Light Between The Light Between explores Lana Daubermann’s connection to the Merri Creek and its surrounds. Its shifting light and meandering paths provides locals with daily solace. Born during the quietness of Covid, these works are inspired by walks near the creek with four legged friends and otherwise.

Everywhen Artspace

24 May—8 July Garbage and the Flowers Sarah Goffman This project is a collection of painted plastic artworks spanning over fifteen years. Disposable PET bottles and single use plastic packaging have been carefully upcycled by Goffman through her creativity and artistic skill. Using the histories of ceramic design and decoration to mimic, copy and transform, Goffman recreates objects of desire from the refuse of consumer culture, creating complex artistic artefacts for our time. Curated by James Lynch, Deakin University.

Lana Daubermann, On the other side, 2022, oil on canvas, 51 x 72 cm.

www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Tue 11am–4pm.

James Murnane, Peter’s tears, (detail), 2021, acrylic on engraved Silky Oak ply, 160 x 120 cm.

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.

10 June—10 July Alter Ara Dolatian, Yuria Okamura, August Carpenter, James Murnane and Meagan Streader.

Marta Oktaba, Stuck on the internet, 2020, (detail), ink on found paper. © and courtesy of the artist 19 July—26 August Holding in the hand Scott Duncan, Marta Oktaba, Rachel Schenberg, Michael Staniak and Evan Whittington. This exhibition features newly commissioned and rarely seen works by Sydney based artists Scott Duncan and Rachel 150

What is it about an artwork that makes us draw a breath? Alter brings together a range of artists that each use light and shadow in a way that teeters on the numinous. 19 August—18 September Warp & Weft Kathy Landvogt, Sienna Barton, Daisy Watt, Ruby Hoppen and Helen Philipp. Five artists bring textiles into new territory for Warp & Weft. Taking familiar or traditional methodologies, the works in this show demonstrate and push the possibilities of textiles and fabric.

Yatjiki Vicki Cullinan, Ngayuku Ngura (My Country), 2022, 167 x 198 cm. Courtesy the artist and Iwantja Arts. 8 July—9 August WINTER SALON 2022 Warm Hues and Winter Lights Paintings, sculptures and works on paper by leading and rising star Aboriginal artists from eight regions.

VICTORIA

Tjunkaya Tapaya, Kungkarangkalpa/ Seven Sisters, acrylic on canvas, 106 x 163 cm. Courtesy the artist and Ernabella Arts.

Installation view of YOYI. Jilamara Arts and Crafts Association.

12 August—30 August IN BLACK + WHITE Paintings, barks, sculptures and prints in monochrome by Aboriginal artists from around Australia.

Federation University www.federation.edu.au/pogallery Institute of Education, Arts and Community, Camp Street campus, Cnr Sturt & Lydiard Street, Nth. Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12–5pm, Tue by appointment.

Abbey Cody, Portrait, 2022, mixed media on board, 35.5 x 28 cm. Courtesy of the artist. Visual Arts’ undergraduate students, BENCHMARK showcases a rich mix of contemporary approaches completed individually and collaboratively across diverse studio areas. Here, students not only illustrate the breadth of creative skill but also reveal complex concepts and ideas that underpin a broad range of visual approaches, interpretations and styles.

Finkelstein Gallery www.finkelsteingallery.com

Melissa Proposch, The Unanswered, 2022, (from the series Dream Home 1-7) digital pigment print on fibre gloss baryta paper 310gsm, 80 cm x 120 cm. Courtesy of the artist. 30 June—22 July How to Raise a Ghost Melissa Proposch Created during a time of the worldwide pandemic and escalating climate crisis, Melissa Proposch’s imagined haunted memories, dreams and associations come together in a series of works and explorations surrounding the fear of the unknown and unseen threat. A conceptual map of the artist’s haunted house and place where her personal ghosts dwell, here Proposch crafts an offering—an invitation to come and convene with her in a form of parallel play. This exhibition constitutes the visual outcomes emerging from a practice-led Masters research project at Federation University, Australia. Melissa Proposch is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University. 6 August—26 August Benchmark22 Visual Arts Undergraduates An important annual exhibition by Federation University’s Arts Academy

language, and vision of country into the gallery. Supported by the Australia Council, this is the first time that Jilamara artists have explored digital-based media to frame the experience of their ochre paintings, ironwood carvings and screened fabrics. This installation will immerse audiences in a multi-channel work on large opposing projection screens. Each screen will feature an artist, painted in the ochre of the landscape, sharing their individual Tiwi totem through YOYI (dance) on country. Through sound and moving image this work establishes a clear link between the iconic styles of Jilamara design and its roots in dance, body painting, family totem and country. This project is the first time that a Tiwi video installation (that incorporates artists dancing on Country) has been shown in tandem with major selection of Tiwi bark paintings. Presented in association with Jilamara Arts and Crafts Association and the Indigenous Knowledge Institute.

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

Fiona and Sidney Myer Gallery www.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. The Fiona and Sidney Myer Gallery (formerly the Margaret Lawrence Gallery) is a highly influential curatorial art space frequented by the general public and artists at all stages of their career. With a diverse program focusing on the curatorship of new work by local, national and international artists, the Gallery encourages meaningful connections and exchanges between artists, academics, students and the wider public. 27 May—16 July YOYI (dance) Place, performance and the body are central to Tiwi artmaking. YOYI, draws on these performative foundations, using the medium of film to bring both dance,

Rashid Rana, Beauty Lies, video still, 2019–2020. 28 July—3 September Rashid Rana Pakistan based Rashid Rana is best known for his photographic works comprised of thousands of mini-images that he digitally assembles to create a larger image. Deeply grounded in the relationship between the micro and the macro, Rana’s work powerfully calls into question the values associated with contemporary art, ritual, aesthetics, social history, and political structure.

151

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

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.

Footscray Community Arts www.footscrayarts.com 45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

Until 16 July Turbulence Annika Romeyn Until 16 July Stone Diaries Christine Willcocks

Claire Bridge and Chelle Destefano, I’m Deaf and Visible, with Cathy Lillian in What I Wish I’d Told You, 2022, video still. 13 July—28 August What I Wish I’d Told You Claire Bridge and Chelle Destefano Bringing inclusion to the centre, Claire Bridge and Chelle Destefano collaborate with Deaf community to decolonise hearing spaces. Working together as collaborators and allies, Bridge and Destefano are winners of the West Space/Footscray Community Arts Commission 2022 for What I Wish I’d Told You. Marise Maas, Kit, oil on canvas, 2022, 100 x 100 cm. 19 July—6 August Under One Roof Marise Maas

Eleonor Palacio & Drasko Boljevic, The Nine Day Queen, 2021, photography printed on 310 gm archival rag paper, 90 x 60 cm. 19 July—30 July The Book of Fabulas and Scented Echoes Eleonor Palacio and Drasko Boljevic Photography 2 August—13 August Michelangelo Russo and Jenn Jabu Dual exhibition of encaustic paintings.

“‘What I Wish I’d Told You’, is an immersive exhibition which centers Deaf voices, identity and culture. AUSLAN storytellers are visible, front and centre, affirming Deaf experiences, in large scale immersive video projections.” — Chelle Destefano and Claire Bridge. Shared with humour, wit, courage, and care, What I Wish I’d Told You transforms the gallery into a Deaf space and Deaf Cultural experience.

fortyfivedownstairs www.fortyfivedownstairs.com

Margaret Ackland, A Balancing Act, 2022, watercolour on paper, 85 x 90 cm. 9 August—27 August Balancing Act Margaret Ackland 9 August—27 August La Pouffe Ann Ryan

152

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–6pm, Sat 12pm–4pm, Tues & Fri 6pm–8pm 21 June—3 July Crucible fortyfivedownstairs group show Mixed media 5 July—16 July Imperishables: Sculptures and Paintings Filip Toth Sculptures and paintings.

Margaret Gold, Jump 2, 2017, pastel and pencil on paper, 21 x 16 cm. 2 August—13 August Boat People: Voyage to the Promised Land Margaret Gold Pastel and pencil on paper. 16 August—27 August My Neighbours’ Gardens Aloma Treister Paintings. 16 August—27 August Drifted Alison Russell

19 July—30 July Mungo Susan Wald

Works on paper.

Paintings.

Solo exhibition of Jewellery.

16 August—27 August Kate Durham

VICTORIA 30 August—10 September Richard Besley Solo exhibition of paintings.

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

by taking the detritus of contemporary technologies and combining these with organic source material such as leaves and seaweed.

Fox Galleries

2 June—24 September Through Her Eyes Brodie Alserda

63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon to Sun 10am–6pm. See our website for latest information.

Alserda converts animal photography into her signature Zentangle black and white style, or full colour blended pieces. Brodie’s lifelong focus on art has been a positive outlet while living with complex mental and physical issues emanating from a Chromosome deletion disorder and is on the Autism spectrum. A Frankston City Council’s Artist Project Grant recipient.

One of the largest outer metropolitan arts venues in Australia, Frankston Arts Centre was designed by renowned Australian Architect, Daryl Jackson, and incorporates an 800 seat theatre, five exhibition gallery spaces, a function centre, a 200 seat black box theatre, and a creative arts hub. Our artistic program is vibrant and enriching, providing a new perspective and deeper engagement for audiences. It is respectful to all community groups, seeks diversity, embraces First Nation’s peoples and their culture, and protects and promotes our environment. Through story-telling, entertainment and laughter, we take our role in the wellbeing of the community seriously.

www.foxgalleries.com.au

The gallery has two spaces. 63 Wellington Street is for curated exhibitions of its represented artists on a monthly basis. It is open to the public during its weekly opening hours and exhibition openings. 67 Wellington Street is for the display of artworks being offered for private sale and serves as a showroom for paintings and sculptures that are being valued for insurance, probate and other purposes. This space is open by appointment only. 1 July—30 July Adult Contemporary Harold David

16 June—9 July Maybe it was Just a Dream Bella Cortes Cortes’s whimsical world paints the ordinary in a hyper technicolour reality. Her collection leans towards the concept of escapism which begs the question, “Was It Just A Dream? Are dreams better than reality these days?” 30 June—6 August Works On Paper Mangkaja Arts Resource Agency Amy Nuggett, Wurna Jiljingurnu Kayili Martuwarrakarti, Screen Print. Mangkaja artists from the Fitzroy Valley region share stories of culture and identity through vibrant images and representations of country with a distinct use of colour and uninhibited style highlighted in recent high profile fashion collaborations.

Jonathan Thompson, Standing Figure. 2 June—24 September The Impossible Dream Jonathan Thompson Inspired by the everyday Thompson reinterprets the world around him through his bronze sculptures. Thompson invites the Frankston Community to view and vote for their favourite sculpture which he hopes to have enlarged and fabricated into a public art work celebrating Disability Arts in Frankston. A Frankston City Council’s Artist Project Grant recipient.

Jane Giblin, The The white beauty mask, Launceston, 2021, ink and pigment on unicartridge, 86.5 x 76.5 cm. 4 August—28 August Periphery Bec Juniper and Jane Giblin

28 July—25 August Belonging FAC Open Exhibition

Penelope Davis, Sea change, installation view, silicone, nylon thread, plastic. Photograph: Matthew Stanton. Courtesy of MARS gallery. 7 July—27 August Sea Change Penelope Davis

The FAC Open Exhibition was a call out for submissions across all visual art mediums to explore the theme of belonging. The theme was open to broad artistic interpretation and approached from a personal, social or cultural perspective. The winning artist is awarded $1,000, an exhibition and opening event in 2023.

Nick Longford, Tender in Turmoil, 2022, oil on canvas, 122 x 91 cm. 4 August—28 August Stockroom Gallery: Street Life Nick Longford

Penelope Davis creates jellyfish forms 153

Ken Knight Sun in your eyes: A survey show 3 - 27 August 2022

Ken Knight Autumn Landscape 2016 oil on board 101 x 92cm

gouldcreative.com.au

at14.com.au

VICTORIA A group exhibition featuring works by local and regional contemporary craft makers and artists together with those from further afield.

FUTURES www.futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12noon–5pm. See our website for latest information.

Left-Right: David Bradtke, Andromeda, (detail), Denusha Joseph, Near & Far, (detail), Christopher Raynor, Outside my Window, (detail), Mina Shafer, Chromatic Progression, (detail). 2 July—30 July Chromatic Fields David Bradtke, Dinusha Joseph, Christopher Raynor and Mina Shafer

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. Free entry. See our website for latest information.

Camillo De Luca, Someplace Monet, (detail), 168 x 110 cm. 6 August—28 August Digital vs Analogue Camillo De Luca

Gallerysmith Jake Preval, Let the sunshine in, 2020, Paper collage, acrylic paint, 16 x 22cm. Appears courtesy of Sarah Scout Presents. 30 June—30 July Serotonin! Group exhibition.

www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm. Gallerysmith presents a rotating program of contemporary art exhibitions across three spacious galleries by a hand-picked group of represented artists. We also present regular on-line exhibitions and work on off-site projects.

Geelong Art Space www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Fri and Sat 12noon to 5pm. Other times by appointment. Closed public holidays. Pim van Nunen, from the ‘Refugees’ series, 2022, Found objects, timber, vintage cloth, twine, rope and paint. 4 August—27 August Pim van Nunen

25 June—6 October Holding Form Barbara Brash Works by Australian printmaker Barbara Brash (1925–1998) whose colourful and dynamic prints demonstrate an expressive and experimental approach to the printed medium. A Geelong Gallery exhibition. 25 June—11 September 2022 Geelong Contemporary Art Prize The 2022 Geelong Contemporary Art Prize is a signature event that showcases the diversity and excellence of Australian contemporary painting practice. Through these prizes, staged since 1938, the Gallery has amassed an exceptional representation of Australian paintings whilst supporting contemporary practitioners. A Geelong Gallery exhibition. 16 July—16 October Spowers & Syme

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 public holidays by appointment only.

Barbara Brash, Sea fringe, 1963, colour screenprint on Japanese paper. Geelong Gallery, Gift of Moira Eckel through the Australian Government’s Cultural Gifts Program, 2017, © the estate of the artist.

Deb K Williams, Moss and Lava, cotton, wool, silk thread on mesh, 50 x 45 cm. Courtesy of the artist and Geelong Art Space. 24 June—27 August Tactile

Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme presents the changing face of interwar Australia through the perspective of two pioneering modern women artists. This exhibition offers a rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with 155

mes.net.au

e-artstore.net

omnusframing.com.au

VICTORIA 4 June—28 August Connections to Country Eileen Harrison

Geelong Gallery continued... avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia—where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ‘40s. A National Gallery of Australia Touring Exhibition. Free entry.

Sarah Brasier and Matthew Harris. Image courtesy of the artists. Gertrude Glasshouse: 1 July—30 July Spiritual Poverty Sarah Brasier and Matthew Harris 5 August—3 September Ann Debono

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Brook Andrew, Black and white special cut, 2005, colour screenprint. Geelong Gallery, Gift of Brook Andrew and Mabi Andrew through the Australian Government’s Cultural Gifts Program, 2020. © the artist. Photograph: Andrew Curtis. 16 July—23 October Hope, Peace, and Paradise Brook Andrew Exhibited for the first time since their acquisition in 2020 through a generous gift of the artist, this selection of printed works by Brook Andrew reflects his longstanding practice of combining diverse images and text to reclaim Indigenous language as a counter to, and examination of, dominant cultural narratives that often relate to colonialism, modern-ist histories, and post-colonial cultural activism.

Gertrude www.gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tues to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12noon–5pm.

Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm. Closed public holidays. 9 June—10 July UNEARTHED An immersive digital installation presented by PluginHUMAN. 14 July—7 August B’nai B’rith Jewish Youth Art Award 14 July—7 August Gallery annexe: Seen/Unseen Leonie Leivenzon 11 August—28 August Twenty Melbourne Painters Society

Opening Friday 17 June, 6pm–8pm. 27 August—23 October Dwelling (Victorian Issue) Archie Moore Opening Friday 26 August, 6pm–8pm.

11 June—28 August Fragile Earth: Extinction 4 June—23 October Small Sculpture Adrian Mauriks

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

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.

Gertrude Contemporary: 18 June—14 August Polyphonic Reverb Yuriyal Eric Bridgeman; Stevie Fieldsend; Graham Fletcher; Brian Fuata; Tamsen Hopkinson; Greg Semu and Angela Tiatia. Curated by Mark Feary

Matthew Dunne, Skull near Jeparit, 2021, giclee print, 42 x 29.7 cm. © The artist.

Eileen Harrison (Gunaikurnai), Celebration of our Culture, 2018, acrylic on canvas, 140 x 240 cm. © The artist. 4 June—28 August Gunnai Vibrations Richard Young

Troy Emery, Figures in the Landscape. 9 April—28 August Figures in the Landscape Troy Emery In this exhibition, Figures in the Landscape, Emery reflects on the cataclysmic events of the pandemic (2019—) and draws inspiration from objects of classical antiquity. Throughout the last two years Emery was inspired by extraordinary public access to museum exhibitions, curator talks, and virtual exhibition walkthroughs, particularly those presented by the British Museum. He was moved by golden Viking artefacts, classical Roman and Egyptian sculpture, and the ruins and remains from the ancient cities of Pompeii and Herculaneum. 157

artsproject.org.au

VICTORIA Hamilton Gallery continued... For this installation he was given total curatorial discretion to select and respond to works from the Hamilton Gallery Collection. By choosing an array of traditional landscapes, Emery frames figurative works against images from the past, where he reduces the European ouvre to melancholic historical artefacts. Troy Emery is a contemporary artist based in Melbourne Victoria. He holds degrees in sculpture and fine art from the University of Tasmania and the University of Sydney. His practice examines the history of our relationship with animals. He is consumed by our ability to give meaning to them and use them in allegory and metaphor. His work crosses fine art, museums, natural history, craft, and the domestic space.

Hearth Galleries www.christinejoycuration.com.au Ethical contemporary Aboriginal art. 208 Maroondah Highway, Healesville, VIC 3777 [Map 1] 0423 902 934 Wed to Sun 10am–4pm.

Murnong Gallery, 100 High Street, Glen Iris, VIC 3146: 6 May—7 August Moorinya Amanda Wright

Heide Museum of Modern Art

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

www.heide.com.au

Until 31 July Listening to Music Played Backwards: Recent Acquisitions Celebrating works in the Heide collection acquired over the past decade. 4 June—20 November Things that will not sit still Drawn from the Heide Museum of Modern Art collection Things that will not sit still explores the shifting nature of perception, art and ideas. The exhibition addresses the way in which the selected artworks attend to, or, suggest movement—forward and back across time—shifts in focus, perceptual dissolution, forms of disruption and agitation.

Jaedon Shin’s paintings vibrate with colour, memory and imagination. Through the creation of dream-like worlds, the artist contemplates inter and transcultural experiences, interrogating his dual identity as a Korean and an Australian. 11 June—23 October Albert Tucker: The Modern Metaphysical This exhibition examines the influence of renowned Italian metaphysical artist, Giorgio de Chirico, on the work of Australian modernist painter Albert Tucker.

29 June—25 September Tingari Men Walter Jangala Brown, George Ward Tjungarrayi, Ronnie Tjampitjarra, George Tjapaltjarri, Walala Tjapaltjarri.

Bruce Munro, Time and Again, 2016, stainless steel, powder coated mild steel, clad fibre optic cable, light, 7 x 6.5 x 1 m. Photograph: Christopher John Copyright © 2019 Bruce Munro. All rights reserved. 25 June—16 October Bruce Munro: From Sunrise Road

Amanda Wright, Nawnta, acrylic paint spray paint and posca pen on canvas, 30 x 30 cm.

www.horshamtownhall.com.au

7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm.

11 June—30 October Jaedon Shin: Double Moon

Walter Jangala Brown, Tingari Cycle, acrylic on Belgian Linen, 122 x 122 cm.

Horsham Regional Art Gallery

Light is an essential element of the remarkable practice of British artist Bruce Munro, best known for his immersive, large-scale installations inspired largely by his interest in shared human experience.

Gail Harradine and Belinda Eckermann, Taking creation back to Country, 2021, inkjet photograph on plywood. Courtesy of the artists. 29 April—28 August Mali marrng Mallee sky Gail Harradine and Belinda Eckermann For some of us, the connection to nature is almost tangible, it influences who we are, how we connect to others and how we connect to ourselves. The artists’ first time collaboration merges digital photography, entomological research, electron microscopy imaging and First Nations cultural practices, to explore a shared knowledge and connection to the landscape around Lake Albacutya in Victoria Mallee region. Their alliance manifests in new cultural ways of thinking through practice, in a desire to experiment and entangle these spheresas they seek a greater understanding of the human experience of connection to Country. Curated by Alison Eggleton. A Horsham Regional Art Gallery exhibition. Mali marrng Mallee sky is an official exhibition of PHOTO 2022 International Festival of Photography. 9 May—31 July Public billboard, 66 McPherson Street, Horsham: Amrita Hepi: Aint no body First Nations artist Amrita Hepi presents a dynamic roadside encounter titled Aint no body. Featuring tiled images of her body in motion, the work responds to the “commercial idealisation of the black body.” Here, we see Hepi ’s body propelled by an unknown force, causing us to wonder—is she jumping or falling? 159

Sofi’s Lounge, Level One, 8am—8pm

1 July—26 October 2022 An Old Landscape Through New Eyes: Indigenous works from the Wesley College Collection Collected over 15 years nearly all of these pictures in this exhibition have been donated to Wesley College through the generosity of former students. The exhibition is a visual description of one of the oldest landscapes, as seen and described by our First Nations artists, a people who have lived here for over 60,000 years. Surveying the exhibition, you might consider works through the lens of different styles including Abstract, Post-Colonial, Ethnographic, Contemporary or even Naif style. There are elements of these styles in all the works but what they have in common is a desire to tell the story of their connection to the sometimes harsh country that has sustained them, a connection to ancestors and a need to keep passing on traditions. The artists include; George Ward Tjungurrayi, Paddy Fordham Wainburranga, Freddie Timms, Boxer Milner, Paddy Fordham plus others.

Sofitel Melbourne On Collins

25 Collins Street Melbourne 3000

(03) 9653 0000 sofitel-melbourne.com.au

Alan Griffiths (b. 1933), Walking Goongoolooloo Country, c. 2008, natural ochres on canvas, 130 x 125 cm.

The exhibition programme at Sofitel Melbourne On Collins is managed by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

gap.net.au

Joanne Mott

Rules for Transformation June 4 - July 16

Thurs - Sat 10 - 4pm . 76 Main Rd Hepburn Vic 3461 . radiusart.com.au 160

radiusart.com.au

VICTORIA 10 June—17 July Centre for Reworlding presents: Resurgence

Horsham Regional Art Gallery continued... The multiform images narrow in on individual frames of movement so that what we see are the moments in-between, when the body is at the whim of air and gravity. With this, Hepi suggests that rest or respite, especially for the black body, is never assured. Ain’t no body is a Horsham Regional Art Gallery exhibition presented in partnership with NETS Victoria and curated by Jenna Rain Warwick. This project has been assisted by the Victorian Government through Creative Victoria.

Drawing from and expanding upon their award-winning speculative futurist video work Refugium (2021), Centre for Reworlding present Resurgence—telling the story of the moment when one world ends for another to begin. It’s the end of the world as we know it, but every beginning is an ending. This exhibition is the backstory, the right now, the unimaginable, the inevitable and the beyond of what might be possible. 10 June—17 July Call me home Marley Dawson, Endless Loop, 2011. works touch on ideas relating to aerodynamic testing for military equipment, the aftermath of the Philadelphia Eagles’ 2018 Superbowl win, how annoying it can be to get a painting to hang level and the impossibility of actually relaxing. The exhibition space is presented unfinished to represent the temporality of artistic practice and the need to keep evolving.

Troy Emery, grounding exercises, 2022, polyester, epoxy, aluminium, adhesive, 57 x 85 x 62 cm. Photo by Annika Kafcaloudis. Courtesy of the artist and Martin Browne Contemporary. 16 July—16 October Myth Making Kate Rohde and Troy Emery With a long term interest in animal motifs and forms, historical museum display, decorative arts and antiquities, Kate Rohde and Troy Emery will present an explosion of colour and ideas. Creating a new body of work inspired by classical European myths but linking with ideas and places within the Wimmera, Myth Making will be a reimaging of our local landscape, classical forms and gallery aesthetics. A Horsham Regional Art Gallery exhibition. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Hyphen — Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. 21 May—21 August Plateau Marley Dawson An exhibition of artworks made across 15 years and represents Dawson’s artistic practice and current place in life. The

Plateau includes a major new work, Big Wheel (at 40), made especially for this exhibition. Big Wheel is a long unrealised work that has been following Dawson for 10 years—never quite getting made. The sculpture consists of a large wooden wheel that rotates, causing a smaller used car tyre to continuously roll in search of its balance point. It moves with just enough momentum to keep from falling, endlessly rolling along trying to find its way.

Incinerator Gallery www.incineratorgallery.com.au

Call me home is a group exhibition by artists and photographers, Ali Choudry, Sevim Dogan Ozkan and Max Iannantuono. A central tenet within the exhibition is the exploration of home and the instability of the concept as confined within the traditional constructs of geography, race, or international borders. Memory is employed as a tool for sharing oral and visual histories, which are extracted from personal archives and repurposed into artworks spanning installation, video, photobooks, and text. 29 July—4 September Lock Dispersal in Corner Solutions Azza Zein Lock Dispersal in Corner Solutions is an artistic response to the three main components observed and encountered locally and globally as a result of COVID-19 lockdowns: exposed precarious economy, the aggravated distance of events; and the dematerialisation of relationships. In this video and multimedia series, Azza Zein continues her practice of re-materialisation as a form of revaluing migrant bodies— uprooted human and non-human entities.

180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm.

Julie Vinci, That’s Sally’s Friend, 2022, oil on board, 50 x 60 cm. 29 July—4 September Well Now, Would You Look at Her Julie Vinci Mira Oosterweghel, Soiled feet rammed dirt, 2021, research image. 10 June—17 July Soiled feet rammed dirt: Mira Oosterweghel Soiled feet rammed dirt is a text and spatial installation that responds to the history and industrial architecture of Incinerator Gallery. This new project by Mira Oosterweghel is informed as a new iteration of Bone with a hole—exploring the artist’s childhood memories of spending time on her grandparents’ farm, consuming and reproducing stories of labour and landscape.

Well Now, Would You Just Look at Her is an exhibition of curious characters known as Grotesques depicted through the abstracted figurative sculptures and oil paintings of feminist multidisciplinary artist, Julie Vinci. Sculptures are made from hard and soft forms derived from building materials and domestic ephemera and embodying female archetypes from the artist’s own life and history. The Grotesques represent untold memories of a life lived in arguments, sex, violence, motherhood and human connection. Though isolated, the memories have been given new agency and immortalised in the traditions of sculpture and portraiture. 161

BOROONDARA.VIC.GOV.AU/ARTS

Above the Canopy TOWN HALL GALLERY SAT 9 JUL – SAT 24 SEP 2022 ‘Above the Canopy’ is a major group exhibition at Town Hall Gallery celebrating the Australian natural environment. Through hyperreal images of forests alongside detailed studies of insects, botany, birds and geology, the exhibition conveys the grandeur of nature while exploring concerns for climate action and the need to protect the planet for future generations. Image: Catherine Nelson, ‘Gully’, 2014, pigment print, edition of 3, 150 x 188cm, image courtesy of the artist and Gallerysmith, Melbourne.

HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770 boroondara.vic.gov.au/arts

VICTORIA

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information.

1 August—21 August Community and Connection Thou Art Mum Thou Art Mum is a 35-member artist group of women who are mothers who reside in the Banyule and Nillumbik areas. 26 August—18 September Mythic Feminine—Mother Nature Fran Lee Fran is always at work, planting and caring for the land she inhabits, while also caring for a number of trees in the public domain. While she works in nature, she contemplates the agency of trees and how they inform her sense of self. In this exhibition of new works, Fran Lee explores the feminine notion of nature.

Jacob Hoerner Galleries Detail of artworks by Peta Clancy (left) and Jo Scicluna (right). 20 May—17 July Considering the Land Peta Clancy and Jo Scicluna An exhibition bringing together artworks by Peta Clancy and Jo Scicluna, considers the land on which we all live, from a First Nation and a first-generation migrant perspective. In this space, we invite conversations to take place between the two artists, the land, First Nation Elders, and the community.

www.jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 0412 243 818 [Map 5] Wed to Sat 12noon–5pm and by appointment. Closed during standard hours from 18 June to 28 July in the lead up to our 20th and 50th milestone celebrations.

David Palliser, Break Broke 2015–2020. oil on linen, 61 x 77 cm. 25 August—17 September New Paintings David Palliser

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).

Peta Clancy is a descendant of the Bangerang Nation from south-eastern Australia. She’s a senior lecturer at Monash University’s Art Design & Architecture. Awarded the inaugural Koorie Heritage Trust ‘Fostering Koorie Art and Culture grant’, she collaborated with Dja Dja Wurrung Traditional Custodians for the ‘Undercurrent’ project which was exhibited at the Koorie Heritage Trust in 2019. Jo Scicluna is a Naarm-based artist and educator across fine art and design, completing her PhD at Monash University (MADA) in 2021. The project, Where The Land Lies (Gippsland Art Gallery, 2019), developed in consultation with Gunaikurnai community representatives, established a foundational process of observing respect for Country for Scicluna’s iterative practice. 5 August—29 September 2022 Banyule Art Salon—Outside these four walls… Banyule’s biggest community art exhibition returns. An exhibition of art by Banyule’s creative community, celebrating community life post-pandemic. 1 July—24 July CHANGE Change is an act or process through which something becomes different. Change: climate change, change a habit, observe the process of change… you can make a change. This exhibition showcases art by local artists, to inspire all of us to participate in change and make a difference for our environment. This exhibition is a partnership between Banyule Council’s Arts & Culture Team, Rethink Centre, Waste Services and Environment Team.

John Lennox, The Walled Garden 1987. oil on canvas, 122 x 92 cm. 23 June—23 July Pilot Light Marc Pascal An external installation only. Viewing between 5.30pm–8pm nightly. For any further information or inquiries please info@jacobhoernergalleries.com 28 July—20 August The Lost Ark Rius Carson Celebrating 20 Years of Kick Gallery + Jacob Hoerner Galleries 2002—2015 / 2016–2022 28 July—20 August From the Archive John Lennox Celebrating 50 Years since the establishment of Peaches + John Hoerner Galleries Est. 1972.

Helmut Newton, Elsa Peretti, New York, 1975. © Helmut Newton Estate. Courtesy Helmut Newton Foundation. 29 April—29 January 2023 Helmut Newton: In Focus A definitive exploration of the work and life of visionary German-born photographer, Helmut Newton. This exhibition delves into Newton’s early life and career, shining a light on his Jewish roots and life in Berlin, his flight from Germany at the outbreak of WWII and his eventual internment at Tatura in regional Victoria as an enemy alien. It also explores his post-war life and work in Melbourne and shares details of his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs. 163

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

Kelly & Gemelli Gallery www.kellyandgemelli.com 57 Phillip Island Road, San Remo, VIC 3925 [Map 1] 03 5678 5101 Sat and Sun 9.30am–4pm.

Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12noon–5pm.

stories of our community. Despite differences in how, when and where people have arrived in Kingston, similarities exist in their lived experience and connections can be made across generations, countries of origin and cultural backgrounds. Through an embroidery work and supporting video, learn about local people’s family histories, memories and experiences of moving to and building lives in Kingston. G3 Artspace : 1 July—30 July Death and all its Cambodian Friends Presented by Andrew Duong.

OptiKA 2020, installation view. Photo by Shuttermain. G1 + G2, Kingston Arts Centre:

Adriano Gemelli, – One +, digital image constructed from painted landscapes, 15 x 120 cm. 1 August—31 October Three sponsored artists from Gippsland A collection of works by 3 Gippsland artists selected to show the diversity and talent in this region showing Kelly & Gemelli – Art & Design San Remo, in conjunction with Regional Art Victoria. An opportunity to purchase art works without commission – with all proceeds going directly to the artists.

Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300

24 June—23 July OptiKA 2022 and OptiKA: Up Late Presented by Kingston Arts. OptiKA is an award dedicated to excellence in contemporary photography, videography, and digital art. Now in its 14th year, the OptiKA 2022 photographic award exhibition will feature new artworks responding to the theme ‘FOCUS ON 2030: Inspiring a Zero Emissions Future’ by photographers, videographers and digital artists of all ages and skill levels. Over winter OptiKA: Up Late will light up the City of Kingston with projections after dark. Featuring over 30 projections of artworks by Victorian based artists we invite you to experience unexpected encounters with art and OptiKA as you’ve never seen it before. Opening 23 July, 6pm–8pm. G1 + G2, Kingston Arts Centre: 29 July—27 August Interwoven: Kingston Presented by Luciano. Interwoven: Kingston seeks to represent the shared and intertwined experiences of those that live, work and play in Kingston, addressing themes such as the effects of migration and culture on identity, the shared experience of creating a life in a new location and the interconnected

Uncle Eric Thomas Brown (Gomeroi), Men’s Business 2, date unknown, synthetic polymer paint on canvas, 760 x 1040 x 45 mm. Collection of Link-Up Victoria. Photo: Christian Capurro 2022.

5 August—3 September Not that long ago: works on paper Presented by Cynthia Ellis. Travel and relocation have consistently challenged visual artist Cynthia Ellis to bring a new perspective to her art practice. Interpreting the compelling landscape of Mornington Peninsula, Ellis takes the bay and the light, translating it into painted works on paper ranging tonally as the landscape ranges through the various seasons.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. See our website for latest information. 2 April—10 July Hazelwood In 2020, Engie, owners of Hazelwood Power Station and Mine, donated an 8 metre painting to Latrobe Regional Gallery. The painting from 1994, depicts the history of Hazelwood Power Station from farmland to its heyday and its imagined future at the time.

Inventiveness and seeking new possibilities are central to the ideas framing this exhibition by Mira Gojak and Michael Prior. 23 April—24 July Fata Morgana David Burrow

Kingston Arts www.kingstonarts.com.au

164

G3 Artspace :

9 April—10 July Field of Visions Mira Gojak and Michael Prior

26 May—28 August Barring – Nganjin: our path our journey Various artists

G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm,

Portraits in Khmer (Cambodian) history hold an important reference to black and white portraits captured before deaths during the Khmer genocide. Andrew Duong aims to provide an alternative perspective through painting, family portraits, and the contrasting traditions around death.

Andrew Duong, Portrait of a Cambodian Father, 2018, acrylic on MDF, 90 x 120 cm.

David Burrows travelled to Antarctic in the summer of 2011/2012, a trip which has inspired his interest in mirages, and representation of land. Much of his recent artwork including that in Fata Morgana has used stereoscopes which challenge viewers’ visual depth perception.

VICTORIA 23 April—24 July In Tarra-Bulga Dean Smith Living in Morwell, after having lived in many parts of both Australia and New Zealand, Dean Smith takes his cues from the landscape around him. 1 May—17 July The Valley Artists’ representations of the Latrobe Valley, depicting industry are a feature of the collection of Latrobe Regional Gallery. The Latrobe Valley is not all industrial however and has not always been as it is now. Aboriginal people of the Gunaikurnai nation have lived in the Valley for many thousands of years.

Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment.

Kate Beynon, The Shapeshifter’s Cloak, 2021, acrylic on linen, 90 x 80 cm. Image courtesy of the artist, Sutton Gallery and Linden New Art. 11 June—4 September The Shapeshifter’s Hour Kate Beynon 11 June—4 September Figuring Louisa Bufardeci

William (Bill) Young, The Big Picture, (detail), 1991, acrylic on paper, 20m x 2.5m, Courtesy of the Estate of William Young. 30 July—23 October The Big Picture: The art of Bill Young This exhibition celebrates Bill’s life and creative achievements. Showcasing both works in the collection and borrowed works, the exhibition includes a 20-metre work on paper, appropriately titled The Big Picture.

LON Gallery www.longallery.com Cowboy Loy Pwerl, c.1941-2022, Bush Turkey Story, 2022, (detail), synthetic polymer on linen, 150 x 120 cm.

136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. See our website for latest information. LON is an artist led contemporary art gallery that supports critically engaged art practices.

Sophie Steffanoni, 1873 -1906, About Windsor, 1898, oil on canvas, 25 x 45.5 cm.

29 June—23 July Renee Cosgrave, Dord Burrough, Merryn Lloyd, Simon Gardam, Ruby Brown

1 July—31 July A Walk Through the Australian Landscape

Susan Purdy, The Lost Forest, (detail) 2009, rayogram photographs, 15 panels totalling 20.04 m. Latrobe Regional Gallery Collection, 2014, purchased with the assistance of the Gallery Friends Trust.

Artists including Nicholas Chevalier, Thomas Clark, HJ Johnstone; Henry Reilly, John Ford Paterson, Sophie Steffanoni, Horace Trenerry, Herbert Gallop, Clifton Pugh, Ray Crooke, Robert Clinch, Andrew Sayers, Zhou Xiaoping and many more. See our website for preview and hours.

6 August —30 October Attending

Also showing a selection of paintings by Cowboy Loy Pwerl, in tribute.

An exhibition about inward reflection, space for oneself, beauty, quietude, consideration, looking and looking again. 15 August—16 September Sari Anderson: Artist in Residence (residency) 17 September—4 December Sari Anderson: Artist in Residence (exhibition) Local artist Sari Anderson will be working in Gallery 3 creating a new artwork, building on her interest in tesseract structures from which the artist compounds and triangulates into drawings to create geometric proposals.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun 11am–4pm. See our website for latest information. 11 June—4 September Ebb Honor Freeman

Simon Zoric, work in progress for Root Hog or Die, 2022, cast aluminium and automotive paint. 27 July—20 August Root Hog or Die Simon Zoric 165

Andy Pye Magma : Gamma

11 - 23 August 2022 311 Smith Street Fitzroy

Opening event 6–8pm Thursday 11 August

Phone +61 3 9913 8598 moderntimes.com.au

Andy Pye, Gamma Hits An Eel Family, 2022, Oil on Canvas, 85 x 85cm

moderntimes.com.au

VICTORIA

McClelland Sculpture Park + Gallery → Fiona Foley, The Magna Carta Tree #2, 2021, inkjet print. Courtesy the artist and Andrew Baker Art Dealer, Brisbane. Photograph: Mick Richards. 16 August—10 September Matthew Quick

McClelland Sculpture Park + Gallery

An exhibition of recent paintings.

www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. 25 June—9 October Fiona Foley: Veiled Paradise Touring from QUT Art Museum.

Metro Gallery www.metrogallery.com.au

Mildura Arts Centre www.milduraartscentre.com.au Augustine Dall’Ava, Thirty Sixth Dialogue, detail, 2011, Painted stones, painted wood, stainless steel, marble, 57 x 217.5 x 30 cm. An exhibition of recent sculpture by Augustine Dall’Ava from Dialogues and Self-Portrait series. 19 July—13 August Directors Choice Selected represented artists, with a focus on Abstraction, including works by Bruno Leti, Michael Johnson, and Anthony White.

1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tue to Fri 10am–5pm, Sat 11am–5pm. See our website for latest information.

24 June—11 September Line Work Mildura Arts Centre Collection. 'Line’ is one of the fundamental elements of art and design (visual language). In its endless uses and permutations ‘line’ can communicate shape, form, direction; it can evoke texture; it can generate emotion or relate something from our own experience. ‘Line’ can say little or much in ways that are culturally universal or unique. Specifically curated to demonstrate the diversity of applications of ‘line’ in visual language, this exhibition brings together works as seemingly disparate as a Degas nude with a Lee Ufan installation typical of the Mono-ha movement. Then again are works by First Nations artists whose use of line is embedded within ancient continuing culture. Line Work will take the viewer on a journey of ‘line’ through the Mildura Arts Centre Collection.

21 June—16 July Metro Winter An exhibition of recent works by selected represented artists, including Adnate, E.L.K, Tom Gerrard, Konstantin Dimopoulos, Jorna Newberry, Jackie Wirramanda, Robby Wirramanda, Richard Young and others. 19 July—13 August Augustine Dall’Ava

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

Matthew Quick, Untitled, 2022, oil on canvas.

10 June—7 August Unlemon—a meandering tale of citrus Alison Mitchell 167

gallery.missiontoseafarers.com.au

168 2021-Gould-Creative-@14-Art-guide-144x105-pink-FA-2mm.indd 1

at14.com.au

13/9/21 7:28 am

VICTORIA Mildura Arts Centre continued...

Modern Times www.moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Tues to Sat 10am–5pm.

Unlemon—a meandering tale of citrus reveals a multilayered story of citrus—its origins, trajectory, diversity and tenacity.

www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] muma@monash.edu 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission. Andy Pye, Gamma Hits An Eel Family, 2022, oil on canvas, 85 x 85 cm. 11 August—23 August Magma : Gamma Andy Pye Working amongst the life, sound, movement and ‘solitary’ landscape of the Australian bush, painter Andy Pye chooses a scene of the Australian condition and captures it at face value. Magma : Gamma, Pye’s first solo exhibition at Modern Times, captures the rugged bushland and rock forms of the southern Grampians in South West Victoria. Drawing inspiration from myths and layered histories of the area, Pye is drawn to the volcanic nature of the landscape, bodies of water, and the connections between rock, light and magnetism. Opening 11 August, 6–8pm.

Monash Gallery of Art www.mga.org.au Kerryn Sylvia, Knots like little beating hearts, (detail), 2021 - 2022, plaster, natural dyes, 50cm diameter (approx) 50 pieces. 27 May—24 July Liminal Kerryn Sylvia Celebrations of rites of passage experiences are thought to be on the decline in our Western modern societies. Historically such human experiences have stood as markers throughout a life that provide meaning and assist in the process of identity formation. This body of work explores the liminal phase of rites through the lens of motherhood, bearing witness to the experiences of her adolescent children. The work develops out of a process driven mediation of the everyday through objects and materials that are imbued with family history, memories and the repetitive nature of maintenance. Cast, heated, moulded and knotted, forms allude to the magical, enchanted life that exits outside of the order of structured society and time that are integral to the human experience.

Return to nature includes key works from MGA’s significant collection of Australian photographs, as well as a new iteration of ‘Interference pattern’ (2018–) by Rebecca Nadjowski and Vivian Cooper Smith, a vast and vibrant exploration of what it means to make photographs with the landscape rather than of it.

Monash University Museum of Art – MUMA

Alison Mitchell, string-bag, oil on linen.

Beginning through a porthole of seventeenth century Dutch art where paintings of citrus, peel unfurling, evoked representations of wealth, exoticism, trade and expansion. The exhibition continues in the still life genre, exploring citrus’ symbiotic relationship with us, in both its global success and the disease that threatens to devastate the species. Underpinning this is the crucial role played by Australia’s own native citrus. South Australian artist Alison Mitchell’s exhibition Unlemon… was first exhibited in the Museum of Economic Botany, Adelaide Botanic Garden.

8 July—18 September Return to nature

860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm.

Nici CUMPSTON, Great-grandmother Barka 2021, pigment ink-jet print, crayon, pencil 80 x 80cm. Monash Gallery of Art, City of Monash Collection acquired 2022 MGA 2022.01. Courtesy of the artist and Michael Reid Gallery (Sydney).

Collective Movements. Identity by Jenna Lee. 5 May—23 July Collective Movements Ensemble Dutala, Kaiela Arts, this mob, Pitcha Makin Fellas, Koorroyarr Arts, the Possum Skin Cloak Story, Uncle Ray Thomas and The Torch, among others. Collective Movements is a wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups that recognises collectivity as integral to Indigenous knowledges and ways of being. An exhibition, publishing project, conversation and workshop platform, the project begins from a desire to make more visible a language and terminology beyond Western art concepts of ‘collaboration’ and ‘collectivism’—one that better describes and acknowledges the way Indigenous creatives work within a broader community and its inheritances.

Shelley Lasica. Photo: Jacqui Shelton. 15 August–27 August WHEN I AM NOT THERE Shelley Lasica 169

Gallery & Stockroom Gallery & Stockroom Level 1 &1 2, Brunswick Street Level & 322 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC VIC 30653065 Wurundjeri Country, Fitzroy www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Featured artists: Chanel Sohier, Giorgia Bel, James Riches, Katie Daniels, Loralee Jade, Megan Yunupingu, Woody Mellor Featured artists: Chanel Sohier, Giorgia Bel, James Riches, Katie Daniels, Loralee Jade, Megan Yunupingu, Woody Mellor

brunswickstreetgallery.com.au

VICTORIA

Monash University MADA Gallery www.artdes.monash.edu/gallery 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.

National Works on Paper supports and promotes contemporary Australian artists working on or with paper. This diverse exhibition provides a survey of what’s happening in contemporary art across Australia today. Traditional approaches to working with paper are explored alongside works that incorporate new technologies, pushing the boundaries of the medium and expanding our appreciation of what working with and on paper can be. Visit the website to see the list of finalists.

National Gallery of Victoria—The Ian Potter Centre NGV Australia

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. 5 December—28 August 2021 NGV Architecture Commission pond[er] Taylor Knights and James Carey.

www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. 17 March—24 July Top Arts 2022 Jahkarli Romanis, From series (Dis) connected to Country, Pitta Pitta (Via the Colonial Gaze), 2020. Courtesy of the artist Jahkarli Romanis. 14 July—30 July BARREENG YIRRAMBOI Brad Webb, Gabi Briggs-Widders, Jahkarli Romanis, Moorina Bonini, Desiree Hernandez Ibinarriaga, Kareen Adam and wāni Toaishara.

David McDiarmid, Q, 1994, from the Rainbow Aphorism, series 1994 computer-generated, colour laserprint , 37.4 x 28.3 cm (image), 38.4 x 29.3 cm (sheet) National Gallery of Victoria, Melbourne, Purchased, 1994. © David McDiarmid / Licensed by Copyright Agency, Australia.

An exhibition presented by the Wominjeka Djeembana Indigenous Research Lab. Co-curated by Moorina Bonini, Kareen Adam, Desiree Hernandez Ibinarriaga, wāni Toaishara and Jahkarli Romanis. 4 August—20 August One Vast Library (Part 2) Curated by Tim Riley Walsh.

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au

Michael Riley, Maria, 1986; printed 2013, from the Michael Riley Portraits 1984–1990 series, inkjet print on paper, 41.50 x 43.4 x 5 cm (frame) 39.1 x 40.9 cm (image). National Portrait Gallery, Canberra Purchased 2013. © Michael Riley / Copyright Agency, 2021.

10 March—21 August QUEER: Stories from the NGV Collection 9 April—28 August Transforming Worlds: Change and tradition in contemporary India

25 March—21 August WHO ARE YOU: Australian Portraiture

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

Tiger Yaltangki, AC/DC, 2021 (detail), acrylic paint on paper and found poster. Courtesy of the artist and Alcaston Gallery, Melbourne. 13 August—27 November 2022 National Works on Paper

Tiger Palpatja, Wanampi Tjukurpa, 2007, synthetic polymer paint on canvas, 152 x 101.5 cm. National Gallery of Victoria, Melbourne Purchased, NGV Supporters and Patrons of Indigenous Art, 2007. © Tiger Palpatja, courtesy Tjala Arts. 15 April—29 January 2023 Indigenous Collection of Art and Design 13 May—11 September New Australian Printmaking

Pablo Picasso, Woman in an armchair ( Femme dans un fauteuil ) summer, 1927, oil on canvas, 130 x 97 cm. Musée national Picass – Paris Donated in lieu of tax, 1979 © Succession Picasso/Copyright Agency, 2022. Photograph: © RMN – Grand Palais (Musée national Picasso – Paris) / Adrien Didierjean. 171

Doppelgänger and Zombies Rochus Urban Hinkel

Decorative Arts in the Digital Age Exhibition of Archetypes, Cyber Crafts, and Collectibles July 1 - 23, 2022 The David Roche Foundation 241 Melbourne Street, North Adelaide, SA 5006 Phone 08 - 8267 3677 www.rochefoundation.com.au Funded by The University of South Australia, SIDA and The David Roche Foundation Research Fellowship in Interior Design and Decoration

rochefoundation.com.au

VICTORIA NGV International continued...

PG Gallery www.pggallery.com.au

10 June—9 October The Picasso Century

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

10 June—9 October Making Art: Imagine Everything is Real

Niagara Galleries

PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

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

Peter Sharp, Blossom, 2021, oil and acrylic on linen board. 46 x 35 cm. 17 August—3 September Peter Sharp

Old Quad www.about.unimelb.edu.au/oldquad/exhibitions

Helen Maudsley, Canary – The Lady, 1974, oil on board, 51 x 45.5cm. Photographer: Mark Ashkanasy, Melbourne. 29 June—23 July Helen Maudsley

Jennifer Joseph, We believe in the afterlife, 2018, acrylic, charcoal, graphite and wood on cardboard, 93 x 165cm (irregular). Photographer: Andrew Curtis, Melbourne. 29 June—23 July Jennifer Joseph

Nicholas Thompson Gallery www.nicholasthompsongallery. com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 8] 03 9415 7882 Wed to Sat 12noon–5pm. 6 July—23 July Todd McMillan 27 July—13 August James Drinkwater

Building 150 (Parkville Campus) The University of Melbourne, Parkville, VIC 3053 [Map 5] 03 9035 5511 Tue to Fri 10am–4pm, Sat 11am– 4pm. See our website for latest information.

Phil Day, Untitled, 2022. pencil on paper 94 x 87 mm. 25 June—9 July Coalescence David Nixon Coalescence culminates seventeen years dedicated to creating relief etchings, linocuts and monoprints. ‘My material engagement with these mediums enables me to develop pictorial languages based upon personal motifs. Testing the extreme limits of the medium, my detailed etchings are distinguished by their lyric intimacy and acute optical shimmer’. - David Nixon.

Project8 Gallery Installation view, Emu Sky at Old Quad, The University of Melbourne 23 Nov 2021-30 Jul 2022, Uncle Badger Bates Karnka (digging sticks), 2020 and Emu Sky, 2021 (background). Photograph: Christian Capurro. Until 30 July Emu Sky

www.project8.gallery Level 2, 417 Collins Street, Melbourne VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. See our website for latest information.

Emu Sky explores Indigenous land management, knowledge, science, plant use, language and truth telling. With a strong focus on south-eastern Australia, over 30 Aboriginal community members share their stories, knowledge, and art practice. Emu Sky opens conversations about what we continue to risk in failing to recognise and empower Indigenous knowledge and sustainable practice in the ongoing management of Country. Made for all ages, the exhibition offers illuminations and invites an opportunity to listen.

Laura Cuch, Spiritual Flavours: Meals, Ealing Christian Centre, 2015. Photographic print, 75 x 50 cm. 173

ar t g ui d e .c o m . au Project8 Gallery continued...

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery COVIDSafe policies and restrictions.

Megan Cope, The Blaktism, (still), 2014. Image courtesy of the artist.

Tariku Shiferaw, I'm Black and I’m Blue, 2019, found shipping pallets from New York City, dimensions variable. 9 July—20 August DIGS Laura Cuch, Spencer Harrison, Jaime Powell, Tariku Shiferaw and Lisa Waup. Opening 8 July, 6pm–8pm.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. See our website for latest information. A curated art space representing a tight collection of fine artists, chosen for their artistic virtuosity, creative thinking and sheer mastery of their practice. QDOS Fine Arts hosts 10 solo exhibitions annually, our artists launch a new body of work biennially, albeit, offer a small but exclusive range of their work which is always available for stockroom viewing.

Rohan Robinson, foxhole, fallback, tarmac, acrylic on linen, 153 x 97 cm. From the Stockroom or online.

174

Sofitel Melbourne on Collins www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 1 April—31 July Level 35, Atrium Gallery, open 24 hours: Flânerie Parallèle Claire Ropartz French photographer and Melbourne based artist Claire Ropartz presents Flânerie Parallèle. This photographic exhibition is an invitation to a voyage into the city of Melbourne—an artistic guided tour with a strong focus on local businesses in and around Collins Place and Flinders Lane capturing the artisans, the arts, architecture and that unique feel of “flânerie” (the “flâneur”).

8 April—14 August Agent Bodies Anonymous, Brook Andrew, Georgia Banks, Leigh Bowery, Cassils, Megan Cope, Juan Davila, Matthew Davis, Alicia Frankovich, Lucian Freud, Claire Lambe, Mike Parr, Sam Petersen, Yhonnie Scarce, The Killing, Anne Wallace and Ah Xian.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm. Until 31 July Art in Conflict Until 30 October Liquidarium: Vera Moller Until 19 February 2023 Social Ceramics: A SAM Collection Show Until 31 July Nusra Latif Qureshi: The Land I See Is Not Elsewhere

2022 Indigenous Ceramic Art Award. Credit: Courtesy The Shepparton Art Museum. 13 August—4 December 2022 Indigenous Ceramic Art Award

Alan Griffiths (b. 1933), Walking Goongoolooloo Country, c. 2008, natural ochres on canvas, 130 x 125 cm. 1 July—26 October Sofi’s Lounge, Level 1, 8am–8pm: An Old Landscape Through New Eyes: Indigenous works from the Wesley College Collection Collected over 15 years nearly all of these pictures in this exhibition have been donated to Wesley College through the generosity of former students. The artists include: George Ward Tjungurrayi, Paddy Fordham Wainburranga, Freddie Timms, Boxer Milner, Paddy Fordham plus others.

Gosia Wlodarczak, Situations Sofitel Melbourne, Seamstress, 2012, 30-minute performance drawing intervention at the workings of the seamstress department, ink on paper, 29.7 x 21 cm. Photograph: Longin Sarnecki.

VICTORIA 1 August—1 December Level 35, Atrium Gallery, open 24 hours: Situations Sofitel Gosia Wlodarczak

STATION

This exhibition by Melbourne artist Gosia Wlodacrzak is a series of intimate drawings—30 minute each—on paper which document a journey of the artist when she was resident in the hotel for an arts project in 2012. The drawings document the back of house, the reality of life which guests do not see in an international five-star hotel.

9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm.

www.stationgallery.com.au

2 July—7 August some kind of bliss Rebecca Selleck 2 July—7 August Sitting Vacant Cassie Hansen

2 July—30 July Sarah Contos 2 July—30 July Jason Phu

Stephen McLaughlan Gallery www.stephenmclaughlangallery. com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment. See our website for latest information.

Consuelo Cavaniglia, lying beside mem, (detail), 2022. Courtesy of the artist and STATION. 6 August—3 September lying beside me Consuelo Cavaniglia 6 August—3 September flatpack vesperbild Tony Schwensen

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm.

Mark Rodda, The Duo, 2022, synthetic polymer and oil on canvas, 41 x 36 cm. 13 August—18 September Meander Glade Mark Rodda 13 August—18 September Tongue-Tied Pip Ryan 13 August—18 September Room for growth Kirsten Perry

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.

Joseph Gleeson, Breakfast Scenes, 2021, oil on canvas, 130 x 100 cm. 22 June—9 July Joseph Gleeson 13 July—30 July Helen McInnis

Gloria Stern, Daylight, 2022, oil on canvas, 30 x 40 cm. 3 August—20 August Gloria Stern

Ellie Chalmers-Robinson, The Bonfire, 2022, oil on linen, 98 x 72 cm. Photograph: David Johns. 2 July—7 August Influx and Efflux Jeremy Blincoe and Ellie Chalmers-Robinson

Connections Exhibition courtesy Swan Hill Regional Art Gallery. 175

ar t g ui d e .c o m . au Swan Hill Regional Art Gallery continued... Until 17 July Connections—We are all connected Contemporary Aboriginal Art from the Swan Hill Region. First Nations artists from the Swan Hill region of North West Victoria and Southern NSW come together for this survey of contemporary Aboriginal art. Connections celebrates this rich and unique country and waterways, the plants, the fauna, the foods and the history. The artists—through stories, skills and techniques learnt and handed down— bring together a mix of traditional and contemporary methods along with a political currency that makes their work both compelling and enlightening. They will be complemented by works from young First Nations artists in our Studio Gallery.

Mandy Martin, Romantic Coastal Landscape, 1986. TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO.Donated through the Australian Government’s Cultural Gifts Program 2013. Includes works by Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri, Angelina Pwerle, Judy Watson, Fred Williams, John Olsen, Mandy Martin, Brett Whiteley, Arthur Boyd, Godfrey Miller, Russell Drysdale, Robert Juniper and Jeffrey Smart. Curated by Victoria Lynn.

22 July—28 August The Story So Far Part 2

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. TarraWarra Museum of Art captures the vision of its founders, philanthropists Eva Besen AO and Marc Besen AC, passionate collectors of Australian art from the 1950s to the present day. Not only did they gift the building that houses the Museum, but also a significant proportion of their collection of modern and contemporary Australian art for the enjoyment of all visitors from Australia and abroad. 30 July—13 November Rhythms of the Earth: Selected Works from the TarraWarra Museum of Art Collection 176

9 July—24 September Above the Canopy Above the Canopy is a major group exhibition at Town Hall Gallery celebrating the rich and diverse beauty of the Australian natural environment. Nature has inspired artists across millennia; they have captured its beauty, documented the impacts of changing weather patterns, and commented on unsustainable human practices. This exhibition conveys the grandeur of nature while exploring concerns for climate action and the need to protect the planet for future generations. Through hyperreal images of verdant forests alongside detailed studies of insects, botany, birds and geology, Above the Canopy acknowledges the significance of Country and our need to care for it.

Jason McCarthur, Welcome Home boys, Vietnam soldiers, 2014, synthetic polymer on board. Swan Hill Regional Art Gallery Permanent Collection.

From mere suggestions to the more explicit, the narrative is explored and tracked through artist’s books, cartoons, drawings, paintings and sculptures in The Story So Far Part 2. Featuring Ian Abdullah, Andrew Antoniou, Glen Morgan, Pauline Bennetto, Matthew Clarke, Wayne Elliott, Jake Holmes, Jason McArthur, Terry Matassoni, Sam Picasso, Heather B. Swann, Liz Racz and Geoffrey Ricardo.

Catherine Nelson, Gully, 2014, pigment print, edition of 3, 150 x 188 cm. Image courtesy of the artist and Gallerysmith, Melbourne.

Sonia Leber and David Chesworth, Where Lakes Once Had Water, (video still), 2020. 2-channel 4K UHD video, stereo audio, 28:24 minutes. University of Wollongong Art Collection. CABAH Art Series Commission in partnership with Bundanon. Filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, Australia, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country.

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. See our website for latest information.

30 July—13 November Where Lakes Once Had Water Sonia Leber and David Chesworth

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. Part of the beautifully restored Hawthorn Arts Centre, Town Hall Gallery features a diverse range of contemporary and innovative exhibitions displayed over three unique spaces.

Brent Harris, the walk (with SH), 2022, oil on linen, 75 x 60 cm. 2 July—30 July Monkey Business Brent Harris

VICTORIA 1 July—29 July A Brush with Light Ray Wilson An exhibition of modern tonal impressionist oil paintings including en plein air landscapes and seascapes, and still life. 9 July—25 July VAS Winter Select Exhibition 2022 The second of our three annual Select Exhibitions, this exhibition will showcase exceptional works from Victorian Artists Society members. Opening night, Tuesday 12 July, 7pm. 21 July—8 August Scratchboard & Watercolour—An Artist’s Journey Jan Lowe

Dan Moynihan, No Need For Alarm, 2022, clock radios, acrylic, LED's, dimensions variable. 6 August—27 August DAN MOYNIHAN NEWEST LATEST

The Victorian Artists Society www.vasgallery.org.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 1pm–4pm, during exhibitions.

Offering a journey through Jan Lowe’s diverse art practice, this exhibition features works such as watercolour landscapes of Phillip Island, detailed scratchboard works of animals, and a series on European encounters from cities such as Prague. 28 July–8 August Shot in the Heart of Melbourne Australia Australian Association of Street Photographers Inc. (AASPI) AASPi’s flagship exhibition is returning to the Victorian Artists Society galleries. This annual exhibition is a is a collaboration of dedicated street photographers who observe and capture life, resulting in a unique view of everyday moments of life in Australia.

This exhibition celebrates the human body and showcases artworks that have been created during our weekly Portrait and Life Group sessions with life models. 25 August—5 September Within a New Light Gregorgy R. Smith Gregory R. Smith VAS FVAS presents his 44th solo exhibition, featuring some 120 works including both landscape and still life. 25 August—5 September VAS En Plein Air Exhibition 2022 Featuring works painted outdoors, this exhibition celebrates the spirit of plein air artists.

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

2 June—31 July Frater, McCubbin, Hammond Galleries: VAS ‘Our Melbourne’ Exhibition 2022 Celebrate Melbourne in an exhibition featuring the iconic architecture, lively markets and beautiful natural and human environments of our city. This exhibition coincides with Open House Melbourne weekend on 30 & 31 July, an annual event run to foster community appreciation for architecture.

Bob Gibson, Patjantja, 2022, synthetic polymer paint on canvas, 147 x 147 cm. 22 June—23 July Bob and Mary New paintings by mother and son Mary and Bob Gibson in association with Tjarlirli Art.

30 June—18 July Quiet Places Clive Sinclair Conveying the softness and subtlety of beautiful evenings and moving light, these small delicate watercolours and oils have been done over a period of three years through observation with nature and its painting light.

Heather ‘Zulu' Towns, ‘Lih-Shan and the Rice Paper Fan’, acrylic on fine canvas stretcher. 12 August—22 August VAS Portrait Exhibition 2022 An inspiring array of talent by some of Victoria’s emerging and established artists skillfully capture the human spirit. This annual exhibition, celebrating portraiture in all genres, features the Nada Hunter Portraiture Award of $1000. Portrait Painters in Action 2022: Open Day will be held on Sunday 21 August from 11am–4pm. This free event features live portraiture sessions.

Ray Hewitt, For a Morning Paddle, oil by VAS FVAS, Winner 2021.

12 August—22 August VAS Life Group Exhibition 2022

Paul Buwang Buwang, Banumbirr (Morning Star Poles), 2022, (detail), natural earth pigment on wood with bush string and feathers. 27 July—20 August Banumbirr (Morning Star) Paul Buwang Buwang 177

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

Wangaratta Art Gallery → Jane Bowden, Lost Birds, cotton sewing thread, sterling silver stickpin, yellow diamonds, variable size. © the artist. exhibition is a retrospective of their work. Barbara uses a range of textile techniques such as patchwork, applique and machine embroidery to explore pattern, colour and texture, conveying her whimsical and joyful outlook on the natural world, music and social history. David’s practice has focussed on representing architectural forms in the landscape through a series of drawings and watercolours recording the presence of human inhabitation in the natural environment .

VOID Melbourne www.voidmelbourne.org Level 2, 190 Bourke Street, Melbourne, VIC 3000 [Map 2] 0420 783 562 Thur to Sat 12noon–5pm or by appointment. See our website for latest information.

18 June—14 August Petite Miniature Textiles

Todd Robinson, You wish to be hugged and have your skin rubbed, but I wish to reveal myself only through discussing my philosophy of life, 2022, (detail), cast bronze and rope. 13 August—10 September If you like to be looked at and I like to you at you we can form an enjoyable personal relationship Todd Robinson

Wangaratta Art Gallery www.wangarattaartgallery.com.au Lynne Roberts-Goodwin, Everything remains # 4, 2020, archival pigment print on cotton rag art paper, Ed 2/2 + 1 AP, 180 x 120 cm. 9 July—6 August Everything remains as it never was Lynne Roberts-Goodwin

56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. 11 June—24 July Creative Calling David and Barbara McCabe: A Retrospective Creative Calling brings together two artists, husband and wife Barbara and David McCabe, both long term advocates for artistic endeavour in Wangaratta. This

178

Petite presents the foremost smallscale contemporary textile artworks by practicing contemporary practitioners from around Australia and has become a highlight of Wangaratta Art Gallery’s program and 2022 marks the eleventh anniversary. The exhibition explores a diverse range of techniques and ideas; From colour, texture, and decoration to social, political, and environmental issues—assuring textiles’ place in contemporary art. 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 not only our biannual Wangaratta Contemporary Textile Award but also our Petite Miniature Textiles exhibition, continuing to recognise the high calibre practice of Australian textile artists. 6 August—11 September Spark – Human Powered An exhibition including solargraph prints, wind drawings, sculpture, a single channel video and a human powered drawing machine made by students from the King Valley Cluster Schools. This project was supported by the Rural City of Wangaratta, Wangaratta Art Gallery and Murray PHN to bring art into the community, targeting bushfire impacted areas across the Wangaratta Shire.

VICTORIA 22 August—30 October Heliocentric: Recent works by Cameron Robbins An exhibition of recent work by artist Cameron Robbins—exploring the dynamics of natural landscape energies— solar, hydro, wind, geomagnetism - with sculptural drawing instruments and their outputs in drawing and long exposure photography. This exhibition features a new installation Helio Ephemera, a direct drive solar-powered drawing instrument, commissioned by the Wangaratta Art Gallery—outdoors a solar panel feeds a motor indoors (without batteries) responding to light and shade. As the day passes, it slowly inscribes graphite lines onto a finely honed and slowly rotating marble slab. Heliocentric features large and small drawings from similar solar devices in the artist’s studio over the long months of lockdowns.

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.

transparency and reflection. The exhibition features ten Australian artists; Gabriella Bisetto, Cobi Cockburn, Nadege Desgenetez, Mel Douglas, RoseMary Faulkner, Nicholas Folland, Jonathan Jones, Kirstie Rea, Harriet Schwarzrock and Brendan Van Hek along with international artist Annie Cattrell (UK). Curated by Frances Lindsay AM and produced by Canberra Glassworks, Upending Expectations: Contemporary Glass is scheduled to tour from 2022 to 2024 supported by the Australian Council for the Arts through the Contemporary Touring Initiative.

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. See our website for latest information. 2 June—16 July SAGE ADVICE Discover some new and old artwork and some ‘sage advice’ established artists would say to their younger selves and to aspiring artists. This curated exhibition uncovers some insightful advice and intriguing recollections from some notable Victorian-based artists. The ‘sage advice’ on offer will captivate emerging artists and visitors alike.

our changing environs.

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. 2 June—7 August Wyndham Art Prize Shortlisted artist exhibition Wyndham’s annual art prize has become known for its scale, inclusivity, and contemporary nature. It attracts more than 300 entries including some of the best artists across Australia exhibiting alongside local and emerging artists. All shortlisted entries are included in the Wyndham Art Prize exhibition. Shortlisted works include sculpture, painting, drawing, printmaking, textiles, photography, installation, sound digital, video and more. Be sure not to miss the exciting opening event, where the winners of the prize will be announced and the launch of Wyndham Art Gallery’s new book, DECADE 2011-2021.

Regina Jose Galindo, Guatemala feminicida, Ciudad de Guatemala, Fotos Jose Oquendo, 2021. Nadège Desgenetéz, Elemental Bodies (#1), 2022, blown, hot sculpted, mirrored and cold worked glass, fabricated steel. Photo by David Paterson. 28 June—5 August Upending Expectations Launching in Victoria exclusive to Dandenong, Upending Expectations: Contemporary Glass celebrates a diverse range of artists whose experimental, innovative and at times cross-disciplinary practice, utilises glass and its properties of light,

24 August—16 October ISTHMUS Guest curated by Dr. Tania Cañas. Jo Reitze, Back garden in late winter. © the artist. 21 July—27 August TOWN & COUNTRY Artworks from the Whitehorse Art Collection and by community artists. A collection of paintings, photographs, prints and drawings from the Whitehorse Collection and by leading artists reflecting

As a narrow landmass that connects two larger landmasses and bodies of water, isthmus is a term that has become synonymous with Centroamérica. Exhibiting artists include Sabino Esteban Francisco, Leonel Alvarado and Rómulo Castro García, Regina José Galindo, The Fire Theory, Shirley Campbell Bar, Luis Gonzalez Serrano, Lucreccia Quintanilla, Dany Ruiz, Tania Cañas and Creative archiving as remembering collective. Opening 179

A–Z Exhibitions

JULY/AUGUST 2022

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, or by appointment.

Sompote Ang, Untitled, 2022, oil on board, 60 x 45 cm. 25 June—31 July Exhibition #10: Other Possible Worlds: Contemporary art from Thailand Including work by 12 younger and midcareer artists, Other Possible Worlds presents contemporary art from Thailand to Australian audiences. Reflecting on Thai art, the exhibition includes works in many media—painting, sculpture, photography, installation, neon, video, prints and works on paper—and from many parts of the country. While Thailand is a major destination for Australian tourists, few Australians engage with Thai culture. Part two of the exhibition is on view at Delmar Gallery.

20 August—24 September Exhibition #11: Our Grandfather Road: Art by women from southeast Asia Our Grandfather Road is the first exhibition from a Sydney private collection of southeast Asian art with a focus on women artists. Although at the forefront of political, social and cultural resistance in much of the region, women artists have often been overlooked and invisible in national cultural scenes and public spheres—marginalised to various forms of voicelessness both historical and contemporary. Our Grandfather Road works to redress this situation in its focus on women artists and the themes in their work—the self, identity and the body, the position of women in society, urbanisation and social dislocation, the environment and public empowerment and activism. The resulting works boldly spell out the increasingly prominent role of women in art and activism. Artists include IGAK Murniasih, Arahmaiani, Maria Indriasari, Restu Ratnaningtyas, Fitri DK, Maharani Mancanagara, Sekarputri Sidhiawati and Olga Rindang Amesti (Indonesia); MM Yu and Wawi Navarozza (the Philippines); Bussaraporn Thongchai and Kasarin Himacharoen (Thailand); Soe Yu Nwe (Myanmar) and Sam Lo (Singapore).

4A Centre for Contemporary Asian Art www.4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 4 June—24 July New Energy Kalanjay Dhir, Jonathan Kim, Audrey Newton, Luce Nguyen-Hunt Nathan Nhan, Angie Pai, Nadia Refaei, EJ Son and Zoe Wong.

Otis Hope Carey, Lu Yang, Jazz Money, Ramesh Mario Nithiyendran, Nabilah Nordin, Kusum Normoyle, Kawita Vatanajyankur.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

Winner Archibald Prize 2022, Blak Douglas, Moby Dickens. © the artist, image © AGNSW, Mim Stirling. Until 28 August Archibald, Wynne and Sulman Prizes 2022 The annual Archibald, Wynne and Sulman Prizes are the most engaging art events of the year, eagerly anticipated by artists and audiences alike. The Archibald Prize for portrait painting is a who’s who of Australian culture—from politicians to celebrities, sporting heroes to artists.

Daniel Boyd, Untitled (PI3), 2013. Private collection, Bowral. © Daniel Boyd, photograph: Jessica Maurer, courtesy the artist and Roslyn Oxley9 Gallery, Sydney. Until January 2023 Daniel Boyd: Treasure Island

Wawi Navarroza, Self-Portrait for my Grandfather, the Photographer, 2007, archival digital C-print, 61 x 45.7 cm.

Ramesh Mario Nithiyendran, Multi Limbed Guardian, earthenware, 74 x 50 x 38 cm. Photograph: Simon Hewson. 13 August—2 October No False Idols

Daniel Boyd: Treasure Island is the artist’s first major exhibition to be held in an Australian public institution. Featuring more than 80 works from across his nearly two-decade career, the exhibition unpacks the ways in which Boyd holds a lens to colonial history, explores multiplicity within narratives and interrogates blackness as a form of First Nations’ resistance. 181

ar t g ui d e .c o m . au Art Gallery of NSW continued... Until 2023 The Aquilizan Studio: Making it Home Alfredo and Isabel Aquilizan are creating one of their impressively scaled cardboard sculptures for the opening of the Art Gallery of New South Wales’ expanded building in late 2022. In a project titled Making it Home, selected school and community groups have been invited to create their own cardboard ‘dream homes’, which may become part of the Aquilizans’ sculpture and its new speculative neighbourhood.

Art Space on The Concourse

and social meanings. Their print works explore the vibrancy of reds in the natural world and celebrate this lively colour as a counterpoint to the bland and serious, the dark, ominous and fearful. 3 August—14 August Fantasy and Realism Painting 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.

Garry Shead, The Royal Opera, 2022, oil on linen, 117 x 168 cm. 24 June—10 July Royalty Revisited Garry Shead 19 July—7 August Symbiosis Jimmy Rix 19 July—7 August Stephanie Monteith

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. See our website for latest information.

Graham Blondel, Cargo Dog, 2021, collage and acrylic on paper. 17 August—28 August Views from the Inside Graham Blondel

Virginia Keft, Wirambi Waking, 2021, acrylic on canvas. 29 June—10 July Black Sky Fox Virginia Keft This show is about strength, resilience, and Keft’s Aboriginal identity as a Murrawarri woman. Using the central motif of the Flying Fox, the exhibition celebrates connections to place and community. Exploring the complex and fragile interconnections between family, Culture, Country and Language, the exhibition features drawing, painting, mixed media, textiles and weaving, sculpture, and sound work. 13 July—31 July Red-Palette of Life Open Bite Printmakers To celebrate their 30th anniversary, Open Bite Printmakers have chosen to spotlight RED—a colour that evokes a powerful emotional response, carries intense symbolic power, and is laden with cultural 182

Graham Blondel’s paintings are abstract expressions of his inner thoughts in response to the pandemic, lockdowns, conflict and uncertainty. However, through his passion for colour and pattern, he hopes to project an optimism that conveys a zest for life and wonder. Several symbolic motifs dominate his works, such as dogs, rabbits, houses and portraits. They often overlay each other making interesting probabilities and possibilities for the viewer.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. See our website for latest information. Since its beginning in 1956, Australian Galleries has continued to showcase significant contemporary Australian artists and their work for over 60 years with a vibrant monthly exhibition program and extensive stock gallery.

Graeme Drendel, The wheeler, 2020, oil on linen, 51 x 41 cm. 16 August—4 September Graeme Drendel

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm. Entry by donation. Closed for renovations until 3 August. See our website for latest information. Australian Design Centre is an independent impact organisation connecting people with good design, contemporary making and creative experiences. We produce exhibitions and events in Sydney including city-wide festival Sydney Craft Week, and across Australia through ADC On Tour our national exhibition touring program. Object Shop features outstanding contemporary craft and design by over 100 makers.

NEW S OUTH WALES

Blue Mountains City Art Gallery → Andrew Merry, Burnt out walking track to the Grose Valley, 2013, archival pigment print 1/10. Donated to the Blue Mountains Cultural Centre Collection by the artist 2015.

Bank Art Museum Moree (BAMM) www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm. See our website for latest information.

Alice Whish, Blue Berry Ash, 2021. Photograph: Greg Piper.

www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm.

Luke Sciberras, Road to Ilford (Autumn closing in) for Denis Allard, 2018, oil on board 240 x 280 cm. Photograph: Joel Tonks. Bathurst Regional Art Gallery Permanent Collection. Gift of the artist. Donated through the Australian Government’s Cultural Gift Program 2019.

4 August—28 September Profile: Contemporary Jewellery and Object Award Profile: Contemporary Jewellery and Object Award presents a diverse cross-section of national and international contemporary jewellers and object designers. This exhibition is presented in partnership with the Jewellery and Metalsmiths Group of Australia, NSW.

Bathurst Regional Art Gallery

BAMM Art Fair Market Day stalls. Image courtesy of BAMM. 1 July—13 August BAMM Art Fair

11 June—7 August Side of the Sky Luke Sciberras Bathurst Regional Art Gallery (BRAG) in partnership with Campbelltown Arts 183

ar t g ui d e .c o m . au Bathurst Regional Art Gallery continued... Centre (C-A-C) are proud to present Side of the Sky—the first survey exhibition from acclaimed Australian artist Luke Sciberras. Held concurrently across the two venues, the exhibition will feature over 50 works spanning 25 years of Sciberras’ practice and will highlight his deep connections to the artistic legacies of Wedderburn near Campbelltown and Hill End near Bathurst. Sciberras’ work is primarily concerned with the natural landscape, and he is renowned for drawing liberal inspiration from his immediate environment. His work processes shapes, symbols and textures from place into work that is as much about the process of painting as it is about the landscape where he began, and the place of the people within it. Sciberras was born in Campbelltown and spent his formative years assisting artists in the Campbelltown artist-community of Wedderburn. From one artist-community to another, Sciberras has lived in historic Hill End since 2000, a town he first visited in 1997 as a National Art School student. C-A-C and BRAG both represent the artistic communities that are of central importance to Sciberras’ life and work. A Bathurst Regional Art Gallery and Campbelltown Art Centre partnership. 13 August—2 October Place Made Linda Jackson Featuring the fabric, clothing and artwork of Australian fashion icon Linda Jackson, this exhibition explores four decades of the artist’s practice, and the influences of the places she has called home including the landscape of Kandos in the Central West of NSW. A BRAG Exhibition.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Blue Mountains City Art Gallery

www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444

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. See our website for latest information. 28 May—10 July Above the Clouds: 10 Years of the Blue Mountains Cultural Centre Collection This extensive collection survey features works acquired since the opening of the Blue Mountains Cultural Centre in 2012. The works in the collection celebrate the cultural identity of the Blue Mountains and beyond. 25 June—7 August NAIDOC EXHIBITION For NAIDOC 2022 Blue Mountains City Art Gallery will feature exhibitions by two local art groups: The Walanmarra Artists & Friends Group and the Painting Up Country TAFE group.

Ruby Davies, Water as life: the town of Wilcannia and the Darling/Barka, 2007, giclee pure pigment print. Broken Hill City Art Gallery Collection. 27 May—31 July Petrichor Holly Greenwood, Ondine Seabrook and Bronte Leighton-Dore 27 May—31 July Home Ann Evers 8 July—12 February 2023 returning to a subject through a lifetime Curated by Hester Lyon. 5 August—25 September Flowing Lifelines Dias Prabu 5 August—25 September 30 Years of Printmaking Rona Green

Bundanon www.bundanon.com.au

Blacktown Arts Centre www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. See our website for latest information.

Broken Hill City Art Gallery

Vic McEwan, Fog, 2015. 16 July—4 September Haunting: Vic McEwan Haunting is a body of photographic and video work made in collaboration with dynamic environmental conditions, contested histories, and our negotiations of a complex future.

Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 See our website for latest information.

16 July—4 September Eddie Abd: killer tongue, i love you

Elyas Alavi in his Adelaide studio, 2022. Photo: Aubrey Jonsson. 2 August—3 September Twenty Years: The War in Afghanistan Elyas Alavi, Khadim Ali, Tia Kasambalis, Orna Kazimi, Antony Loewenstein, Najiba Noori. 184

The exhibition opens a conversation around the idea of mother tongues as carriers of identity within the context of the artist’s personal experience of growing up in a French cultural hegemony in Lebanon and raising a family in colonised Australia. 13 August—2 October Yvette Hamilton: Space, Time, Light Space, Time, Light is an exhibition of new works by Blue Mountains based artist Yvette Hamilton, based around her recent artist residency where she researched the Transit of Venus observation at Woodford Academy that occurred in 1874.

Arthur Boyd, Peter’s fish and crucifixion, 1993, oil on canvas, Bundanon Collection.

NEW S OUTH WALES 2 July—6 November Landscape of the Soul Arthur Boyd

4 June—7 August Side of the Sky Luke Sciberras

11 June—31 July Adolescent Wonderland Naomi Hobson

This exhibition returns to Bundanon to complete its national tour at the new Art Museum. Curated by Barry Pearce, with works drawn from the Bundanon Collection, the exhibition explores a lifetime of landscape paintings by Arthur Boyd.

A comprehensive survey exhibition of acclaimed artist, Luke Sciberras. Held concurrently across two venues and covering 25 years of practice, Luke Sciberras: Side of the Sky will focus on Sciberras’ extensive travels, and highlight his connection to Wedderburn, Hill End and the Central West region. In partnership with Bathurst Regional Art Gallery (BRAG).

13 August—2 October Shana Moulton X Min Wong Min Wong, Shana Moulton

2 July—6 November The Hidden William Barton and Tim Georgeson The Hidden is an immersive work of sound and vision, created in residence at Bundanon by composer and musician William Barton and filmmaker and artist Tim Georgeson. This new commission, filled with striking images of shadows and light, didgeridoo and voice, resonates with spirits evoked from the natural world.

Ben Brown, Black Cockatoos, 1998, synthetic polymer paint on canvas, University of Wollongong Art Collection. 2 July—6 November The River and the Sea Uncle Ben Brown (Reuben Earnest Brown)

Casula Powerhouse Arts Centre www.casulapowerhouse.com

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 11am–6pm. See our website for latest information.

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 See our website for latest information.

Debra Keenahan, Smashing, (still), 2022, HD Video. 30 April—24 July BEING DIFFERENT Debra Keenahan

Philjames, Pleasure #19 (small), 2022, oil on canvas, 52 x 43 cm.

The River and the Sea is a small survey of the paintings of artist Uncle Ben Brown (Reuben Earnest Brown 1928–2009), who was making work at a similar time to Boyd. A strong local advocate for Indigenous connection to culture, Brown depicts animals, birds, trees and the built environment with vibrant colour and joy.

7 July—30 July Pleasure Island Philjames

Campbelltown Arts Centre www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information.

Ken Done, Me, 2011, acrylic and enamel on canvas. 4 June—14 August Paintings you probably haven’t seen Ken Done

Cement Fondu www.cementfondu.org

Luke Sciberras, Upper Reaches, Wedderburn, 2022, oil on board, 160 x 240 cm. Photograph: Silversalt Photography.

36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 Thur to Sun 11am–5pm. See our website for latest information.

Daniel Domig, Remind me of Matter, 2021, oil on linen, 170 x 150 cm. 4 August—27 August Residual Hope Daniel Domig 4 August—27 August Open Channels Kate Mitchell

185

neram.com.au

NEW S OUTH WALES

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Mon to Fri 10am–5pm, Weekends 12noon–4pm.

Until 24 July Pacific Views Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation. Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices and songs of Pacific peoples connect contemporary culture to the histories captured in these photographs.

Cowra Regional Art Gallery www.cowraartgallery.com.au

Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units. Power Collection. PW1967.22.a-b. Until 27 November Light & Darkness This evocative theme unites 70 artworks from the Power Collection, exploring luminosity, colour, movement, race and politics across three decades of late modernism. Light & Darkness is a major exhibition drawing on the University of Sydney’s Power Collection. It spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum. Entry is free and no bookings are required.

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. CALL FOR ENTRIES CALLEEN ART AWARD 2022 Acquisitive Painting Prize $25,000. Entries close 25 July 2022. For more information and to enter go to calleenartaward.com.au or cowraartgallery.com.au

Prue Venables, Esme’s dressing table, group of multiple pieces, 2017 (detail). 21 August—2 October Living Treasures: Masters of Australian Craft Prue Venables The works in this exhibition explore the significance of everyday objects through multiple sequences of forms in porcelain, with additional elements in metal and wood. The forms are simple and elegant, with a minimal colour palette and create a distinctive visual language. Venables work has shifted over the course of her career from decorated surfaces and utilitarian function to forms that merely suggest use and are devoid of overt surface decoration. The stillness evoked by her work belies its richness and complexity. A Touring exhibition by the Australian Design Centre.

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. 2 July—30 July Unwelcome Home Ronnie van Hout

Yvonne East, Concerns with representation of the beloved, Austen age 14, 2020, charcoal on canvas, 74 x 85 cm. Image courtesy of and © the artist. 26 June—14 August Dobell Drawing Prize #22

Lantern slide, Poinciana regis, unknown Pacific location, early-mid 20th century, Macleay Collections, HP2008.1.141.

The Dobell Drawing Prize is one of the leading drawing exhibitions in Australia and an unparalleled celebration of drawing innovation. The touring exhibition is a curated selection of key works showcasing expansive approaches to drawing by acclaimed and emerging drawing practitioners. The Dobell Drawing Prize is presented in partnership with the Sir William Dobell Art Foundation, the Prize explores the enduring importance of drawing within contemporary art practice. Toured by the National Art School, Sydney.

Noel McKenna, Sign has been removed, 2021, oil on plywood, 17.2 x 20.4 cm. 6 August—10 September Boy with red hair getting hair cut Noel McKenna 187

hornsby art prize call for entries

PRIZES WORTH OVER $23,000. ENTRIES CLOSE 31 JULY.

hor ns by.n s w.gov.au/artprize hornsby.nsw.gov.au/artprize

NEW S OUTH WALES

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann. Wed to Sat 11am–5pm.

Flinders Street Gallery www.flindersstreetgallery.com 61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment. See our website for latest information.

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays. Fully wheelchair accessible. Street parking and easy public transport access.

Metal thread work by Hannah Frew, 1970. Clara Hali, Tectonic Hips II, 2016, bronze, 30 x 38 x 30 cm. 2 July—23 July Clara Hali Opening Saturday 2 July, 3pm–5pm. 2 July—23 July Kyle Murrell Opening Saturday 2 July, 3pm–5pm.

Rosemary Lee, Ashfield mall, coloured pencil on paper, 95 x 71 cm. 2 July—23 July Rosemary Lee Opening 9 July, 4pm–6pm. Sleeve of the University of Sydney’s Chancellor’s robe by Ede & Ravenscroft of London (Robemakers to Her Majesty the Queen), 1960s. 2 July—31 August The Festival of Goldwork The Embroiderers’ Guild of NSW Gallery76 will dazzle and delight audiences with The Festival of Goldwork—major event celebrating the rich beauty of metal thread embroidery and the skilled artisans who use it to such spectacular effect.

Peter Stevens, Waterfall, 2022, oil on board, 122 x 81 cm. 30 July—20 August Peter Stevens Opening Saturday 30 July, 3pm–5pm. 30 July—20 August Laurence Edwards Courtesy of Messums Wiltshire. Opening Saturday 30 July, 3pm–5pm.

Nick Swann, Little Louie, oil on canvas, 51 x 41 cm. 30 July—20 August Wing Waddle Warble Nick Swann Opening 30 July, 4pm–6pm.

A Festival highlight is the exhibition of over 70 embroidery pieces showcasing goldwork across ceremonial, military, religious, cultural and artistic applications. With historic and contemporary items from throughout Australia and overseas, this exhibition is certainly worth its weight in gold! It will be held over the three floors of Gallery76, Sydney’s only dedicated textile and fibre art gallery. While entry is free, donations are appreciated. A one-day conference on 23 July will see some of the world’s foremost goldwork experts cover topics as diverse as medieval ‘stumpwork’ and the ancient craft of Japanese goldwork. For those who catch a bit of ‘gold fever’ and are keen to create their own goldwork embroidery, there are a range of classes available from beginner ‘taster’ sessions through to workshops for experienced stitchers. The Festival also includes guided tours, lectures and even a visit to the studio of one of Australia’s most acclaimed goldworkers. 189

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

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.

tion possibilities are told through digital platforms. Curated by Rachael Kiang with curatorial assistance from Jennifer Brady in celebration of NAIDOC Week 2022. Proudly sponsored by Lane Cove Council. 9 August—13 August Radiance A mixed media group show of positive affirmation, restoration and renewal by Gallery Lane Cove + Creative Studios’ community of resident artists, teachers and students.

School kids on an educational visit to the touring Courage to Care exhibition.

9 August—13 August My Happy Place: Eve Von Willer Children’s Art Awards

importance of social tolerance and of standing up to prejudice, injustice and discrimination wherever it exists.

The Eve Von Willer children’s annual art awards have been held annually in Lane Cove since 1995. The Awards promote, support, and recognise the creative talents of young people in Sydney’s North Shore area. 16 August—21 August Express Yourself A Lane Cove Public School K-6 student exhibition. Organised by the school management. 26 August—10 September Lane Cove Art Awards The annual Lane Cove Art awards exhibition featuring works across various mediums, administered by Lane Cove Art Society. Supported by Lane Cove Council. Jackie Lee, MESH 02, ink on paper, 2021. 6 July—6 August Misconceptions Reset—Collective Four 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 Reset brings together rural artists from Collective Four (Bellingen) 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.

6 July—6 August Digital Dreaming: Decolonial Futures Jenny Fraser, Maddison Gibbs and April Phillips Turning the spotlight on media arts practice of Aboriginal women artists, Digital Dreaming: Decolonial Futures examines how stories of healing and decolonisa190

www.goulburnregionalartgallery. com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm. Rosalie Gascoigne, Loopholes, 1995, sawn plywood retro reflective road signs on composition board, courtesy Gascoigne family ©. Rosalie Gascoigne/ Copyright Agency, 2022. 1 July—8 October All light, all air, all space Megan Cope, Bonita Ely, Rosalie Gascoigne, D Harding, Rebecca Mayo, Cameron Robbins.

Frances Barrett, A Song for Katthy, 2022, single channel HD video. Image series by Samuel Hodge. Courtesy of the artists.

Maddison Gibbs, Who’s going to heal her if we don’t?, animation, 2021.

Goulburn Regional Art Gallery

2 July—4 September Suspended Moment Frances Barrett, Giselle Stanborough and Sally Rees Suspended Moment brings together new works by artists Frances Barrett, Giselle Stanborough and Sally Rees—the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. 9 July—29 August Courage to Care Courage to Care is a non-profit organisation dedicated to communicating the

All light, all air, all space brings together works by leading artists from across the country who explore connections with the natural world. The exhibition title is drawn from a quote by Rosalie Gascoigne, who described the environment which inspired her practice as ‘All light, all air, all space, all understatement’. [1] Spanning installation, sculpture, performance and ephemeral art, the works reflect the diversity of light, landscapes and waterways in this country, with key works relating directly to the broader Goulburn Mulwaree region. The exhibition features works which utilise natural, found and recycled materials, some which invite participation or will undergo active metamorphosis throughout the course of the exhibition. In distinct and nuanced ways, the works in All

NEW S OUTH WALES light, all air, all space investigate our fragile and fraught dependence on the natural world and raise awareness of the current state of climate emergency. [1]

Rosalie Gascoigne, interview with Peter Ross,

ABC, 1990.

27 July—13 August Accretions Abrasions Four artists, each with an established practice in printmaking and working on paper, develop ideas in various media including paper, film, cloth, sculpture and object-based work. Jacqueline Aust, Anthea Boesenberg, Kathy Boyle and Gary Shinfield.

Parramatta are neighbouring local government areas in Western Sydney, all that separates is an arbitrary border. Granville Centre Art Gallery, which resides within Cumberland, has partnered with Parramatta Artists’ Studios to celebrate what a neighbourhood can mean, what makes it special, why do we live where we do and then how we do connect. Artists Marian Abboud, Heath Franco, Rebecca Gallo, Tarik Ahlip & Linda Brescia, Gillian Kayrooz, Venessa Possum, Kalanjay Dhir and participants of the Youth Mentoring Program have created new works that explore their own neighbourhoods and communities, shining a light on why Western Sydney is so special.

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.

Julie Monro-Allison, Cluster together, hold tight, 2019, cane, crochet, installation. Courtesy of the artist. 1 July—6 August Julie Monro-Allison Julie Monro-Allison works across textiles, installation and drawing to investigate biological entanglement, relationships between organisms and the spaces they inhabit. During the second lockdown, the artist’s studio was situated under the pear tree in her backyard. Working outside she became accustomed to the movements and rhythms of creatures around her: chickens, ants, moths, birds, spiders, and a human child. Munro-Allison’s works are an exploration of home and habitat, obligation and caring, and how organisms shape their environments as their life cycles unfold.

Grace Cossington Smith Gallery www.gcsgallery.com.au

Stephen Hall, Love in the time of Covid 2, 2021, ink coffee human hair and whiskers, yard clay, medicine label, snail eaten envelope, pencil. 23 June—22 July Ages, a survey of works from artist Stephen Hall The concepts Hall explores contain the deeply personal and the universal, expanding on facts and fantasies relating to Australia, the world, man and the mind.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Tues to Fri 10am–4pm, Sat and Sun 11am to 4pm.

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm.

Jess Johnson and Simon Ward, Terminus, (still), 2017–2018. National Gallery of Australia, Kamberri/Canberra, commissioned with the assistance of The Balnaves Foundation 2017, purchased 2018. © Jess Johnson and Simon Ward, courtesy of Darren Knight Gallery, Sydney; Ivan Anthony Gallery, Auckland and Jack Hanley Gallery, New York. 25 June—28 August Terminus Jess Johnson and Simon Ward

Gillian Kayrooz, Guildford House. Courtesy of the artist. 24 May—31 July Over the Fence A partnership with Parramatta Artists’ Studios. Jacqueline Aust, Isolation 1, drypoint, collagraph and Chine colle, 55 x 85 cm.

Set amid landscaped gardens, Hazelhurst Arts Centre has been specifically designed to appeal to the whole community. The combination of a major public gallery with a comprehensive arts centre, cafe, theatrette and community gallery makes a unique creative resource for everyone. Hazelhurst acknowledges the Dharawal speaking people, traditional custodians of the land, and pays respect to elders past and present.

Cumberland City Council and City of

A virtual reality installation where visitors can explore a mysterious universe of alien architecture populated by humanoid clones and a network of gateways. Terminus is a National Gallery of Australia Touring Exhibition. 25 June—28 August Alison Clouston and Boyd An exhibition that extends the artists’ decades long enquiry into trees, the urgent threats that they face, and their co-evolution with other organisms. 191

BAMM Art Fair Art Sales/ Market Day/ Workshops An annual series of events supporting regional artists Opening Cocktail Night: Fri 1 July Arts and Crafts Market: Sat 16 July Exhibition runs 1 July - 13 August www.bamm.org.au

Image: Jessica Tribe, Oranges on stripes, Acrylic on canvas. Micro Exhibition Artist, BAMM Art Fair 2021.

bamm.org.au FINAL_Art Guide.indd 1

192

9/06/2022 12:37:13 PM

fyregallery.com

hamleystudio.com.au

NEW S OUTH WALES

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—4pm, Sun 2pm—5pm. See our website for latest information.

30 April—24 July Our Journeys | Our Stories

6 July—24 July Embers, Epicorm: Art of the Eurobodalla Walbunja/Ngarigo Cheryl DavisonOverton, Mirabel Fitzgerald, Jennifer Hawkins, Julie Mia Holmes, Raewyn Lawrence, Amy Schleif and Jo Victoria. Curated by Nicole Wallace, seven female artists from the Eurobodalla region of New South Wales share their personal creative responses of experiencing the devastating fire event and its aftermath. Collectively, through painting, printmaking, sculpture, glass and installation works, the multi-generational, Indigenous and non-Indigenous artists invite viewers to experience the region’s emergence from the ashscape—to celebrate the surprising beauty of revival on the most infinitesimal scale, whilst simultaneously grappling with the reality of our personal and environmental vulnerabilities.

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 YuenZhe Chen, Guo Jian, Lindy Lee, Xiao Lu, Jason Phu and Guan Wei. This 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.

This exhibition is inspired by the Australian environment, particularly Sydney’s bushland reserves. Deirdre Hart is drawn to these places which provide a portal into a natural, almost unchanged, timeless world. Hart’s abstract style paintings record her impressions of the landscape; observing the textures, shapes, colours and light, the confluence of land and water, tracks etched by natural forces, traces and fragments which remain untouched.

Jo Victoria, hope in the bones, 2022, porcelain and wire.

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information. Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

20 June—3 August Recent Work Ken Done

The Japan Foundation Gallery

www.willoughby.nsw.gov.au/arts

15 June—3 July Tracks and Traces Deirdre Hart

www.kendone.com

Ken Done, Black coral dive, 2021, oil and acrylic on linen, 82 x 102 cm.

Incinerator Art Space 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information.

The Ken Done Gallery

Nancy Nungurrayi, Marrapinti, 2004, acrylic on canvas. 3 August—21 August Desert Colours 2022 Honey Ant Gallery Australia’s desert centre can appear an inhospitable environment. The quality of light can be glaring and harsh, and the terrain rugged and unforgiving. But its from this seemingly unpromising place that an explosion of colour and creativity has been springing for decades. Presented by Honey Ant Gallery, this is an exhibition of paintings by artists from remote desert communities. 24 August—11 September Dispatches Deborah Burdett, Mandy Burgess, Renuka Fernando, Tilly Lees and Ro Murray. This group of artists consider themes of dislocation, grief, human culture, climate change and refuge, but also joy in living. In a time of upheaval and disconnection, the artists have written letters to one another in order to connect and celebrate. Working across a range of media, including painting, mixed media, assemblage, installation and the written word, this exhibition grows from this written missive, from letter to artwork, this dispatch on Survival and Resistance.

www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Fuyuhiko Takata, film still from Dream Catcher, 2018. Image courtesy of the artist. 29 July—28 January 2023 Storymakers in Contemporary Japanese Art Masahiro Hasunuma, Yuichi Higashionna, Tomoko Konoike, Maki Ohkojima and Fuyuhiko Takata. Storymakers presents a selection of works by contemporary Japanese artists evoking images from traditional tales of wonder across cultures; including a journey through the enchanted forest, marriage between different species, and a princess dreaming in a secluded tower. The fairy tale, a genre of narrative that has 193

Into the Quiet Tracy Levett 21 July – 4 August

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com Tracy Levett, Sanctify, acrylic on canvas, 100x 80cm. brendacolahanfineart.com

194

thesydneyartstore.com.au

NEW S OUTH WALES The Japan Foundation continued... long told stories about nonhuman beings and nonliving things as agents, can give us clues to imagining a more-thanhuman world that transforms the way people perceive and experience life. Curated by Emily Wakeling and Mayako Murai, Storymakers features works across a variety of media, including drawings, animation, sculpture and performance art.

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.

177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. See our website for latest information.

The Mackenzie sisters greet old friends after arriving in Busan, 1952. Image courtesy of the Kyonggi University’s So-sung Museum, South Korea.

12 July—6 August Ross Laurie

8 April—8 July Australian Mackenzie Family’s Journey in Korea

12 July—6 August dialling in Myfanwy Gullifer

19 August—2 October Creation Deborah Kelly

www.royalart.com.au

www.kingstreetgallery.com.au

Myfanwy Gullifer, I want to go for a drive, porcelain, 40 x 50 x 30 cm.

13 August Bender Featuring Hunter based artists.

Lavendar Bay Society

King Street Gallery on William

New paintings and works on paper.

18 June—7 August Promise The Earth Sancintya Mohini Simpson, Evelyn Malgil, Leyla Stevens, Brett McMahon, Ryan Andrew Lee, Sara Morawetz, Vicky Browne and Isha Ram Das Simpson.

Australian Mackenzie Family’s Journey in Korea explores the invaluable friendship formed between Australia and Korea by showcasing the stories of the Australian missionary family. The Kyonggi University’s So-sung Museum has carried out continuous research on more than 10,000 photographs and records left by the Mackenzie family, which has led to this special exhibition featuring an array of images and stories in chronological order. Marking the 60th anniversary of diplomatic relations between the two countries last year, this exhibition reminds us of Australia’s devotion and dedication made to Korea 130 years ago, contributing to the development of strong bonds that have lasted ever since. In partnership with the So-sung Museum, the KCC is delighted to present this amazing journey commemorating the important milestone between the two nations.

25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays.

Freda Surgenor, FRAS.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm.

Adriane Strampp, Winter Afternoon, 2022, oil on linen, 122 x 122 cm. 9 August—3 September Stillness Adriane Strampp

John Perkins, FRAS. Leyla Stevens, Witness, (still) 2016, single channel video projection, stereo sound, 6:52 minutes.

2 July—6 August 2022 Art Ballot Exhibition/Auction Art lovers, collector and friends of the RAS eagerly await this exhibition each year— 195

100 95 75

25 5 0

mosmanartgallery.org.au 220162.001.MAP22.Advert.PR Friday, 10 June 2022 11:52:27 AM

196

artvango.com.au

NEW S OUTH WALES Lavendar Bay Society continued... an exciting day—be part of it and take home a fine Australian painting. Limited number of tickets available. The event will be live screened on the day. Absentee lists are available for those not in attendance. For any information at all regarding the Ballot please speak to the co-coordinator, Christine Feher on 02 9955 5752 or email: lavender@royalart.com.au No viewing Sunday 7 August. Doors open at 11.30am for seating only, the draw will commence on 7 August, 12 noon sharp.

Macquarie University Art Gallery www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 10am–4pm. Group bookings must be made in advance. See our website for latest information.

Sidney Nolan (1917−1992), Escape, 1948, oil and ripolin on composition board, 89.5 x 121 cm. Bequest of Mrs I.F. Cantwell, 1990, Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. 16 June—24 August Nationalism in the Wake of COVID Rebecca Agnew, David Griggs, NOT, Paul Ryan, Leanne Tobin and Nancy Yu.

Paul Ryan, Leanne Tobin and Nancy You with artworks from the University’s collection including Arthur Boyd, Mark Davis, Lawrence Daws, James Doolin, Louise Forthun, Rosalie Gascoigne, James Gleeson, Rew Hanks, Tracey Moffatt, Sidney Nolan, Naata Nungurrayi, John Olsen and Margaret Preston form the narrative of Nationalism.

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. See our website for latest information.

Noŋgirrŋa Marawili, Baratjala, (detail) 2020, earth pigments and recycled print toner on stringybark. 19 February—14 August Daughter of the Lightning Snake Noŋgirrŋa Marawili 21 May—4 September Connected to Nature Mai-Wel Creative Arts

Curators: Rhonda Davis, Kon Gouriotis, Leonard Janiszewski and Andrew Simpson. Nationalism in the Wake of COVID reviews the dialectic between nationalism, localism and internationalism within the context of the global pandemic and the signals that drove nation state border closures in Australia. The pandemic curtailed travel and tourism, putting the spotlight on the way events and place/name sites bound by geographical locations are spatially localised. Contemporary art practices associate the long-term effects of the pandemic in dismantling fixed notions and a singular view of national identity. At stake is recognising the importance of localism and its diversity, the environment, decolonisation, and Indigenous knowledge systems as avenues for recovery and exploration in redefining our future. The recent works of Rebecca Agnew, David Griggs, NOT,

4 June—4 September Sleepwalking From the Maitland Regional Art Gallery Collection. 18 June—11 September See You in the Soup Soft Stories 20 August—6 November 2022 Brenda Clouten Memorial Art Scholarship

Manly Art Gallery & Museum www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. See our website for latest information.

Kathrin Longhurst, Haya, oil on linen, 180 x 180 cm. Courtesy of the artist. 24 June—31 July Settled/Unsettled This multidisciplinary exhibition project explores issues around refugees, asylum seekers and the theme of cultural displacement. Through paintings, film, ceramics and installation, Mehwish Iqbal, Kathrin Longhurst, Angus McDonald and Penny Byrne convey their concerns about social justice issues that matter so much in Australia today. Works by artists Hedar Adabi, Mehrdad MehrAeen and Raneen Shamon explore personal refugee experiences and unique interpretations of life as new Australian artists. Presented in partnership with Settlement Services International and supported by Community Northern Beaches and The Social Outfit. This exhibition is part of Refugee Week 2022.

Maggie Hensel-Brown, Tripped up and strung up on an endless stream of overtly personal comments from strange men, 2018, silk, cotton. Image courtesy of the artist. 28 May – 28 August Female Drivers Curated by Madeleine K. Snow

Julia Davis, Undercurrent, installation view. Photograph: Richard Glover. 197

Rosemary Lee 2 July—23 July Opening 9 July, 4–6pm.

Rosemary Lee, Ashfield mall, coloured pencil on paper, 95 x 71 cm.

Wing Waddle Warble Nick Swann 30 July—20 August Opening 30 July, 4–6pm.

Nick Swann, Little Louie, oil on canvas, 51 x 41 cm.

FLINDERS STREET GALLERY 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

NEW S OUTH WALES Manly Art Gallery continued...

practice since 1947. The inaugural winner in 1947 was a young Margaret Olley. Since the prize has been won by scores of artists including Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Anthony Galbraith, Elisabeth Cummings, Tim Johnson, Guan Wei and Michael Zavros among many others. Past adjudicators also include notable Australian art figures such as Margaret Preston, John Olsen, Tim Storrier, Jenny Sages and Edmund Capon.

24 June—31 July Julia Davis: Undercurrent Julia Davis continues to explore invisible aspects of our temporal world in her single channel video, Undercurrent, that was filmed on location and records the tidal movement off the Tasmanian coast. The moving image is underpinned by a sub-oceanic soundscape formed by the scraping of ice on the Antarctic sea floor. 24 June—31 July Thresholds: underlands - Julia Davis plus Lisa Jones in collaboration This exhibition forms part of an ongoing collaborative project between Julia Davis and Lisa Jones that reflects upon transience and embodiment of place. It features drawings that were created in the darkness of the subterranean underlands of Paris and Sydney, and register the natural physical movement of each site together with the actions of the artists. 5 August—28 August Environmental Art & Design Prize 2022 How can art and design influence change and contribute to a positive and greener future? Artists and designers Australia-wide share their ideas in this year’s Environmental Art & Design Prize, shining a light on renewal, regeneration and our shared human experience.

Martin Browne Contemporary 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.

This exhibition takes a look back at all of the winning artworks and charts the progression in Australian painting from Margaret Olley to Salote Tawale. AJ Taylor, Pink Ash, summer morning, 2022, oil on board, 153 x 153 cm. 21 July—14 August The Arrangement of Unequal Things A.J. Taylor 21 July—14 August It Takes a Village Tom Keukenmeester

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–4pm, closed public holidays. Mosman Art Gallery’s exhibition program is derived from local, national and international sources and covers the visual arts, craft and design, including historical and contemporary themes and subjects. Exhibitions are accompanied by a program of gallery talks, seminars, events, and formal lectures for general visitors, students and arts professionals.

Margaret Olley, New England Landscape, 1947, oil on canvas, 72cm x 98 cm. Mosman Art Collection. Image courtesy the estate of the artist and Mosman Art Gallery. © the estate of the artist. Zak Tilley, Stuart HWY between salt lakes, 2022, acrylic on canvas, 89 x 109 cm. 23 June—17 July Salt Lakes and a Moonscape of Opal Tails Zak Tilley 23 June—17 July Interface Guan Wei

18 June—7 August From Margaret Olley to Salote Tawale: 75 Years of the Mosman Art Prize Over the past 75 years the Mosman Art Prize has developed in stature to become Australia’s most prestigious municipally funded art prize with a national profile. As an acquisitive art award for painting, the winning artworks collected since 1947 form a splendid collection of modern and contemporary Australian art, reflecting all the developments in Australian art

Salote Tawale, Mangroves, 2020, oil on canvas, 95 x 77 cm. Mosman Art Collection. Image courtesy of the artist and Mosman Art Gallery. © the artist. Photograph: Tim Connolly. 24 August—2 October 2022 Mosman Art Prize Established in 1947, the Mosman Art Prize is Australia’s oldest and most prestigious local government art award. As an acquisitive art award for painting, the winning artworks collected form a significant collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice in the last 75 years. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Guan Wei, Michael Zavros, Natasha Walsh and Salote Tawale. 9 July—2 October Stevie Fieldsend Working across sculpture and installation, Stevie Fieldend’s practice often encompasses materials such as glass, charred wood, steel and textiles. Her work seeks to detail an emotional state—more a feeling or sensation/bodily memory of a past event. She has participated in solo and group exhibitions both nationally and internationally and has also been a finalist in numerous prestigious prizes including the NSW Visual Arts Fellowship (Emerging), the Fisher’s Ghost Art Award (2014), the Blake Prize (2013) and the Willoughby Sculpture Prize (2013), and her work can be found in numerous public and private collections, including Artbank. 199

100 95 75

25 5 0

mosmanartgallery.org.au 220161.006.MAP75.Advert.PR Friday, 10 June 2022 11:54:04 AM

Fellia Melas Gallery From our Stockroom Works by: Boyd, Dickerson, Crooke, Gittoes, Whiteley, Woodward, Coleman, Coburn, Olsen, Canning, Campbell, Rubin, Griffith, Harvey, Irving, Paxton, West, Winch, Buchan, Perceval, Luccio and many others. Brett Whiteley (1939-1992), Lavender Bay in the Rain, 1987, screenprint, 101 x 75 cm, ed: 75.

2 Moncur Street, Woollahra NSW, 2025. Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

200

fmelasgallery.com.au

NEW S OUTH WALES

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. 28 January—31 July Karla Dickens New works by acclaimed Wiradjuri artist Karla Dickens have been commissioned for the museum’s five Wonder Cupboards, small installation spaces curated especially for children. These new works speak to her experience as an Aboriginal woman, mother and activist. They invite young museum visitors to reflect on important ideas and issues from new perspectives, using playful techniques and images.

Hamishi Farah, Matthew, 2020, acrylic and permanent marker on linen. Courtesy of the artist, Maxwell Graham / Essex St, New York and Chateau Shatto, Los Angeles. Museum Albury collection, institutional and private collections and from artists’ studios. A select number of artists have been supported to present focussed presentations of work, integrated into the wider exhibition. Featuring Fiona Lowry, Hamishi Farah, Juan Davila and Kate Smith alongside artists including Anna Kristensen, Daniel Boyd, Fred Cress, Gordon Bennett, James Gleeson, Jude Rae, Julie Fragar, Karen Black, Margaret Olley, Marlene Gilson, Mitch Cairns, Nigel Milsom, Patrick Hartigan and Pierre Mekuba. 5 August—30 October Shivanjani Lal: Pani begets Pani

Talia Smith, from the Faded Glory series, 2022, paint on c-print. Image courtesy of the artist. 29 April—17 July Don’t be bashful, wear the flower behind your ear Talia Smith The first institutional solo exhibition by photo and moving image artist Talia Smith. Smith explores the ebb and flow of how one connects to their culture and the ties that bind by situating her lived experience of the Pacific or Moana diaspora within the Samoan concept of the va—the space between, a space in which separate times, relationships, things and entities are held outside of Westernised constructs. Within this exhibition there is no final answer but rather many possibilities, future imaginings, and an acknowledgement that culture is never one defined thing. 17 June—16 October Zombie Eaters A sprawling exhibition of contemporary and late 20th Century Australian representational painting. Over 40 works have been drawn from the Murray Art

By engaging with themes of displacement, cultural connection and rituals for return, this new work by Shivanjani Lal navigates water as a site to account for history. In this large-scale installation of video, ceramic and paper works, Lal creates a conversation around ritual and monuments. Pani begets Pani questions how much history does water hold? And who is allowed to tell this story?

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. Ongoing MCA Collection: Perspectives on place Bringing together artworks that explore the social and physical aspects of place. It has been imagined as an expanded map, which weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

Kumpaya Girgirba, Kanu Nancy Taylor, Ngalangka Nola Taylor, Ngamaru Bidu, Wokka Taylor, Muuki Taylor, Jakayu Biljabu, Bowja Patricia Butt, Noelene Girgirba, Kalyu, 2014, installation view MCA Collection: Perspectives on place, Museum of Contemporary Art Australia, 2021, synthetic polymer paint on linen. Image courtesy of and © the artists. Photograph: Jessica Maurer.

Vivienne Binns, The Aftermath and the Ikon of Fear, (detail), 1984-1985, acrylic on canvas, 160 x 160 x 3cm. Museum of Contemporary Art Australia and Tate, with support from the Qantas Foundation in 2015, purchased 2020. Image courtesy of and © the artist. Photograph: Zan Wimberley. 15 July—25 September Vivienne Binns: On and through the Surface This major survey exhibition brings together over one hundred art works drawn from six decades of the artist’s practice. Opening with Binns’s infamous 1967 exhibition at Sydney’s Watters Gallery, the survey traces the collaborative and community projects that spanned two decades of her early career, and her sustained exploration of the canvas as a kind of membrane where multiple processes, relationships and temporalities converge. 22 July—2 October Ultra Unreal New myths for new worlds Club Ate (Sydney), Korakrit Arunanondchai and Alex Gvojic (Bangkok & New York), Lawrence Lek (London), Lu Yang (Shanghai) and Saeborg (Tokyo) Ultra Unreal reflects on the relevance of mythmaking today and its role in navigating complex realities and creating new worlds. Drawing inspiration from Ning Ken’s theory of the ultra-unreal, the exhibition examines how mythologies can be used to reveal hidden histories and reorientate visions of the future. Ultra Unreal features the works of six artists 201

Martine Emdur Verdant Pearl

Martine Emdur : New Works Twenty Twenty Six Gallery is proud to present Martine Emdur's new exhibition. This exhibition will focus on Emdur's ongoing study of light and water and the way it can provide respite from the chaos of the outside world. 17 O'Brien Street Bondi Beach NSW 2026

02 - 31st August 0415 152 026

hello@twentytwentysix.gallery twentytwentysix.gallery

NEW S OUTH WALES Museum of Contemporary Art continued... and collectives whose worldbuilding practices are connected to nightlife ecosystems across the globe. Curated by MCA Curator Anna Davis, the exhibition includes immersive installations, digital environments, costumes, sets and inflatables, alongside performances, film screenings and artist-led events.

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook.nsw. gov.au

10 July—22 October Bright Birds Singing: Carole Driver Through ceramic sculpture, drawings on fragile rice paper and a sequence of poems, Bright Birds Singing reflects Driver’s ongoing engagement to her material surroundings as well as an exploration of the relationships between body, space and time. Together, the works look inward and outward at once, mapping a psychogeography of encounter between artist and land.

N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Weds to Sat 10am–4pm, or by appointment. See our website for latest information.

“There is a place near here where time stands still. Where the age-old earth bones covered in ochre dust, are lightly touched by the play of flora and fauna” — Carole Driver.

Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. Explore the current art exhibitions on display at Muswellbrook Regional Arts Centre. Discover the work of regional artists, national art prizes, our collections and more across five exhibition spaces.

Gubagulabu I, 2022, unique bronze sculpture, 22 x 40 x 24 cm. Image courtesy of the artist and N.Smith Gallery, Gadigal Country / Sydney. 3 August—27 August Gubagulabu Kyra Mancktelow

10 July—27 August Mullins Conceptual Photography Prize 2022 Now in its fourth year, the Australian Photographic Society’s Mullins Conceptual Photography Prize is a national $15,000 acquisitive prize that seeks to find Australia’s best conceptual photographic works. Finalists of the prize are exhibited annually at Muswellbrook Regional Arts Centre with the prize-winning work joining the Muswellbrook Shire Art Collection, and a collection of contemporary photographic works acquired through the Muswellbrook Photographic Award (1987 - 2014). Means of work presentation are unrestricted, inviting photographers to illustrate the intent of their works through a myriad of mediums. The Mullins Conceptual Photography Prize is made possible by the Australian Photographic Society in partnership with the Muswellbrook Regional Arts Centre.

Nanda\Hobbs www.nandahobbs.com Roger Hanley, Abandoned TV (Homage to JS), 2004, type-c print, 54 x 44.5 cm. Winner, Second Prize, Muswellbrook Photographic Award, Muswellbrook Shire Art Collection. 10 July—22 October Othering: Photography from the Collections The construct of otherness has its origins in Gothic literature where a preoccupation for ‘the other’ explored, at its essence, self-image, inner-difference, and tensions with that which is strange, alien and unknowable.

12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information. Nanda\Hobbs is passionate about art, supporting artists and building collections of the best contemporary art. Our represented artists are some of the most talented in Australia and abroad. We have a diverse exhibition program in our Sydney gallery and we also participate at international art fairs.

Othering explores representations of otherness through photographic works drawn from the Collections held at Muswellbrook Regional Arts Centre. Through the selected works, the viewer is invited to decipher a reality that is not given - a reflection of our fears, anxieties, dreams and desires of ‘the other’. 16 May—27 August The Blue Hour: from the Collections “The world is blue at its edges and in its depths” — Rebecca Solnit (in A Field Guide to Getting Lost, 2005).

Carole Driver, Ravenman Heads Home, 2019, ink on mulberry paper, 68 x 55 cm.

The Blue Hour celebrates the artist’s ongoing love affair with blue. Despite its abundance in the ocean and in the sky, the colour once eluded replication in art. Fortunately, in the last 200 years, blue pigment has become easily accessible. Its use now expansive, often applied to show distance and depth in landscapes or depict deep and distant emotions such as pain, desolation, and solitude.

Antonia Perricone-Mrljak, A Day of Rest, 2022, oil, acrylic and spray on Belgian linen, 137 x 153 cm. 16 July—23 July Ferragosto Antonia Perricone-Mrljak 203

KEN DONE

Casula Powerhouse Arts Centre, June 4 - August 14 Ngununggula Southern Highlands, August 6 - October 9 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Sweetpea reef, 2021, oil and acrylic on linen, 152 x 122cm

kendone.com

NEW S OUTH WALES Nanda Hobbs continued...

political shift to the right, while conversely revelling in the hectic pleasures and desires of life itself.

Henry Rose-Hill, Fish study, 2021, acrylic and charcoal. Caroline Zilinsky, Barren Land, 2022, oil on linen, 112 x 98 cm. 27 July—13 August Barren Land Caroline Zilinsky 17 August—3 September Mehwish Iqbal

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.

29 July—14 August UNESAP Let’s Hang It! H.A. Hanke, Clif Peir, John Rowell, Nigel Thomson The UNE Schools Acquisitive Art Prize is an annual event which provides New England/North West students, from Kindergarten to Year 12, the opportunity to take part in a large art prize, be part of the wider community and to have their work hung in an art museum. It annually attracts over 500 entries from more than 300 invited regional schools. Presented in partnership with the University of New England. 1 July—28 August Angel Time Angus Nivison and Sophie Masson Angel Time is a creative collaboration with painter Angus Nivison and writer Sophie Masson exploring suspended time, ambiguous space and the eerie in-between. An Arts North West initiative.

National Art School Gallery www.nas.edu.au

Joe Brainard, Red poppies and butterflies, 1969, collage of cut paper, gouache and watercolour. Gift of Chandler Coventry, 1979. 1 July—14 August The Art of Nature Nature has inspired art and artists for centuries. This exhibition collaborates with the University of New England’s Natural Sciences department to draw links and parallels between specimens and artworks from the NERAM collections. A partnership with the University of New England. The Gods of Tiny Things Deborah Kelly Created at ‘collage camp’ with visual and musical collaborators, Deborah Kelly’s The Gods of Tiny Things explores the threats of extinction and the climate crisis, the tolls of colonialism, and the global

Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm. See our website for latest information. Located at the heart of the National Art School’s historic campus, NAS Gallery presents up to four major exhibitions per year as well as annual graduate and postgraduate student exhibitions. The Gallery enhances the National Art School’s role as a leading centre for visual arts education in the Asia-Pacific..

Colin Lanceley, Chablis, 1980–81, oil, mixed media and wood on canvas, 143 x 220 x 18 cm. TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO. Donated through the Australian Government’s Cultural Gifts Program 2008. Image © the Lanceley estate administered by The Copyright Agency, Sydney. chapter for the School as an independent tertiary institution offering visual art degrees, after decades of being attached to NSW’s technical education sector. In the 1960s and 70s, Colin was a vigorous and adventurous spirit at a time when contemporary Australian art was discovering new forms and inspiration, as well as acknowledging the ancient country’s unique and powerful Indigenous art. Born in New Zealand in 1938 and growing up on Sydney’s north shore, a life creating art was not on the cards for young Colin, but with the encouragement of key teachers he found his way to the place he belonged, and in turn helped countless others setting off on their own artistic path. Supported by his wife Kay, this exhibition is a celebration of Colin’s life and work, confirming his creative legacy in the same year the National Art School celebrates 100 years since moving to the Darlinghurst Gaol site.

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Fri 10am–6pm, Sat 10am–5pm, Closed Sun and Mon.

24 June—13 August Colin Lanceley: Earthly Delights Curated by Sioux Garside, this new major exhibition celebrates Colin Lanceley (1938-2015), a Modernist trailblazer who believed in celebrating the joyous qualities of life in his vibrant, three-dimensional art. After studying at NAS in the 1950s, which he described as “the opening of my life”, he returned to teach there from the 1980s, then in the 1990s helped write a new

Tjala Women’s Collaborative, 150 - 22, 2022, acrylic on linen, 200 x 300 cm. 22 June—16 July Tjala Women’s Collaborative Ken Sisters, Yaritji Young 205

OUTBACK ART PRIZE $20,000 acquisitive prize Entries now open bhartgallery.com.au

bhartgallery.com.au

NEW S OUTH WALES

Orange Regional Gallery www.orange.nsw.gov.au/gallery

28 July—14 August Apt. Relics Cannon Dill

colour media. Martin began this series in recognition of human evolution and ingenuity. He states that if we can do space exploration we can address climate change and human rights issues—this exhibition references this.

Adam Lester, Syd Barrett’s Armchair (Comfortably Numb), 2021, acrylic and oil on truck tarpaulin, 115 x 115 cm.

Ingrid Ferguson, Fish, sandstone, 20 x 40 x 8 cm.

149 Byng Street, Orange, NSW 2800 02 6393 8136 Open daily 10am–4pm. See our website for more information. 14 May—24 July Liam Benson: Hello, Good To Meet You 21 May—17 July Steve Lopes: Encountered 25 June—14 August A City For Kids/SPARKE Project

18 August—4 September Adam Lester

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. Catherine O’Donnell, Beyond the Curtain Beats a Loving heart, 2020, charcoal on paper, charcoal on paper, each 100 x 34 cm. 9 July—4 September Catherine O’Donnell: Beyond the Shadow

PIERMARQ* www.piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm. See our website for latest information.

8 July—6 August Nyapanyapa Yunupingu 12 August—10 September Dhambit Munuŋgurr 12 August—10 September Pierre Mukeba

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House

2 July—23 July Gallery 2 and Reading Room Gallery: Exploring Sculpture Ingrid Ferguson, Rick Smyth, Ray Fraser, Jeanette Regan and Amanda Parker. This exhibition presents the works of a group of artists who delight in exchanging ideas but who have individual preferences in style, material and inspiration. See an eclectic mix of works and materials including stone, bronze and clay and a combination of natural forms and figurative works. Internationally renowned sculptor and group mentor, Wojciech Pietranik will deliver a talk on sculptural processes at 3pm at the opening on Saturday 2 July.

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.

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

7 July—24 July Adam Cullen

Paul Martin, Atlas V & Curiosity Landing on Mars, 2019, oil on canvas, 152 x 91 cm. 2 July—23 July Fever Ward Gallery: The Exploration of Space Paul Martin Cannon Dill, The Death of a Snake, 2022, acrylic on canvas, 152.4 x 182.9 cm.

A series of paintings based on actual exploration of space in both oil and water

Sinead Davies, The Multipotentialite (Sonya Eliopulos), oil on canvas, 120 x 102 cm. 207

PHILJAMES ‘PLEASURE ISLAND’ JUL 7 - JUL 30

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

chalkhorse.com.au

NEW S OUTH WALES S.H. Ervin Gallery continued... 14 May—24 July 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.

Kelly and Andrew Dyer, featuring some of the finest painters of Arnhem Land. Presented in association with Drill Hall Gallery.

STATION

Barbara Ryman, Camille Gillybœuf, Catriona Secker, Christel van der Laan, Claire Welch, Kendal Murray, Kirrily Anderson, Liza Feeney, Lucy Chetcuti, Renee French, Shaelene Murray, Sue Lovegrove and Viktor Kalinowski.

www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

Denis Clarke, Bather Man, ND, oil on canvas, 112.5 x 89.5 cm canvas size, 115 x 92 cm framed size. Photograph: Brett East. 3 August—27 August Reconfiguration Denis Clarke

Michelle Ussher, Snozzle, 2022, oil on linen, 75 x 6 cm. Courtesy of the artist and STATION. 18 June—23 July Afterburner Michelle Ussher

Stanley Street Gallery

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

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.

Karla Dickens, Songster, 2022, mixed media, 65 x 65 cm.

Mary Nongirrna Marawili, Batpa, 2014, earth pigments on stringybark, 197 x 56 cm. Dyer Family collection. © Mary Nongirrna Marawili, Buku-Larrnggay Mulka Centre, 2022.

16 June—16 July Cover-Up Karla Dickens 16 June—16 July Everything Will Probably Be Fine Sam Leach

30 July—11 September Heart of Country: Arnhem Land Barks The ‘heart’ of this exhibition is the relationship to Country expressed in diverse and sometimes oblique ways by four generations of Indigenous artists from Arnhem Land and beyond. Core works come from a remarkable private collection of bark paintings assembled by Donna-Marie

Kirrily Anderson, Lilli Pilli, 2022, ink, watercolour on paper, charcoal paint, 10 x 10 cm. Photograph: COTA. 6 July—30 July Small Dreams

21 July—13 August Figures, Lights, and Landscapes Gregory Hodge 28 July–13 August Muses Julia Gutman 209

muswellbrook.nsw.gov.au

NEW S OUTH WALES

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. See our website for latest information. 25 February—28 August An artist’s view: Margaret Olley and contemporaries Margaret Olley, Steven Alderton, Danelle Bergstrom, Cressida Campbell, Christine Druitt-Preston, Nicholas Harding, John Honeywill, Lewis Miller, Greg Weight and William Yang.

15 July—18 September Vessel Linda Kruger 22 July—18 September ARTEXPRESS 2022 A selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in NSW. 5 August—20 November Still Life: More than just Objects Rene Bolten

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12noon–5pm. Closed public holidays.

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.

Deb Mostert, Single Use Soy Shark, 2020, oil on canvas, 138 x 72 cm. Image courtesy the artist and Lorraine Pilgrim Gallery, Gold Coast.

Sarah Contos, Two Minutes and Six Seconds of Bubblegum, 2022. Image courtesy of the artist; Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne. 29 April—17 July Pliable Planes: Expanded Textiles & Fibre Practices Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne-Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović and Katie West.

6 May—16 October Animal as Object: Deb Mostert

A major exhibition drawing together twelve practitioners who reimagine practices in textiles and fibre art.

Liz Williamson, Weaving Eucalypts Project, (detail), 2020-2021. Image courtesy of the artist, Sydney. Photograph: Ian Hobbs. 18 June—14 August Liz Williamson: Weaving Eucalypts Project

Gerwyn Davies, Float, (detail), 2021, digital photographic print, 100 x 100 cm. Acquired as the Director’s Choice, Olive Cotton Award for photographic portraiture, funded by the Friends of the Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2021. Tweed Regional Gallery collection. © the artist. Image courtesy of the artist, Jan Murphy Gallery, Brisbane, and Michael Reid Gallery, Sydney/Berlin.

Tan Arlidge, Colour Cloud Series, thermoformed polymer. 21 June—10 July Milliseconds Henryk Lobaczweski and Tan Arlidge

15 July—18 September Absorption Natalie Popovski

Bic Tieu: Objects In-between Bic Tieu is a Southeast Asian Australian designer maker, and researcher interested in how traditional crafts methods and contemporary technologies can shape new perspectives of contemporary jewellery and object making.

17 June—5 February 2023 Transcending Likeness: Contemporary portraits from the collection The exhibition includes works by 28 contemporary artists from the Tweed Regional Gallery collection, including works by Joanna Braithwaite, Guy Maestri, Ben Quilty, Justine Varga and Michael Zavros.

This collaborative project by Australian weaver Liz Williamson explores local colour, cultural connections, and shared weaving traditions. The project features 100 panels woven by Williamson with fabric dyed by 60 collaborators with over 50 eucalypts species identified and sourced from over 50 locations.

Judith Nangala Crispin, Paws, lumachrome glass print, cliche-verre, chemigram. 12 July—31 July Dangerous Stars Judith Nangala Crispin Opening Wednesday 13 July, 6pm–8pm.

Inoka Samarasekara: The Tangled Jewelled Maze Inoka Samarasekara is a Sri Lankan designer and researcher interested in the histories of material culture from South Asia. The Tangled Jewelled Maze is an exhibition project that aims to preserve, renew, and reimagine Sri Lankan jewellery forms impacted by colonisation and globalisation. 211

CALL FOR ENTRIES

$25,OOO Acquisitive Painting Prize (in any style and subject)

ENTRIES CLOSE 25 JULY 2O22

Enter online at calleenartaward.com.au or contact the Cowra Regional Art Gallery for an entry form

EXHIBITION OF FINALISTS 9 OCTOBER TO 2O NOVEMBER 2O22

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794 ADMISSION FREE Hours Tuesday-Saturday 1Oam-4pm, Sunday 1Oam-2pm, Mondays closed T (O2) 634O 219O E cowraartgallery@cowra.nsw.gov.au 212

The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council cowraartgallery.com.au

NEW S OUTH WALES

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.

Jenny Bowker AO, Burqa and Kurdish Rug, (detail) 2006. Courtesy of the artist. 4 June—28 August Pack and Follow – The Quilts of Jenny Bowker Pack and Follow, showcases quilts over the past two decades of renowned contemporary Australian textile artist Jenny Bowker AO. This exhibition is a unique insight into Islamic culture which follows Bowker’s experience of living in the Middle East. 4 June—17 July Helen Grace and Julie Ewington: Justice for Violet and Bruce Justice for Violet and Bruce focuses on the historical domestic murder court case which took place in Sydney in 1980. A perceived miscarriage of justice for these victims of domestic abuse led to a community campaign which resulted in legislative change to allow the admissibility of ‘provocation’ in criminal sentencing. Campaign photographs taken by photographer Helen Grace are shown for the first time alongside street posters and a campaign banner on loan from the National Museum of Australia.

4 June—28 August Techniques of Persuasion: Second Strike A selection of politically engaged prints from the Gallery’s own Margaret Carnegie Collection. Techniques of Persuasion: Second Strike provides insight into the deep commitments, beliefs and values of some of Australia’s greatest artists including Noel Counihan, Bea Maddock, Tony Albert, Emily Floyd, Judy Watson and Alison Alder. 23 July—18 September These stories will be different Zanny Begg Zanny Begg is an Australian artist and filmmaker interested in contested histories. These Stories Will Be Different brings together three of the artist’s most significant video installations, including The City of Ladies (with Elise McLeod), 2017, The Beehive, 2018, and Stories of Kannagi, 2019. Between them, these works reimagine a medieval feminist utopia, probe the unsolved murder of a high-profile antigentrification campaigner and explore the connections between love, loss, and language in diasporic communities.

us to look at banal imagery in new light. The recycling of imagery is important to Boylan’s practice, in an image saturated world, he sees it as reducing what he calls “visual pollution”. With a deadpan, tonguein-cheek style, and a limited colour pallet, his work explores concepts of Australian identity, often using references to sport, class, colonialism, alcoholism, pub culture and gambling. Opening Friday 5 August, 6pm–9.30pm.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm.

2 July—2 October Funhouse: Carnival of Glass – National Art Glass Collection Featuring the loudest, brightest and most outrageous works from the National Art Glass Collection. Showcasing the the extraordinary forms that glass can take, this exhibition playfully explores the potential of glass to engender fun, intrigue and awe.

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

Sarrita King, Lightning, 2021, acrylic on linen, 150 x 100 cm. Martin Place: 4 August—11 August Sarrita and Tarisse King

At A Glance: The Beginning. 1 July—23 July At A Glance: The Beginning A Group Show to celebrate the opening night of Wester Gallery featuring, Nick Barlow, Ileigh Hellier, Nick Fintan, Kimberly Swan, Mila Knight, Justin Lees and Liz Pike. Opening Friday 1 July, 6pm–9.30pm. Garage Graphix: Making Art in Mt Druitt, 1986 Calendar page, 1986, screenprint on paper. © the artists. Photograph: Lin Mountstephen. 4 June—28 August Talking Posters: Garage Graphix 1981–1998 A selection of screen-printed artworks from the renowned ‘Garage’ in Mount Druitt in Western Sydney.

5 August—27 August Jacob Boylan A visual artist based in the Northern Rivers. Boylan’s main practice involves collecting source material from second-hand books and using found imagery through the broad capabilities of screen printing to mix and match with collage, installation and ink transfer. Through the use of visual puns and the re-contextualising of existing imagery, Boylan presses

Conchita Carambano, Untitled, 2019, gold leaf and mixed media on canvas, 102 x 102 cm. Martin Place: 11 August—17 August Conchita Carambano 213

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

Western Plains Cultural Centre, Dubbo 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. 4 June—23 October Capturing Nature: Early photography at the Australian Museum 1857-1893 In Capturing Nature, we travel back to a time when photography was revolutionising science, art and society. These never-before-seen images dating from 1857 to 1893 have been printed from the Australian Museum’s collection of glass plate negatives and are some of Australia’s earliest natural history photographs. Sitting at the nexus of science and art, they tell both the story of pioneering research as well as the advent of photography in the young colony less than 20 years after the birth of photography in Europe. A touring exhibition created by the Australian Museum.

9 July—18 September Melissa Kelly: Not Fragile Like a Flower Not Fragile Like a Flower is an exhibition of ceramics by Gilgandra-based artist Melissa Kelly, that explores and challenges the ways society has indoctrinated women into traditional roles. Drawing on lived experiences, Kelly fashions figurative zoomorphised forms that reflect and contemplate the various stages of life for women during marriage, motherhood and after. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental.

White Rabbit Contemporary Chinese Art Collection

7 May—14 August Reassess Progress Elosie Cleary, Gavin Coote, Fabric and Flora, Dakota Feirer (and Anthony Smith) and Lucia Hayes. Curated by Xanthe Barker this third iteration of Here + Now seeks to dust-off the notion of ‘progress’, examine it and reconsider if it is still bringing humanity closer to Utopia. 7 May—14 August Deep Sounding Friederike Krishnabhakdi-Vasilakis and Leon Vasilakis. This multi-arts exhibition combines moving visuals of coastal ocean-scapes overlaid with a soundscape of modulated sound of underwater animals and their environment.

www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Daniel Mudie Cunningham & Wart, Drawing Breath, 2022. Photograph: Katie Vajda. Courtesy of the artists. Sin Wai Kin, It’s Always You, 2021, two channel video 4 min 5 sec.

Justine Emard, Soul Shift, 2018, video still. Image courtesy of the artist.

A group exhibition curated by local mental health and suicide prevention advocate and visual art curator Carrie Lumby. It pairs leading contemporary artists with people with lived experience of the distress, trauma, grief and loss associated with suicide to make a work that creatively translates and transforms these deeply personal experiences.

2 July—18 September Experimenta Life Forms: International Triennial of Media Art Experimenta Life Forms features 26 contemporary Australian and International artists working across diverse art forms—including robotics, bio-art, screen-based works, and installations, participatory and generative art. The exhibition explores the changing notions of life in response to new scientific research and technological change.

Pixy Liao, Holding, 2014, chromogenic print, 75 x 100 cm. 2 July—21 November I Loved You Group Show Love turns up in unexpected places. From old rickshaws to a pool of dazzling lights. The 28 artists featured in I Loved You show us that love can be a time, a place, or even a memory. Its traces can be found on our father’s wristwatch, our lover’s skin, or our grandparent’s home.

Wollongong Art Gallery www.wollongongartgallery.com

Melissa Kelly, Bird Woman, 2021, stoneware and paint. Image © the artist. 214

4 June—28 August There’s a Crack in Everything Liam Benson & Caitlin Kozman, David Capra & Katrina O’Brien, Tina Havelock Stevens & Lizzie, Daniel Mudie Cunningham & Wart.

Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

27 August—6 November Drawn By Stones Ray Chan See Kwong with Chuen Lung community members (Hong Kong), Dean Cross (NSW), Penny Evans (NSW), WenHsi Harman with Lakaw, Dogin, Palos, Lisin and Biyimu (Taiwan/UK), Ruth Ju-Shih Li (NSW), Jody Rallah (QLD). Drawn by stones brings together artists who utilise the ceramic medium to interrogate contested histories, stolen land, Indigenous sovereignty, and national identity. Curated by Bridie Moran and presented by 4A Centre for Contemporary Asian Art. 27 August—20 November Healing Garden Illawarra Hiromi Tango Healing Garden Illawarra is a participatory journey that explores how art and nature can contribute to well-being for each of us.

A–Z Exhibitions

JULY/AUGUST 2022

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

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

Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm. See our website for latest information.

theory about perception. It suggests that the whole is more important than the sum of its parts. Gestalt in art explores the way pattern, perception and juxtaposition come together to create a unified work of art.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

Chantal Fraser, To be humble, 2017. Digital print on lightbox. Moreton Bay Regional Council Art Collection. 25 June—3 September After Fairweather Ian Fairweather is acknowledged as one of the greatest artists to have worked in Australia during the twentieth century. After Fairweather engages with aspects of the artist’s extraordinary life, including his infamous 1952 raft voyage from Darwin to Indonesia; and his subsequent years on Bribie Island, where he painted his most important works. Exhibition curated by Hamish Sawyer.

Lionel Philips, The Rainbow Serpent. 9 July—30 July Here, Hear! Emerging from this year’s NAIDOC theme, Art Lovers Australia proudly presents Here, Hear! This exhibition showcases a range of artworks from Yugambeh peoples and Aboriginal Australians from across the country. This exhibition explores themes of connecting to Country and storytelling while acknowledging the long history of Aboriginal and Torres Strait Islander communities fighting for change today. Together, we show up and listen. Artists include; Bianca Gardiner-Dodd, Cara Shields, Brad Turner, Lionel Philips, Grace Brown and Kate Constantine.

Ross Manning, Pixel Points, (detail), 2018, Material Sound, installation view, Murray Art Museum Albury, 2018. Photograph: Tyler Grace. 1 July—28 August Material Sound Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent and Vaughan Wozniak-O’Connor and Ross Manning.

Caloundra Regional Gallery 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. Caloundra Regional Gallery presents a changing exhibition program featuring leading local and national artists. Professional curators and education staff develop and deliver a range of exhibitions and public programs exploring the unique culture and character of the Sunshine Coast.

Shelley Engwirda, We rise, (detail), 2022, glass, textiles, dimensions variable. Image courtesy of the artist. 25 June—21 August We Rise Shelley Engwirda 25 June—21 August Looking for Paradise Natalie Hartog-Gautier

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery Jane Long, Dancing with Costica – All Hands on Deck, fine art photography. 6 August—10 September The Art of Gestalt Gestalt is founded on a psychological 216

The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

Jennifer Herd, Classic target, (detail), 2020, archival ink on 320gsm Sihl paper, ed. 1/3 (framed), 60 x 60 cm. Image courtesy of the artist and Fireworks Gallery. 1 July—21 August Veiled Histories: Works by leading First Nations artists Jennifer Herd (MBarbarum) and Joanne Currie Nalingu (Gungurri)

QUEENSLAND

Fireworks Gallery → Charmaine Pwerle, Awelye, 2021, acrylic on linen, 122 x 183 cm.

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed and Sat 12noon–5pm, and Fridays by appointment. 1 July—30 August Connecting with Hope Courtney Young, Garden Zinnias, 2022, acrylic on canvas, 71.5 x 91.5 cm. July—August Outside In Courtney Young

Lee Milller, Moreton Bay Fig, watercolour and pen. Michael Nelson Jagamara, Travelling stories (silver & gold) I, 2008, acrylic and gold, silver leaf on canvas, 170 x 160 cm. 17 June—23 July Travelling stories: A tribute to Michael Nelson Jagamara 29 July—3 September Motherline: Charmaine Pwerle, Barbara Weir and Minnie Pewerle 29 July—3 September Pat Hoffie

Young’s Outside In series explores the domestic space—the experience and world of parenting that Courtney is in—but with a distinct focus on the landscape surrounding her. These works see a merging of landscape and still life—putting the lens to symbols within the home that reference the outside.

1 July—30 August Girt by Sea Sylvia Ditchburn, Therese Duff, Sheila Eves, Laurna Love, Alison McDonald, Lee Miller, Denis O’Toole and Margaret Tadd.

Gallery Raye www.galleryraye.com Brisbane based. Presently online only. See our website for latest information.

Francesca Owen, Wild Seas Part II, V 3, archival pigment print, limited edition of 30 + 2 artist’s proofs. 217

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

Sat to Thu 10am–5pm, Fri 10am–8pm.

July—August Wild Seas Part 2 Francesca Owen Owen’s newest series of fine art photographs—Wild Seas Part 2— captures the magic that unfolds through the elegance and movement of the Wild Seas.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 07 4197 4206 [Map 13]

From life-sized animals to fashion and fantasy discover the biggest and best LEGO® creations at the world premiere of Bricktionary: The Interactive LEGO® brick Exhibition. 9 April—7 August Bricktionary: The Interactive LEGO® brick Exhibition Ryan ‘Brickman’ McNaught Inspired by Ryan ‘Brickman’ McNaught’s latest book, The Bricktionary: The Ultimate A-Z of LEGO®, and premiering exclusively on the Gold Coast, this fun-filled journey for families, kids and adults shows you how to turn your LEGO brick® dreams into amazing creations.

Institute of Modern Art www.ima.org.au Brenda L Croft, Self-portraits on Country, Wave Hill, 2014. (Installation detail), pigment print on archival paper, 42 x 59.5 cm. Courtesy of the artist and Niagara Galleries, Melbourne. 11 June—21 August Still in My Mind: Gurindji location, experience and visuality

Artist collective Aha Ensemble present a newly commissioned participatory installation Absolutely Everybody Judges, developed with the 2022 Jeremy Hynes Award. Working across Southeast Queensland and driven by an ethos of connection, curiosity, and care, Aha Ensemble use their bodies to explore representation, question value, and challenge assumptions about ways of being in the world.

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.

Curator and researcher Brenda L Croft, in collaboration with the Kalkaringi community.

Emmaline Zanelli, Crash Factory, 2021. video still. Courtesy of the artist. 30 July—1 October the churchie emerging art prize Darcey Bella Arnold, Emma Buswell, Jo Chew, Kevin Diallo, Norton Fredericks, Jan Griffiths, Jacquie Meng, Daniel Sherington, Linda Sok, Lillian Whitaker, Agus Wijaya, and Emmaline Zanelli. Since its inception at the Anglican Church Grammar School in 1987 the churchie emerging art prize, or ‘the churchie’, has sought to identify and profile rising artistic talent. Today it is known as one of Australia’s leading prizes for emerging artists. Finalists have a chance at a $25,000 prize pool with a Major Prize of $15,000 sponsored by BSPN Architecture.

Logan Art Gallery www.loganarts.com.au/artgallery Logan Art Gallery Pop Up, Logan West Community Centre 2 Wineglass Drive, Hillcrest 07 3412 5519 Tues to Sat 10am—5pm.

Natalya Hughes, The Interior, work in progress, 2021. Courtesy of the artist, Sullivan+Strumpf, and Milani Gallery.

Asha Chalmers, Unity Through Learning, (detail), acrylic on canvas. 11 June—21 August Land, Sea and Sky Curated by Les Raveneau, in collaboration with local Indigenous artists.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] 218

30 July—1 October The Interior Natalya Hughes Can we use the talking cure to solve society’s ‘problem’ with women? Natalya Hughes’s The Interior invites audiences into an exaggerated consultation room playfully furnished for psychoanalysis. This immersive installation combines sculptural seating, richly patterned soft furnishings, and uncanny object d’art, nestled around a hand-painted mural to generate a stimulating space to unpack our collective and unconscious biases. 30 July–1 October Absolutely Everybody Judges Aha Ensemble

Margery Accoom, Puunya, hand woven baskets 2017, acrylic on canvas. Logan Art Collection, purchased 2017.

QUEENSLAND 10 June—23 July Stitched together: Southside Upcycling Stitchers Collective Our town: Shibukawa and Logan sister cities children’s art exchange exhibition Stories of the Northern Peninsula: recent acquisitions from the Logan Art Collection World Environment Day posters.

Christina Lowry, Remember to Live (Memento Vivere), 2021, Giclée print, edition of three. 29 July—3 September Remember to live Christina Lowry Domina Mark Kleine Escaping stress Oliver Murdoch

cultural knowledge systems and forms of representation. Researched through archival materials, Australian politics, and Indigenous knowledges, the exhibition encourages a deeper insight into the construction and transmission of Indigenous knowledge systems and their direct influence in shaping social, political and cultural futures. In assessing how cultural archetypes are maintained throughout society, Weatherall builds on an existing dialogue of contemporary cultural identity to consider what encourages a healthy cultural continuum. Including film and paintings, the artist juxtaposes the complexities of his own Kamilaroi heritage and prescribed cultural aesthetics.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. Over 40 artists on permanent display. See our website for latest information.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

ture spontaneous loose impressions each time he returns to his easel. All of Colley’s available are shown on our website and in the gallery. Featured artist for August Ian Mastin Ian recognises the influence of the Dutch and Flemish Masters of the 17th century in his work, but also wholeheartedly embraces the fascination and challenge of the still life whilst in no way feeling bound by tradition or convention. He is instinctively drawn to the effects of chiaroscuro upon the eye and mind and enjoys working with items of simple utilitarian use.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm. Free entry. 26 March—1 October 2023 Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Jane Grealy, Danie Mellor, Kenneth Jack, Sam Fulbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more. Making Place features audio descriptions and Auslan translations which can be accessed on your device via Museum of Brisbane’s website. MoB’s Artist in Residence program is supported by Tim Fairfax AC.

21 June—9 July Distillation Celia Gullett 21 June—9 July From steel city India Mark

Colley Whisson, Coastal Hideout.

12 July—30 July Iluwanti Ken and Betty Muffler

Featured artist for July Colley Whisson

2 August—20 August Leaving Northcote Richard Lewer

Colley Whisson is an internationally recognised artist, author, teacher and judge and has long been considered a leading artist of his generation. He has held numerous solo and joint exhibitions, also writing magazine articles and two books. His demonstration DVD’S are collected by students worldwide. Colley strives to cap-

23 August—10 September Adam Pyett

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 9am–5pm, Sat 10am–10pm. 9 July—30 July The Revolution Will Not Be Aestheticised Warraba Weatherall In The Revolution Will Not Be Aestheticised, artist Warraba Weatherall considers the way that scientific and cultural perspectives inform contemporary

Anita Holtsclaw. Courtesy the artist. 11 June—23 October Artist in Residence: Anita Holtsclaw Inspired by the ebb and flow as well as the mangroves of our city’s river, Anita’s work explores the presence of water in our lives and bodies. During the residency, visitors can see how Anita applies her unique interpretations of the river in three ethereal embroidered artworks that are reminiscent of the sheer, flowing and luminous qualities of water. We pay our respects to Elders, past, present and emerging. MoB’s Artist in Residence program is supported by Tim Fairfax AC. 16 June—6 November World of Wonder: Margot McKinney

Ian Mastin, An Inside Job.

With a lifetime dedicated to luxury, Australian jewellery designer Margot McKinney is one of the world’s boldest talents. The very definition of timeless 219

ar t g ui d e .c o m . au Museum of Brisbane continued...

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 11am–2pm. 23 May—31 July Bulmba-ja façade digital public artwork Arone Meeks (1957–2021)

chart the power of Aboriginal connection to Country. 24 June—13 August REPATRIATE Dylan Mooney, Dylan Sarra, Darren Blackman, Kyra Mancktelow, Bernard Singleton Jnr and Dion Beasley 24 June—13 August NorthSite x Wik & Kugu Arts presents: Yuk Way Min Ngantamp Keith Wikmunea and Heather Koowoortha 29 June—10 September Nyungu Bubu: Stories from our Country Lila Creek, Anne Nunn, Alex Baird-Murphy, Betty Sykes, Josie Olbar, Clarence Ball and Junibel Doughboy. 4 July—15 July Confluence: Indigenous Design Labs Tarquin Singleton, Jamaylya Ballangarry-Kearins, Leigh Harris, Janice Ghee, Seroma Gesa and Sheree Jacobs. 5 July—10 July Suggoo Pennise, 2021 Grace Lillian Lee and Dr. Ken Thaiday Snr

Margot McKinney in her flagship Brisbane store, 2022. Photograph: Georgia Wells. elegance and bespoke excellence, Margot’s extraordinary pieces are a celebration of the world’s rarest gems.

Teho Ropeyarn, Athumu Paypa Adthinhuunamu (my birth certificate), 2022, exhibited as part of rīvus, the 23rd Biennale of Sydney (National Art School, Sydney, Aus). Photograph: Jacquie Manning. Courtesy of Onespace Gallery.

Noosa Regional Gallery

24 June—13 August TRAVERSING THREE REALMS: The physical, natural and spiritual Teho Ropeyarn

www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.

An exhibition of recent vinyl-cut prints on paper by Injinoo artist Teho Ropeyarn, including the epic new work created for the 23rd Biennale of Sydney, 2022. These works explore Ropeyarn’s heritage and

25 June—10 July IMAGINATE An interactive exhibition by the Slow Art Collective.

A collaboration between artist Grace Lillian Lee and artist and Elder Dr Ken Thaiday Senior (Meriam Mir people) of kinship, material culture and oral stories developed into a new large-scale artwork, Suggoo Pennise (2021) for the 10th Asia Pacific Triennial of Contemporary Art (APT10).

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.

Fiona Foley, The Magna Carta Tree #1, 2021, inkjet print (detail). Photograph: Mick Richards. 16 July—4 September Nguthuru-Nur A new series of photographic works by Fiona Foley. 16 July—4 September Natures Mortes A new series of photographic works by Michael Cook.

220

Grace Lillian Lee and Dr. Ken Thaiday Snr, Suggoo Pennise (APT 10 installation view), 2021, hand-carved plywood, synthetic polymer paint, cane, feathers, cotton webbing, and mirrored glass, 350 x 300 cm (approx.). Commissioned for The 10th Asia Pacific Triennial of Contemporary Art (APT10) by QAGOMA. Courtesy of the Artists. Image: QAGOMA. Photograph: Natasha Harth.

Mithaka stone arrangement, 2021. Photograph: Lyndon Mechielsen. Courtesy of UQ Anthropological Museum. 2 July—7 August Kirrenderri: Heart of Channel Country A touring exhibition by University of Queensland Anthropological Museum.

QUEENSLAND

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.

Opinion Fatigue marks another turn in the wide-ranging practice of Queensland conceptual artist Sebastian Moody. In this new body of work, he fuses his love of modern painting, language and meaning. These paintings continue in the tradition of 1960s and ‘70s Australian concrete poetry, which used mechanical and commercial applications of text to expand possibilities for artmaking. Unlike Moody’s previous text works where the meaning of the words is central to the concept Opinion Fatigue problematises our logical understanding of language by moving away from poetry and closer towards abstract expressionism.

judging. Thank you to everyone who entered and congratulations to the finalists. Selected works will be on display at Perc Tucker Regional Gallery and will be eligible in various categories beyond the major City of Townsville Art Collection Award.

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

Perc Tucker Regional Gallery www.townsville.qld.gov.au

Courtesy of the artists, Moa Arts and Onespace Gallery. 10 June–16 July Minaral Fiona Elisala Mosby and Paula Savage

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. See our website for latest information.

Across June and July, Onespace will showcase the exciting new work by two prominent practitioners from Moa Arts in the Torres Strait, Fiona Elisala Mosby and Paula Savage. Both artists have made important contributions to the development of Torres Strait art in recent years, pushing the boundaries between traditional and contemporary art practice. Their colour lino cuts and pochoir (stencil) prints, paintings and woven works explore the materiality of their lived experience; a world of tropical gardens and island reefs, of wind and currents, deep water and calm, elements woven together as colour, form, and light.

Mark du Potiers, Fear and Loathing, (detail), 2020-2021; textiles, twine; installation view at Gaffa Gallery, Eora / Sydney, 2021. Courtesy of the artist. 11 June—20 August Familiar monsters Mark du Potiers We all have our own monsters that lurk and skulk in our company. Mark du Potiers’ solo exhibition interrogates these monsters we encounter in our everyday lives. In the spirit of using art as medicine, du Potiers invites you to a special kind of wild rumpus at the gallery. Over two cycles of the full moon, costume, sculpture, installation, dance, music, activity and more will help cast the demons away. Exhibition developed by Moreton Bay Regional Council.

Mahala Hill, Armoured Mist Frog, 2020, bone china, porcelain, stoneware, volcanic glaze, 8 x 17 x 15 cm. Major acquisitive prize winner of the 2020 Biennial North Queensland Ceramic Awards. City of Townsville Art Collection. 22 July—25 September North Queensland Ceramic Awards

Joe Ruckli. Courtesy of the artist and Onespace Gallery.

The Biennial North Queensland Ceramic Awards has long aimed to increase public exposure to a high standard of pottery from around the nation. A showcase for both well-known and emerging artists, this competition displays the diversity of ceramic art currently being produced in Australia. The City of Townsville Art Collection Award of $10,000 continues to provide both opportunities for artists to become a part of one of the nation’s most significant ceramic collections, as well as ensuring the continued growth of this important subsection of the City of Townsville Art Collection.

22 July—27 August Opinion Fatigue Sebastian Moody

Artists who entered the Biennial North Queensland Ceramic Awards have been notified of the results of pre-selection

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information.

221

ar t g ui d e .c o m . au Pinnacles Gallery continued... Pinnacles Gallery is a dynamic art space committed to community engagement, artistic development and contemporary practice. Pinnacles Gallery is currently closed for the Riverway Library Renovation Project. However, keep an eye out for updates regarding the Gallery reopening later this year.

Philip Bacon Galleries www.philipbacongalleries.com.au

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

William Robinson, Out of the dawn, 1987, oil on linen. Collection of Martin and Jan Jorgensen, Brisbane. shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. 28 June—23 July Ralph Wilson

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Ken + Julia Yonetani, Sweet Barrier Reef, 2009, sugar, vegetable gum, polystyrene foam. Photograph: Ian Hobbs. ©︎ Ken + Julia Yonetani. Courtesy of Mizuma Art Gallery. Cressida Campbell, Black Room with Yellow Chrysanthemums, 2021, watercolour paint in incised plywood, 120 cm diameter.

5 July—23 October Ken + Julia Yonetani: To Be Human To Be Human is the first major survey exhibition of Australian-Japanese artist duo Ken + Julia Yonetani. Working together since 2008, the artists have built a collaborative practice that unearths and visualises hidden connections between people and their environment. Responding to environmental degradation and global economic systems, their work addresses coral bleaching, increasing salinity levels, nuclear energy, and, most recently, the microbiome. The artist duo is known for their use of unusual materials, such as salt, sugar and uranium glass, to create awe-inspiring, large-scale installations. This focused exhibition will bring together works from Australian and international collections, including a reiteration of Sweet Barrier Reef, their major installation from the 2009 Venice Biennale. 17 September 2021—11 September William Robinson Gallery: William Robinson: Nocturne

Cressida Campbell, Lotus, 2022, unique woodblock print, 75 x 50 cm. 26 July—20 August Cressida Campbell 23 August—17 September Tim Storrier 222

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

Chiharu Shiota, Japan b.1972, Uncertain Journey 2016-2019, metal frame, red wool. Dimensions variable Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Photograph: Sunhi Mang. 18 June—3 October Chiharu Shiota: The Soul Trembles The Soul Trembles highlights twenty-five years of Chiharu Shiota’s practice across large-scale installation, sculpture, video performance, photography and drawing. Shiota is renowned internationally for her transformative installations constructed from millions of fine threads and works that express the intangible: memories, anxiety, dreams and silence. Curated by Mami Kataoka, Director of Mori Art Museum, Tokyo. GOMA | Ticketed. 13 August—22 January 2023 Embodied Knowledge: Queensland Contemporary Art Embodied Knowledge is a focused survey of new work by Queensland artists. This group of commissioned and recent projects brings to the fore the voices of women, people of colour and LGBTIQA+ artists, all with a close connection to the sunshine state. It includes a vast installation of new paintings by Jenny Watson; a towering work by Erika Scott comprising fishtanks and found objects; a series of textural

QUEENSLAND During your visit you can vote for your favourite artwork in the People’s Choice Award.

Justene Williams, The Vertigoats, 2021, Mixed media, installed dimensions variable. Purchased 2021 with funds from the Contemporary Patrons through the QAGOMA Foundation, Collection: QAGOMA. Photograph: Natasha Harth, QAGOMA. tributes to traditional rainforest shields by Girramay artist Ethel Murray; and a major new commission on the Watermall by Archie Moore. Also featured are new commissions and recent work by Robert Andrew, James Barth, Janet Burchill and Jennifer McCamley, Megan Cope, Caitlin Franzmann, Heather Koowootha, Callum McGrath, Meuram Murray Island Dance Group, Ryan Presley, Obery Sambo, Vanghoua Anthony Vue, Rosie Ware, Warraba Weatherall and Justene Williams. Embodied Knowledge reveals the current dynamic state of creativity in Queensland, with artists responding to the diverse personal, political and social experiences of our time. QAG | Free.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. 30 April—16 July Above and Below Mick Richards

26 June—14 August Rachael Wellisch – Polymorphic Magic: Textiles Transformed

Kunmanara Carroll, Ilpili, 2020. Photo: Grant Hancock. 23 July—1 October JamFactory Icon 2021 Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) JamFactory’s annual ICON exhibitions celebrate the achievements of South Australia’s most influential visual artists working in craft-based media. Assisted by the South Australian Government through the Department for Innovation and Skills and the Australian Government through the Australia Council for the Arts, Contemporary Touring Initiative. Ernabella Arts and the Carroll family gratefully acknowledge support from the Government of South Australia through Arts SA and the Commonwealth Government through the Australia Council for the Arts and the Indigenous Visual Arts Industry Support (IVAIS) program.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Fiona West, Bombyx Mori: silkworm series, 2019, archival inkjet print on Hahnemühle photo rag paper. Courtesy of the artist. 26 June—14 August Fiona West – The Marvelous and Magical: Collage and the Moving image 21 August—9 October Sihot’e Nioge: When Skirts Become Artworks 21 August—9 October Woven: Works from the Redland Art Gallery Collection

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

The most comprehensive survey of Mick Richards’ work to date, Above and Below traces nearly four decades of Richards’ photography and media practice. This exhibition is a culmination of Richards’ lifelong role as an observer of social codes, rituals and traditions, largely based on conventions and unspoken power. Co-curated by Warraba Weatherall and Kon Gouriotis. 23 July—27 August Redcliffe Art Society – Exhibition of Excellence In its 65th year, Redcliffe Art Society’s annual Exhibition of Excellence is a calendar favourite and brings together the best works by society members from the past year. Prizes are awarded across a number of categories including landscape; still life portraiture; and abstract/contemporary.

Rachael Wellisch, A blue landscape, (detail), 2019, indigo dyed salvaged textiles, soundscape. Courtesy of the artist.

Mei Mei Liu, I can feel the beat, (detail) 2021, ink and synthetic polymer paint on paper. Courtesy of the artist. 23 May—12 July Mei Mei Liu: Impressions of Mangroves 223

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

11 June—7 August Soft Notes to the Future The Stitchery Collective An interactive project focusing on textiles and clothing as elements of human interconnectedness and community.

Mark Kleine, Rouge, 2013, digital photography. Courtesy of the artist.

David Sequeira, Song for Transition, 2019, gouache on paper, 29.7 x 21 cm.

18 July—6 September Mark Kleine: Mestiza/Mestizo

heighten the sensation of colour in his work. The visual resonance and vibration of each colour is articulated not only by its geometric shape, but also by its position within Sequeira’s overall compositions. Through the individual components of his works and their subsequent ‘orchestration’ as a single piece, Sequeira points to the infinite harmonic possibilities of colour.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. .

Joachim Froese, Brachychiton bidwillii, 2021, from the series Entangled, salted paper print, 36 x 42 cm. Courtesy the artist and Rockhampton Museum of Art. 20 August—16 October Joachim Froese: Echoes of Process

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information. 10 June—10 July Presence Catherine and Warren Ogden Catherine and Warren Ogden’s latest body of functional and figurative ceramic works engage viewers with a sense of time, process, history and alchemy. The quietude of the exhibition commands the space, carrying the histories of the works’ creation and materiality. 10 June—10 July Landscapes Barbara Pierce

Mabel Edmund, Darumbal and Australian South Sea Islander (1930-2009), On Jowalbina, 1990, gouache and acrylic on woven paper, 60 x 41 cm. Purchased from the Rockhampton City Art Prize 1990. Courtesy Rockhampton Museum of Art. 25 February—23 October Welcome Home RMOA’s inaugural exhibition celebrates our rich and vibrant collection. 28 May—2 October Up to Us Works from the RMOA Collection. 224

Barbara Pierce’s latest paintings, collages and sketches explore emotive and architectural aspects of natural and human-intervened landscapes. This exhibition examines the characteristics of such environments—contrasting landscapes as sanctuaries with landscapes more troubled or threatening. 15 July—21 August Songs David Sequeira David Sequeira’s works often refer to musical notation, however they do not seek to illustrate particular pieces of music. Instead, musical references are used to

Ron McBurnie, Catherine Parker and Stephen Spurrier, The ghosts sleep beneath our feet and dance above our heads, (detail), 2020-22, ink, acrylic paint, paint pens, pencil, watercolour and gold leaf, 42 x 29 cm. 15 July—21 August POSTWORLD Alison Bennett, Neil Binnie, Keith Deverell, Gail Mabo, Ron McBurnie, Jenny Mulcahy, Catherine Parker, Jason Sims, Stephen Spurrier and Rhonda Stevens. POSTWORLD features artists and collectives who create parallel universes in their creative practice. Audiences will be invited into playful, sublime, poetic and cautionary explorations in contemporary works and

QUEENSLAND installations by nationally significant artists including those based in North Queensland. POSTWORLD is co-curated by Kate O’Hara and Daniel Qualischefski of Umbrella Studio Contemporary Arts and commissioned by NAFA.

Strait Islanders who are surrounded by ‘saltwater’. The title acknowledges the association Aboriginal and Torres Strait Islander peoples have with freshwater and saltwater in Far North Queensland.

UMI Arts Gallery

UQ Art Museum

www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information. UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander arts peoples to participate in the maintenance, preservation, and protection of culture. UMI is a Creole word that means ‘You and Me’ – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information.

Hayley Millar Baker, I’m The Captain Now, Untitled 8, 2016, inkjet on cotton rag, 20 x 20 cm. © and courtesy of the artist and Vivien Anderson Gallery, Melbourne. Gunditjmara artist Hayley Millar Baker. The artist uses historical reappropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory and place.

Madison Bycroft, the fouled compass, 2020, single channel digital video, colour, sound, 24:37 min. Courtesy of the artist. 19 July—17 December Oceanic Thinking Amrita Hepi, Madison Bycroft, Ensayos Collective and Angela Tiatia

USC Art Gallery www.usc.edu.au/art-gallery

UMI Arts Gift Shop. Image courtesy of Lovegreen Photography.

USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information. USC Art Gallery is a space where art, ideas and cimmunity come together. Located at the Sunshine Coast campus, the art gallery was redeveloped n 2020 establishing itself as the leading public gallery in the region. 6 June—6 August Djagan Yaman Lyndon Davis

Freshwater Saltwater exhibition, 2021. Featuring artwork by Tatipai Barsa, Abe Muriata, and Michael Boiyool Anning. Image courtesy of Lovegreen Photography. 14 July—Late August Freshwater Saltwater Freshwater Saltwater is an annual curated group exhibition at UMI Arts showcasing our mid-career and established member artists. The title reflects a metaphorical ideology of mainland Aboriginal custodians mostly connected to ‘freshwater’ and Torres

This is the first major solo exhibition of Lyndon Davis (Kabi Kabi) and brings together painting, performance, objects and moving image to consider the way in which Davis’ practice is grounded in listening to Country and communicating the importance of custodianship and caring for land. 6 June—6 August There we were all in one place Hayley Millar Baker

Peter Hudson, Blue Coral Snake and Cloud, 2018, oil on panel, 150 x 106 cm. Photograph: Mick Richards. 19 August—29 October The Mystery of Being Here Peter Hudson Since the 1990s, Sunshine Coast-based artist Peter Hudson has explored aspects of the natural world through painting and drawing. The landscape has been a constant particularly the Glass House Mountains and hinterland around Maleny where he resides. In 1998, Hudson started making portraits inspired by a long association with the Gurindji people that transformed his understanding of nature and spirituality. The largest career survey of Hudson’s practice, The Mystery of Being Here brings together an unparallel selection of his landscapes and portraits.

A UTS Gallery touring exhibition curated by Stella Rosa McDonald. This exhibition surveys the photomedia artworks of 225

A–Z Exhibitions

JULY/AUGUST 2022

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] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm.

16 June—3 July Raewyn Carboni, Millie Black and Malcolm Pettigrove

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Sandra Hendy, Higgledy City, watercolour, pastel, collage, gouache and cloisonne, 92 x 105 cm.

Bula’Bula Arts, Delilah Lilipiyana—woven mat, Gunga (Pandanus Spiralis) with natural dyes, 130cm diameter. 16 June—9 July Miyalk buku-manapanmirri (women gathering together) Bula’Bula Arts

14 July—31 July Sandra Hendy

Weavings.

Andrew Grassi Greg Mallyon

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. See our website for latest information.

Naomi Zouwer, Studio Pin Board, 2022. oil on canvas, 130 x 95 x 4 cm. Image courtesy of the artist. 22 June—17 July Material Purpose - The Succours Naomi Zouwer, Daniel Vukovljak, Heidi Lefebvre and Tilly Davey.

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

Richard Maude, Charlotte’s Rest, (detail), 2022, embroidery on linen over CRT television sets and single channel video, 300 x 240 cm (installation dimensions variable). Margaret Hadfield, Glorious Light, oil. A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery,and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Rona green, -M-M-Michel, hand coloured linocut, edition of 17, 108 x 76 cm. 16 June—9 July Every time you walk on by I gotta sigh Rona Green Prints, paintings and ceramics. 11 August—27 August Peter Boggs

20 July—14 August Otherwise & Elsewhere They Speak Richard Maude, Gabrielle Bates and Jane Bodnaruk. 17 August—11 September of soap and stone Melinda Brouwer, Kati Gorgenyi, Fran Romano and Zoe Slee (Curator).

Paintings 11 August—27 August Sandra Black Porcelain 227

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

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Canberra Glassworks in an exhibition that showcases the skill and creativity of glass making today. The Prize is a non-acquisitive biennial prize for Australian and New Zealand glass artists and the richest in Australasia. It provides a platform for artists to push themselves and their work to new limits and focuses public attention on the importance of glass as a medium for contemporary artistic expression. The show will include 2022 FUSE Glass Prize winner Matthew Curtis, Margin (2022) and David Henshall Emerging Artist Prize winner Bronte Cormican-Jones, Sightlines (2020).

8 July—24 July All of US! Hands on Studio 28 July—14 August Step into the Limelight 18 August—4 September Into the Forest Eva Van Gorsel and Manual Pfeiffer Untitled Emilo Cresciani The Good Mother? Vee Malnar Conversations with my-self and Others Lisa Stonham

M16 Artspace www.m16artspace.com.au Annette Blair, On any given day, (detail), 2022. Photograph: Adam McGrath for the artist. 15 June—14 August Quietly Spoken Annette Blair

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

Artist Annette Blair explores our perception and relationship with everyday objects and how they can hold memories and meaning beyond their function. A highly skilled glass blower and sculptor, Blair works with hot glass and enamels to recreate familiar everyday things; hand tools, used spray cans, knitting needles and paintbrushes. Annette Blair has received support from artsACT and the Australia Council for the Arts for this exhibition.

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. 26 March—31 July 4th National Indigenous Art Triennial: Ceremony

15 June—14 August On reflection Kate Nixon Sydney based artist Kate Nixon has been invited to create an installation in the Smokestack Gallery in 2022. This new work is a continuation of Nixon’s series For Collection and will respond to the dramatic space and scale of the Smokestack.

Ross Andrews, Gully Lights, 2022, acrylic on aluminium composite panel, 51.5 x 51.5 cm. Photo courtesy of the artist. 8 July—24 July Today M16 Studio Artist Show

Jasper Johns, Gemini G.E.L., Figure 1; from Color numeral series, 1969, colour lithograph printed from one stone and two aluminium plates, 69.6 h cm, 55.6 w cm, National Gallery of Australia, Kamberri/ Canberra, Purchased 1973. © Jasper Johns. VAGA/Copyright Agency. 11 June—30 October Rauschenberg & Johns: Significant Others 13 August—4 December Kara Walker 16 July —16 October Spowers & Syme On tour: Geelong Gallery, Geelong, VIC. 25 June—28 August Jess Johnson & Simon Ward: Terminus Matthew Curtis, Margin, 2022. Courtesy of Rob Little and the artist.

On tour: Hazelhurst Regional Gallery and Arts Centre, NSW.

24 August—25 September FUSE Glass Prize Curated by JamFactory

1 April—2 April 2023 Yayoi Kusama: The Spiritis Of The Pumpkins Descended Into The Heavens

The FUSE Glass Prize finalists will come to 228

Stephen Corsini, Me Skiing, 2022. Posca, 44 x 30 cm. Photo courtesy of the artist.

On tour: Art Gallery of South Australia.

AUSTRALIAN CAPITAL TERRITORY

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. 12 March—17 July Shakespeare to Winehouse: Icons from the National Portrait Gallery, London. From Shakespeare to Winehouse, Darwin to Dickens, the Beatles, Brontë sisters and Beckham, the National Portrait Gallery London holds the world’s most extensive collection of portraits. While they undergo the largest renovation of their building in 125 years, we’re thrilled to say that over 80 treasures from their collection have travelled to Australia for an exclusive exhibition with us.– portrait.gov.au/icons.

25 June—9 October Darling Portrait Prize 2022 Finalists’ exhibition.

PhotoAccess Huw Davies Gallery

An immersive video installation, Sky Eternal mirrors moving cloudscapes to create a kind of moving Rorschach inkblot. Accompanied by an ambient soundscape, this mesmerising work mediates on the ways in which the universal and timeless sky unties us all, a metaphor for innovation, positivity, hope and heaven.

www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm. PhotoAccess, the ACT and region’s centre for photography, film and media arts, presents a dynamic program of exhibitions showcasing local, Australian and international artists practicing across diverse forms of contemporary photo-media.

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. See our website for latest information.

Eva van Gorsel, Nightfall, 2020, digital photograph. 30 June—30 July Wild Blue Yonder In PhotoAccess’ annual Members’ showcase, a diverse community of artists and photographers come together to explore the idea of the ‘wild blue yonder’. Evoking endless horizons, soaring escape and the joy of adventure into parts unknown, these works gain emotional and imaginative poignancy in the era of staying at home.

Tom Evangelidis, Jamie Bianca In the style of Grace Kelly, 2021. 25 June—9 October National Photographic Portrait Prize 2022 Finalists’ exhibition.

Jessika Spencer, Raffia, 2021, emu feather, 50 x 50 cm. 28 May—16 July Nginha Ngurambang Marunbunmilgirridyu Jessika Spencer

30 June—30 July Up In The Air Claire Grant Presenting a self-portrait of her life as a flight attendant, Grant takes inspiration from the aerial viewpoint and restricted perspectives offered through her ‘office’ window. Vignettes framed by the plane’s portholes form abstracted landscapes, printed in cyanotype onto paper ephemera the artist collected during her in-flight duties. Composited to form large-scale panoramas, these views produce skies filled with navigational charts to and from different destination around Australia.

Aidan Hartshorn, They (Ancestor) #3. 28 May—16 July Nganygulia Murunwiginya Aidan Hartshorn 28 May—16 July Ngadhu bandali ngurambang gu Rechelle Turner 23 July—10 September Adorned Adorned Collective 23 July—13 August Personal and Famous Michael Bryl

Yvette Coppersmith, Une Femme Amoureuse, Self portrait as Mirreille Mathieu, 2022.

Cat Wilson, Sky Eternal, 2021, single channel video, video still. 30 June—30 July Sky Eternal Cat Wilson

20 August—10 September Windy Wobbly Windfarms Matthew Clarke

229

A–Z Exhibitions

JULY/AUGUST 2022

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

TASMANIA

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.

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information. Contemporary Art Tasmania is Tasmania’s professional level, public presentation platform dedicated to contemporary and experimental art. Its provenance is traceable from the foundation of Chameleon contemporary art space in 1982, through 20 years operating as Contemporary Art Services Tasmania (CAST) and, from 2013, as Contemporary Art Tasmania.

Kelly Austin, Stilled composition 101, 2022, 60 x 132 x 34cm, stoneware, collected earthen materials, glaze, timber and acrylic paint. 8 July—30 July An Elemental Persistence Kelly Austin 8 July—30 July A Hopeful Mirage Amber Koroluk-Stephenson

The Beehive, 2018, and Stories of Kannagi, 2019. Between them, these works reimagine a medieval feminist utopia, probe the unsolved murder of a high-profile anti-gentrification campaigner and explore the connections between love, loss, and language in diasporic communities in Australia. A UNSW Galleries and Museums and Galleries of NSW touring exhibition. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body and the NSW Government through Create NSW. 23 June—30 July Paper on Skin First held in 2012, Paper on Skin is a biennial wearable art award. The award is open to international artists who embrace the challenge of designing a wearable garment made from at least 80% paper. Paper on Skin connects North-West Tasmania’s papermaking heritage to a community of paper-art lovers from throughout Australia. The exhibition is now open to international entrants. The Gala Event and Award Evening will be held on 17 June at the paranaple convention centre. Time and ticket prices to be advised.

Courtesy of the artist. 6 August—11 September language of the deceased Tomoko Momiyama Curated by Lisa Campbell-Smith and Joel Stern. Supported by the Australia Japan Foundation.

Devonport Regional Gallery Noel McKenna, Lake Pedder, 2021, oil, acrylic, copper tacks on plywood, 41.5 x 49 cm. 5 August—27 August Water[shed] 50 artists for 50 years of loss including: A Published Event (Justy Phillips & Margaret Woodward), Peter Adams, Rick Amor, Joan Baez, Michaye Boulter & Linda Fredheim, Pat Brassington, Tim Burns, Lou Conboy and Tom O’Hern, Amanda Davies, Helena Demczuk, Julie Gough, Piers Greville, Guerrilla Girls, Neil Haddon, Fiona Hall, Patrick Hall, Marian Hosking, Locust Jones, David Keeling, Janet Laurence, Sam Leach, Sue Lovegrove, Euan Macleod, Sara Maher, Noel McKenna, Mish Meijers, Ashlee Murray, Brigita Ozolins, Geoff Parr, Joan Ross,Troy Ruffles, Michael Schlitz, Mike Singe, Valerie Sparks, David Stephenson, Heather B Swann, Wilma Tabacco, Stephanie Tabram, Sue Jane Taylor, Claudia Terstappen, Imants Tillers, Megan Walch, Vicki West, Ian Westacott, Belinda Winkler, Philip Wolfhagen and Helen Wright.

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.

Bert and Albert Robinson, AB Willis Devonport, 1954, dimensions variable, Devonport City. Council Permanent Collection R2671.7. 16 July—27 August I’m Still Standing: Devonport Surviving Architecture Artists from the Devonport Regional Gallery’s Permanent Collection, curated by Guest Curator Ruby Moore . An exhibition exploring Devonport’s enduring architectural centrepieces through the photographs of Bert and Albert Robinson and the watercolours of Kathleen Cocker. 16 July—20 August Life: Work in Progress Luke Viney

Zanny Begg, Stories of Kannagi (still) 2019. Image courtesy of the artist. 4 June—9 July These Stories Will be Different Zanny Begg Zanny Begg is an Australian artist and filmmaker interested in contested histories. These Stories Will be Different brings together three of the artist’s most significant video installations, including The City of Ladies (with Elise McLeod), 2017,

Luke Viney is with his exhibition, Life: Work in Progress, exploring the concepts of memory and time. His ceramic works and wall-based collages are forming a timeline of his youth and the places where he lived, as seen and evaluated as an adult. This is exhibition is part of the Little Gallery Emerging Artist Program. 6 August—17 September Women’s Art Prize Tasmania 2022 Finalists Exhibition For 20 years Tasmania’s only women’s art prize has been shining the spotlight on 231

ar t g ui d e .c o m . au Devonport Regional Gallery continued... the creativity, passion and vision of this island’s women artists. In this, the 20th anniversary of the Prize, RANT Arts and Devonport Regional Gallery are proud to present the 2022 Women’s Art Prize Tasmania. This exhibition features the works of 25 shortlisted finalists who have entered in the hope of winning one of the three categories: $15,000 Trawalla Foundation Acquisitive Prize; $3,000 Bell Bay Aluminium People’s Choice award; $1,500 Zonta International (District 23, Area 5) Emerging Artist prize.

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information. 17 June—12 July A collaboration of new works with Katie Eraser and Mia Boe

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.

The 2022 winner will join the distinguished prizewinner alumni amongst whom include: Anne Morrison (2019), Sarah Rhodes (2020) and Georgia Spain (2021). As the Prize reaches its twentieth anniversary, the prize will continue to honour the past, celebrate the present and look towards the future.

H J King,stereographic photograph, (detail) of HJ King with two Indian Motorcycles on a trip to Cradle Mountain, 1921. 27 August—27 August 2023 Museum at Inveresk: H J King: cameras and carburettors Although H J King’s photographs are more commonly seen than you might realise, the photographer himself is less well-known. In this exhibition we explore the man behind the camera, who was H J King? Herbert John (‘H.J.’) King (1892– 1973) ran a bicycle and motorcycle shop with his family in Launceston, and used motorcycles, cars and aircraft to reach many inaccessible parts of Tasmania.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm. See our website for latest information.

Jade Irvine, Rock pools at Marrawah, 2022, oil on canvas, 57 x 24 cm. 15 July—1 August Emerging artists group exhibition 5 August—22 August On the Island Alexandra Pitt

Beth Mitchell, Andromeda, 2021, ed of 9, 120 x 65 cm, photographic print on metallic pearl, acrylic facemount.

He was an extremely talented amateur photographer, and used his photographs to document his outdoor explorations. He experimented with photographic processes, won prizes for his black and white photographs, and took some of the earliest Australian examples of civilian aerial photography.

22 July—16 August Waterlight Beth Mitchell

Museum of Old and New Art (Mona) www.mona.net.au

Tasmanian artist, Tony Smibert in his studio. Image: Carmencita Palermo.

655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm.

4 December 2021—6 November Queen Victoria Art Gallery, Royal Park: Tao Sublime Tony Smibert

Until 17 October Exodust—Crying Country Fiona Hall and AJ King Until 17 October Phase Shifting Index Jeremy Shaw Until 17 October Within An Utterance Robert Andrew

232

Nadia Refaei, New Work. 19 August—12 September New Work Nadia Refaei

Built from refined skill and dedication to landscape painting spanning a career of 40-years, this exhibition showcases a collection of emotive and striking works by Tony Smibert; many of which are on display to the public for the first time. Inspired by the skill of 19th-century English watercolourist J. M. W. Turner, and eastern painting traditions, Tao Sublime creates a compelling journey of abstract landscapes through works featured with-

TASMANIA in this exhibition. Recognised as a leading Australian watercolourist, Smibert has been long inspired by the philosophy of sublime.

original objects and Tasmanian Aboriginal perspectives on climate change, astronomy, stories of creation, craft, technology and architecture.

Developed in the 18th-century by Edmund Burke, the philosophy of sublime relates to experiencing an overwhelming sense of the power of nature.

Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

Tasmanian Museum and Art Gallery

Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG.

Smibert represents this philosophy through his awe-inspiring acrylic depictions of abstract landscapes as featured in Tao Sublime. Permanent Queen Victoria Art Gallery, Royal Park: Guan Di Temple The Guan Di Temple at the Art Gallery at Royal Park holds the contents of a number of Chinese temples from north-eastern Tasmanian mining towns.

www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm. Free entry. Installation view, Gay Hawkes: The House of Longing. Photographer: Richard Jupe. 18 March—28 August Gay Hawkes: The House of Longing

As these temples gradually closed down, their contents were kept and eventually donated to the Queen Victoria Museum and Art Gallery. The Guan Di Temple is still a working temple at the Art Gallery at Royal Park and offers a unique window into Chinese religious practice in Tasmania during the 1880s through this permanent exhibition. Permanent Queen Victoria Art Gallery, Royal Park: The First Tasmanians: our story Explore the history and culture of the Tasmanian Aboriginal people in The First Tasmanians: our story at the Art Gallery at Royal Park. Highlights include rarely-seen

Hawkes is a nationally respected furniture maker, sculptor and artist who lives in Tasmania. She is particularly well known for pioneering the use of found materials such as horizontal scrub and driftwood in her furniture. In January 2013, her house and boat-shed studio were destroyed in the Dunalley bush fire, along with an irreplaceable collection of her life’s work.

Lucienne Rickard (b. 1981), Extinction Studies, 2019, graphite on paper. From 18 February Extinction Studies Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction

The House of Longing recognises Hawkes’s commitment to her practice as an artist and teacher over forty years, as well as her resilience and passion.

DEVONPORT REGIONAL GALLERY 23 JUNE - 30 JULY 2022 paranapleartscentre.com.au

INTERNATIONAL PAPER GARMENT AWARD EXHIBITION

paranapleartscentre.com.au

Presented in partnership with Devonport City Council and assisted through Arts Tasmania

233

A–Z Exhibitions

JULY/AUGUST 2022

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

S OUTH AUSTRALIA

Adelaide Contemporary Experimental www.ace.gallery

Witness the witty works of Vincent Namatjira brought to life in a vivid animation transforming the AGSA façade. Presented as part of Illuminate Adelaide.

Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information.

Allison Chhorn, Skin Shade Night Day, (video still), 2022, shadow of tree cast onto shadehouse, multi-channel video installation. Courtesy of the artist. 4 June—13 August Skin Shade Night Day Allison Chhorn Skin Shade Night Day is the 2022 Porter Street Commission exhibition outcome, exploring the daily routine and rituals practised by the artist’s CambodianAustralian family.

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Tanaka Yu, Yellow sculpture in the shape of a furoshiki, c2018, Kyoto, stoneware, matte-glaze, 46 x 54 x 38 cm. Collection of Raphy Star. © Tanaka Yu, photograph: Hazuki Kani. Until 6 November Pure Form: Japanese sculptural ceramics Discover the diversity of contemporary ceramics created in Japan from the 1950s to the present. Until 23 April 2023 The Spirits of the Pumpkins Descended Into The Heavens Yayoi Kusama Described as ‘the world’s most popular artist’, Yayoi Kusama is best known for her immersive polka-dot and mirror installations. Experience a sensation of infinite space and colour in AGSA’s Melrose Wing.

GAGPROJECTS www.gagprojects.com

Robert Wilson, born 1941, Lady Gaga: Mademoiselle Caroline Riviere, 2013, HD video; music by Michael Galasso, Courtesy RW Work Ltd and Tempe Manning, Self-portrait, 1939, (detail), oil on canvas, 76 x 60.5 cm. Art Gallery of New South Wales, acquired with the support of the Art Gallery Society of New South Wales 2021. © Estate of Tempe Manning. 9 July—3 October Archie 100: A Century of the Archibald Prize & Robert Wilson: Moving portraits Our winter exhibition double celebrates the enduring power of portraiture with 100 years of the Archibald Prize and an Australian exclusive. Buy tickets online. 15 July—31 July Going Out Bush by Vincent Namatjira

39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery & stockroom open by appointment only.

Flinders University Museum of Art www.flinders.edu.au/museumof-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,

Louise Haselton, Plate 2 from the series Chronicle, 2022, drypoint, plate tone, ink on paper, 29.5 x 20.5 cm (plate), 48.5 x 38 cm (sheet), photograph Grant Hancock. 25 July—16 September The Guildhouse Collections Project: After the Fall Elyas Alavi, Kate O’Boyle and Louise Haselton After the Fall features new work created in response to the Flinders University Museum of Art collection of European prints. Engaging with the idea of the Fall though historical representations of chaos, depravity and civilisations in ruins, artists draw out connections in their practices to contemplate human and environmental challenges defining the 21st century. Curated by Alice Clanachan, Flinders University. This project is a partnership between Guildhouse and FUMA, and is supported by Arts South Australia.

Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5245 08 8388 7250 Open 7 days a week 10am–5pm. See our website for latest information. Our program of visual arts exhibitions showcases the work of local, national and international artists within the character settings of the galleries in our 19th Century building. 4 June–26 July Time Over - Restart Jenn Brazier, Rachel Harris, Ervin Janek, Mimi Kelly, Raheleh Mohammad, Matthew Schiavello, Beverley Southcott. This exhibition is on poetic expressions of photography that broadly fit within so235

praxisartspace.com

S OUTH AUSTRALIA Hahndorf Academy continued... cio-political, environmental, and humanist (including human and non-human) narratives of the world today. These works show re-imagined artistic expressions of hope and inclusivity apart from neo-liberalism, recessive/redundant ways of thinking. 4 June–26 July Forever Drawing Nora Heysen Nora Heysen was a trailblazer in Australian art in the 20th century. Heysen was the first woman to win the Archibald Prize and the first female Australian war artist. Her work is held in major public and regional galleries, and many private collections, around Australia. Selected works of drawings in various media include intimate family portraits, self-portraits, commissioned works, and studies of the nude figure, together with still life and landscapes. Significant series feature portraits of Pacific Islander peoples, drawings from Nora Heysen’s commissioned war work, and studies of the Hahndorf girl ‘Ruth’. Nora Heysen’s art is also displayed in her studio at The Cedars. 4 June–26 July Marli Milyika Macumba Anangu, Pitjantjatjara, Yankunytjatjara People. Born Iwantja (Indulkana), South Australia 1978 and now based in Port Augusta, Marli is from Pitjantjatjara, Yankunytjatjara, Arrernte, Gurindji and Warlpiri peoples. Marli uses traditional storytelling techniques to create new ways of sharing her cultural knowledge. Her unique style brings elements of nature into imaginative, vibrant and contemporary work.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm. See our website for latest information.

3 August—18 September Refugee Week Youth Poster Awards 2022 Jessica Loughlin, Receptor of light viii, 2018. Photo: Rachel Harris 15 July—18 September JamFactory Icon Jessica Loughlin: of light

Group exhibition by artists who have studios at Collective Haunt Incorporated, which is an artist-run initiative in Adelaide with 15 artists’ studios and 24 artists. Collective Haunt is focused on supporting a diverse range of artistic talent through its studios and exhibition program and encourages an effective teamwork environment delivering skills in curatorial/installation practices and nurturing various leadership roles. This exhibition is part of SALA festival 2022, South Australian Living Artists.

3 August—25 September Mallee Soul Angela Roesler Mallee Soul celebrates regional artist Angela Roesler’s love for and connection with the Southern Mallee. It explores moments in time and her sense of belonging. 3 August—25 September My Name Cynthia Schwertsik My Name is an iterative project that responds to and reflects the presence and representation of women across public spaces.

Deborah Prior, Easter in the Anthropocene, 2020. Photo: Sam Roberts 30 July—2 October Deborah Prior: On the third day

www.murraybridgegallery.com.au

30 July—11 September Collective Haunt: Constantly Curious SALA

across galleries in Adelaide, Murray Bridge and Bordertown. Music tracks by sound artist and composer Jesse Budel. Also appearing as part of Illuminate Adelaide’s City Lights program. Open Late until 9pm each Friday and Saturday during these dates. 15 July—30 July Australian Geographic: Nature Photographer of the Year 2021

Murray Bridge Regional Gallery

Nicola Semmens, A Frog Cake Tea Party, 2022, oil on canvas.

Soma Lumia, LACUNAE, 2021, installation view, MONA FOMA, Hobart, TAS.

Nexus Arts www.nexusarts.org.au Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information. 21 May—10 July Ngatchu Yarta—My Country Juanella McKenzie Ngatchu Yarta - My Country invites audiences on a journey into Adnyamathanha Yarta (the Flinders Ranges), as seen through the eyes and heart of Adnyamathanha and Luritja artist and traditional owner Juanella McKenzie 15 July—30 July Lacunae Soma Lumia An interactive projection and sound artwork, connecting people in real-time

Riza Manalo. Image supplied by the artist. 30 June—22 July Stuck on Pause Riza Manalo This exhibition draws from a deeply felt hemmed in existence, the rending of a sense of self several times displaced, from 237

ar t g ui d e .c o m . au Nexus Arts continued... an abode she used to be able to leave and return to, from fairly unbridled work that taunted the limits of imagination, from an even more distant home where dearest relations can no longer be visited and lent care. The showing is phantom-like. Objects come upon the exhibit site through a stream of transmittals, optimized by the near wiping off of traces that track back to the human that sends them over. Manalo’s body effluents (saliva, tears, scratch markings, and then some) wend their way onsite parasitically, congealing upon the crafted and found even as maker and finder cannot tread into where beholders breathe within, touch walls and pounce upon floors. The recalcitrant gesture to set out what keeps getting rendered as inadmissible, of the gentle mending of fragments, of reframing the estranged, streaming and stitching of unmade memories—stake proofs of life upon territory forbidden to the disobedient, disinvited and other ordered.

The taxi driver model from Passenger. 21 May—17 July Take me with you Isobel Knowles and Van Sowerwine

Billie Justice Thomson, Ukrainian Urn, acrylic on Perspex, 40 x 60 cm. 17 June—18 July Much Appreciated Billie Justice Thomson A new series of paintings and drawings where the artist reimagines artefacts and objects found in South Australian institutions in her illustrative and ebullient style.

4 June—24 July The Portrait Project April Hague, Jane van Eeten, Angela Hann, Jennie Matthews, Anne Miles, Sally O’Connor, Julia Reader, Bianca Richardson, Christy Wallace and Stephanie Yoannidis.

Jingwei Bu, Pouring Tea Until It is all Evaporated, 2022. Photograph: Ying He.

Over a six-month period, ten artists based in Mount Gambier have collaborated to deliver a multi-modal public art project. Seeking to bring people together after the isolation of COVID lockdowns, the project centered on collaboration and sharing knowledge alongside structured day-long workshops led by April Hague and Jane van Eeten.

28 July—31 August Pouring Tea Until It is all Evaporated Jingwei Bu Continuing on the concept of Bu’s on-going project of Material Habitats Stage I and II (2019), Pouring Tea Until It Is All Evaporated is the third stage of performing in response to the materiality of everyday objects and materials, brought together with the action of tea pouring. The pouring tea action is extracted from the Buddhist Chan philosophy teaching, about learning and remembering to put down after picking up. By letting go of one’s obstinate intention, one will get unbound ease and freedom. The exhibition engages audiences in a conceptual and spiritual conversation.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon, Tues, Wed, Fri 9am–5pm, Thurs 9am–7pm, Sat 9am–4pm, Sun Closed. See our website for latest information. 238

Collaborating for over 20 years, Isobel Knowles and Van Sowerwine have been making, experimenting and pushing stop-motion animation storytelling into new territory, creating work that is surprising, heartfelt and immersive. In the exhibition Take me with you, audiences will experience the VR work Passenger and its accompanying seven metre long set, alongside the intimate and thoughtfully told stories of Clara, Out in the Open and their latest body of work Can’t do without you.

Carolyn Corletto, Always wear your invisible crown, 2021, oil on ceramics, 20 x 20 x 10 cm. 26 August—24 September Emerging from the Labyrinth Carolyn Corletto, Janine Dello, Kate Dowling, Anne Grigoriadis and Maggie Moy The silencing, erasure, and burial of women’s truths was a constant in history and a reality that continues today. Women’s stories matters.

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Ann Newmarch, Women hold up half the sky!, 1978, colour screenprint on paper. 30 July—25 September Artist/Activist/Feminist/Mother Ann Newmarch

S OUTH AUSTRALIA An active and vocal artist from the 1970s until her untimely passing earlier this year, Ann Newmarch was a leader of feminist art in Australia, but particularly in Adelaide. Bringing together a diverse range of her screenprint works from the 70s and 80s, this exhibition highlights her unique and bold voice fighting for workers’ rights, environmental concerns, and against the proliferation of violence. Woven amongst all of this we also glimpse Newmarch’s life as a mother and how that played into her broader concerns for the future.

In an uncertain world of environmental change and global threats, Joe Felber and friends collaboratively consider what is meaningful to save.

Julie Blyfield, flowers of the sea, 2022 detail, bi-metal-copper/sterling silver heat coloured, wax sealant. Courtesy the artist. Photograph: Grant Hancock.

30 July—18 September Recycle Reuse Reprint Libby Altschwager, Julie Bignell, Joann Fife, Barbara Martin, Anne Miles, Sally O’Connor, Lilija Quill, Ruth Schubert, Sue Shaw, Trudy Tandberg, Diana Wiseman and Stephanie Yoannidis.

1 July—30 September flowers of the sea Julie Blyfield

South Australian Museum

Members of Mount Gambier’s Thumb Print Workshop are using innovative ways of recycling materials and reusing their old prints and plates to create new works for their annual exhibition at The Riddoch.

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.

www.samuseum.sa.gov.au

Emerald, Foreboding, 2022, photographic film print. Image courtesy of the artist.

North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information.

[GRAFTd] Exhibition: 6 August – 17 September In Flux (SALA 22) Emerald, Pony, ExpressWay, Hannah Coleman, Annie Harvey, Mali Isabel, Kit Jury, Fuko Suzuki, Tiah Trimboli. Curated by Christina Lauren. To be human is to constantly be in flux. Lauren curates a metaphorical web, connecting introspective experiences to reflect transitional states and the fluidity of being.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

Over the past two years, Kaspar Schmidt Mumm has been experimenting with paper in all forms. Before plastic, everything was paper. Clothing, packaging, bombs, furniture, even small towns. 25 July—30 July Illumination Joe Felber

4 June—7 August Waterhouse Natural Science Art Prize 2022 Art and science blend in the Waterhouse Natural Science Art Prize exhibition. This biennial prize provides an opportunity for artists to investigate the world around them and present their perspectives on natural science. The Waterhouse Natural Science Art Prize commemorates the South Australian Museum’s first curator, Frederick George Waterhouse. It encourages artists to make a statement about the scientific issues facing our planet and offers a valuable platform for them to contribute to the environmental debate.

Kaspar Schmidt Mumm, Participatory Sculpture, 2022, paper pulp, dye, wood, found objects. Photograph by Emmaline Zanelli. Artist in Residence Exhibitions: 25 July—30 July Wiping Vatman’s Tears Kaspar Schmidt Mumm

Grayson Cooke and Emma Walker, Open Air, video.

Mel O’Callaghan, Respire, Respire, 2019, breathwork performance with dielectric glass and harpist, 20 minutes. Le Confort Moderne, Poitiers, France, 2019. Photograph: Clemens Habicht.

Over the years the competition has become a much-loved fixture on the arts calendar, allowing artists and audiences to explore natural science through a range of creative outlets.

1 July—30 September Centre of the Centre Mel O’Callaghan 239

A–Z Exhibitions

JULY/AUGUST 2022

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

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.

abstract sculptures, rather than throwaways, creating relationships that are whimsical, juxtaposed, or humorous and interconnected through colour and shape. 13 August—10 September Qualiagraph\Qualiagram Hiroshi Kobayashi New paintings investigate the idea of time and depth perception, based on digitised photographic images and 3D models. The works examine the relationships between personal memories and commercial products, and how unique objects can be shared in virtual spaces yet maintain their unique qualities. 13 August—10 September Floe Stuart Elliott

Cathy Blanchflower, Lithic V, 2021, oil on canvas, 152 x 168 cm. 25 June—23 July Paintings 2021–2022 Cathy Blanchflower Organic abstract paintings which explore colour, light and movement to create shifting and intangible spaces. They search for a feeling or presence which cannot be painted directly, but rather revealed within layers and visible structures of paint. 25 June—23 July Loading Paul Caporn A series of 2D and 3D works reflect on the emergence of things; best summed up by the 17th century chemist Antoine-Laurent de Lavoisier: “nothing is created and nothing is destroyed but everything is transformed.” The moment of loading Instagram images and the discarded sprues of plastic model-making take on new life.

Each year the selected works provide a window into young people’s private, social and artistic concerns. The exhibition is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists.

An installation that instigates a visual conversation about choices and their consequences, from the immediate to those so distant as to be effectively unknowable. Although there is an overarching sense of barely contained chaos, the placing of the components is also intended to appear controlled, to present a kind of order, a logic even.

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. Until 28 August Tracks We Share: Contemporary Art of the Pilbara Tracks We Share: Contemporary Art of the Pilbara brings together more than 70 artists and over 190 artworks. This extraordinary body of work features the most exciting contemporary art coming out of the region while paying homage to the legacy that has informed it, offering a rare and broad-reaching insight into the region’s artistic output over the years.

Lucy Loomoo, Yarlintjirri, 2020, acrylic on canvas, 120 x 80 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased through The Art Gallery of Western Australia Foundation: COVID-19 Arts Stimulus Package, 2020. Until 23 October Collective Ground Yamaji/Noongar curator Tui Raven has brought together works from First Nations artists across Western Australia, in Collective Ground—the first exhibition of Aboriginal and Torres Strait Islander works acquired through AGWA’s COVID-19 stimulus package. Collective Ground asks the viewer to consider the ground on which they walk. The pandemic has forced us to consider our relationship to the environments in which we live. The works in Collective Ground have been curated considering the need to separate some of the works based on subject matter related to men’s and women’s Tjukurba/Tjukurpa (the creation period when ancestor beings created the world). During the Tjukurba ancestral beings left marks on the landscape and this laid out Songlines or Creation Lines.

The show is a collaboration between Western Australian non-profit arts and cultural organisation FORM; The Art Gallery of Western Australia; Aboriginal art centres Cheeditha Art Group, Juluwarlu Art Group, Martumili Artists, Spinifex Hill Studio, and Yinjaa-Barni Art; and independent artists Katie West, Curtis Taylor and Jill Churnside.

Minaxi May, It’s a {Plastic} Toy World, 2021, recycled toys and mixed media, 32 x 28 x 32 cm. 13 August—10 September Mélange Minaxi May Commonplace objects are repurposed into ready-made artworks through modification and assemblage. By challenging their inherent meaning the objects are then considered and treasured as

Until 24 July The West Australian Pulse WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, impact and shape the world we live in. This year’s exhibition celebrates 30 years, featuring 49 works by 2021 Year 12 Visual Arts graduates from 32 schools across WA. The West Australian Pulse exhibitors explore themes of mental health and social pressures, environmentalism and human impact, connection, meaning and memory.

Nick Mount, It's not too late: a still life #080721, 2021, glass, blown, cane, surface worked, assembled, ebony and rock maple base, 64 x 41 x 26 cm. Courtesy of the artist. 241

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

11 June—14 August Playing the Man – Art on the Move Graham Miller

Until 31 July Tom Malone Prize 2022

11 June—21 August Wonders of the Worlds Tony Windberg

The Art Gallery of Western Australia’s Tom Malone Prize is a highly respected national event for contemporary Australian glass artists. It has played an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists working with, and sculpting glass. An acquisitive prize, each year’s winning entrant is awarded $15,000 while their work becomes a part of the WA State Art Collection. The 2022 fifteen shortlisted works demonstrate how our nation’s glass artists continue to invent and reinvent, to challenge themselves technically and artistically, and find new frameworks to distil human experience in accessible and enlivening ways. In celebration of the Tom Malone Prize’s twentieth anniversary, the 2022 finalist works, including this year’s winner, are on show alongside each winning work across the nineteen years of the Prize.

18 June—7 August Motherhood Sheree Dohnt

DOVA Collective www.dovacollective.com.au Level 8, 125 Murray Street, Perth, WA 6000 [Map 19] 0419 614 004 10am–4pm during exhibitions. Other times by appointment. See our website for latest information.

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 www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. Follow us on Facebook to keep upto-date with our latest information.

Sherylle Dovaston, Mockingbird.

Mandy White, Day Creatures, 2021, acrylic, ink, glitter and paint pen on canvas, 91.5 x 91.5 cm. 28 May—16 July Mandy’s World Mandy White Step into the vibrant and playful world of Mandy White. See paintings and drawings that swirl with colour, and a little glitter, in Mandy’s debut solo exhibition.

Rhona Wallam, Landscape, 2021, colour on arches paper. 28 May—21 August Noongar Country 2022

Graham Miller, Ken Hunter, 1979, 2019. Courtesy of the artist. 242

In this exhibition Mandy shares a world filled with her many pets and her love of wildlife, family, fairy tales, and pop culture. Mandy’s artwork is alive with energy and humour, offering moments of joy to the viewer. Mandy grew up in Guildford and is of Yamatji and Australian-European heritage. Her art career began when she attended workshops at DADAA. In the subsequent decade Mandy has become an award-winning artist and featured in many group exhibitions including Sculpture by the Sea and Revealed 2020 at Fremantle Arts Centre. Her artwork has been acquired by the Art Gallery of Western Australia, DADAA, and the City of Stirling. Mandy has also won art awards with As We Are and the Autism Association. In 2021 she was awarded the major acquisitive prize in the Joondalup Invitation Art Prize. Some of the artwork in this exhibition was produced during her residency at Midland Junction Art Centre.

Louise Thorpe, Party Dress. 27 August—29 August Intersection Sherylle Dovaston and Louise Thorpe. Intersection is a joint exhibition by Louise Thorpe and Sherylle Dovaston, drawing

WESTERN AUSTRALIA attention to the intersection between abstraction and figuration and bringing together each artist’s perspective on human emotion through their unique visual language. Thorpe’s rich, insightful portraits sit thoughtfully alongside Dovaston’s rousing works, alive with bold form and colour.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm. See our website for latest information.

The exhibition is hosted in partnership with BlueSky Co.Lab in their exciting collaborative space in Perth’s CBD, marking an innovative re-imagining of the intersection between art and business.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Fremantle Kirla Boodja Bull Ant Country, 2018. Photography by Yabini Kickett. just beginning their creative and cultural journeys. Together they celebrate the enduring strength and creativity of Nyoongar yorga, and the legacies they leave.

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. Closed public holidays. 4 July—22 July Yakishime Dora Parker, Pukara (detail), 2021, acrylic on canvas, 110 x 85cm. Image courtesy the artist and Spinifex Arts Project. 7 May—31 July Revealed Exhibition: New & Emerging WA Aboriginal Artists The Revealed Exhibition returns in 2022, celebrating the creativity, ambition and diversity of contemporary Aboriginal Art practice in Western Australia. The annual Revealed program—encompassing the exhibition as well as an online Art Market, artist talks, demonstrations, workshops and an opening weekend celebration— provides a unique opportunity for Perth arts lovers to meet artists from all over this vast state, hear rich stories of culture and community, and support the next generation of artists by buying artwork to take home and cherish. Explore works which range from highly traditional to cutting edge in a range of mediums including painting, installation, textiles, photography, print, video, carving and sculpture.

This exhibition introduces yakishime ceramics, which developed in distinctive directions in Japan, as a part of Japanese traditional culture. It explores the history of yakishime, from its origins to the present, its use in tea wares and utensils for serving food, and its emergence as objets d’art.

Michelle Campbell, Ridgeback on Red Couch, 2022. 55.5 x 71 cm. 16 July—28 August Dogs on Chairs Michelle Campbell Our relationship with dogs is consuming and has evolved over thousands of years. Dogs are our companions, workers or members of our families. Dogs on Chairs celebrates this relationship through painting and recorded stories. Michelle Campbell is [usually] a portrait and urban landscape painter. She has been a finalist in the Black Swan Portrait Prize, Portia Geach Portrait Award, City of Joondalup Invitation Art Awards, York Botanic Art Awards and Minnawarra Art Awards amongst others. Michelle won the City of Belmont Art Awards in 2015. Her paintings are held in the collections of City of Armadale and City of Belmont.

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, Sat and Sun 12pm—4pm. Closed public holidays. Free admission.

7 May—31 July Nih! Yeyi Yorga Waangkiny Nih! Yeyi Yorga Waangkiny features a small but considered collection of works by Nyoongar women, or yorga, including Sharyn Egan, Lola McKickett, Ilona McGuire, Bella Kelly and Laurel Nannup. In this space, the works of Nyoongar yorga offer a moving reflection on their individual lives and the worlds that we share. We invite you to respectfully explore, to djennung (look) and to nih (listen). Nih! Yeyi Yorga Waangkiny unites Burdiyah (bosses/leaders), revered and loved by our community, with younger women

Hannah Pemberton, End of 2020, digital print. 1 August—19 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.

Lindy Lee, Love (An Unbounded Heart), 2017, from The Immeasurables, mirror polished stainless steel, LED, image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore. © the artist.   243

Return to the Hook Olivia Colja July 2022

2 Gladstone Street, Perth WA 6000 m: 0414 946 962 w: kolbuszspace.com kolbuszspace.com

WESTERN AUSTRALIA John Curtin Gallery continued... 3 June—28 August Moon in a Dew Drop Lindy Lee A major survey exhibition by influential artist Lindy Lee. The artist’s meditative and thought-provoking works explore art history, cultural authenticity, identity and the cosmos. This exhibition at The John Curtin Gallery has been organised and toured by the Museum of Contemporary Art Australia. Project assisted by the Australian Government’s Visions of Australia program. 3 June—28 August Soft/Hard: radical love by R. Goo Drawing from the Curtin University Art Collection, Soft/Hard: radical love by R. Goo responds to the theme of ‘Queering the Gallery’ through the unique perspective of the late multidisciplinary trans artist, Bec O’Neil who worked under the pseudonym ‘R. Goo’. Covering a diverse range of media and approaches, there are close to 40 works created over a period of 50 years, many of which have not previously been shown at the John Curtin Gallery. Drawing them all together is Bec’s vision of acceptance of ourselves and others in whatever shape or form we take.

located in the former industrial Claisebrook precinct on the inner-city fringe of Perth. KolbuszSpace prioritises ways to encourage sustainable careers and facilitate positive outcomes for noteworthy emerging artists, whilst also further energising cultural contributions both to and from Perth. KolbuszSpace has an engaging regular monthly exhibition schedule and an extensive stockroom of affordable works. 22 July—24 July Return to the Hook Olivia Colja Colja explores the dialogues of intimacy and morality between herself, others and nature. This exhibition showcases largescale abstract paintings encouraging a deeper reflection and challenge of social norms. Colja has a Bachelor of Social Science, a Diploma of Business and a Bachelor of Contemporary Arts and Olivia Colja, ABSENT, oil on canvas, 158 x 107 cm. weaves narratives into her work from this varied background of painting, curating and working as a community advocate.

Racquel Cavallaro, THEY SAID THEY WERE LOOKING FOR THE LIGHT THAT FELL INTO THE SEA, oil on marine ply support, Tasmanian oak frame, 64 x 64 cm. 1 May—30 July Seams Racquel Cavallaro

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 Tues to Sat, 12noon–5pm. See our website for latest information.

Once known child artist, The Golden Road, c1949, pastel and charcoal on paper. Curtin University Art Collection. 3 June—28 August Carrolup coolingah wirn The spirit of Carrolup children This exhibition focuses on a cohort of Aboriginal children forcibly removed from their families and communities in the 1940s. Their remarkable artworks and stories provide opportunities for truthful conversations about the impact of colonisation, the Stolen Generations, and the rights of children today.

KolbuszSpace www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information. KolbuszSpace is a multi–purpose studio, gallery and project space under the direction of artist Waldemar Kolbusz,

Imogen Kotsoglo, SOL 2 20, ink on Arches Aquarelle 300gsm, 76 x 56 cm. 12 August—14 August Matter Imogen Kotsoglo Kotsoglo’s intricate drawings seek to explore the capacity of visual art to represent and examine the wider implications of a perceived distinction between humans and the natural world. Kotsoglo’s rejection of anthropocentrism does not render her work political in the usual sense, instead providing space for reflection rather than rhetoric. Kotsoglo will also be showing concurrently at PICA.

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209

Jody Quackenbush, The butcher shop, Northbridge, 2013, giclée print on archival paper, ed.1/10, 42 x 59.4 cm. Cruthers Collection of Women’s Art, The University of Western Australia. Courtesy and copyright of the artist. 25 June—20 August Sustaining the art of practice There are countless intangible networks of supporters, communities and friendships that sustain a creative practice. This project draws on works from the Cruthers Collection of Women’s Art to reveal these connective threads via the exhibition, publication, website and associated programs. 12 February—10 December Cristina Asquith Baker, Gemma Ben-Ary, Dorothy Braund, Lina Bryans, Mary Edwards, Linda Fardoe, Margaret Francis, Adrienne Gaha, Bessie Gibson, 245

ar t g ui d e .c o m . au Lawrence Wilson Art Gallery continued...

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 9388 3300 Mon to Sat 10am–4pm.

Julie Wilson-Foster, Self portrait, 1999, oil on canvas, 30 x 30cm. Cruthers Collection of Women's Art, The University of Western Australia. Copyright and courtesy of the artist.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm.

Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie Wilson-Foster and Sue Wyatt—from the Cruthers Collection of Women’s Art.

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art—portraiture and the work of respected Australian artist, Susan Norrie. Norrie’s dark and weighty paintings are placed directly opposite a chronological run of portraits from the collection.

1 July—18 July West Perth: Naidoc Week: Get Up! Stand Up! Show Up! Selected Aboriginal Artists This exhibition celebrates a few of the many Aboriginal artists who have been leaders in their communities, who have

Shorty Jungala Robertson, Ngapa Tjukurrpa (Water Dreaming), April 2009, acrylic on linen, 120 x 120 cm. driven change while remaining faithful to culture and community. 18 July—31 July Subiaco: A Different View Christian Fletcher A collection of new works heavily influenced by the New Topographics exhibition of 1975. A departure from traditional depictions of a landscape, these photographs are a celebration of urban scenes with a banal aesthetic. By simplifying form and colour the work is almost illustrative. Familiar everyday scenes are rendered in such a way as to evoke a sense of nostalgia, the viewer is provided a different view of spaces that usually go unnoticed.

Professional Printmaking Classes

A wide range of printmaking classes Award winning artist

Explore traditional printmaking techniques The newest advancement in the field

Classes offered in person (WA) and online www.monikalukowska.net I 0477859505 I @monika.lukowska 246

monikalukowska.net

WESTERN AUSTRALIA Mcculloch, Daniel Smith, Isabelle De Kleine, Jarod Malton and Hunter Smith New or relatively new to the visual art scene, Young Guns is an eclectic exhibition by these emerging artists. As examples, Matthew Wright investigates habitat and personal space within a suburban context, reframing the mundane. Isabelle de Kleine looks at identity, distorted reality and subjectivity expressed through figure, colour shape and texture. 1 August—22 August Subiaco: Environment Douglas Kirsop, Jo Darvall, Andy Quilty, Ingrid Windram, Jenni Doherty and Jacinda Bayne An exhibition of works that look critically at our environment, be it pristine, under threat, urban or rural.

Christian Fletcher, Unititled, 2022, ed. 1/1, 113 x 62 cm.

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.

Simon Marchment, Artist works in succession, (detail), 2021, indian ink on paper. work out of DADAA’s studios in Midland, Lancelin, and Fremantle, Quiddity explores differing ideas of portraiture. Each artist has gone beyond simply depicting their subject’s physical likeness, instead aiming to capture the essence of their subject using a variety of mediums and approaches.

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.

Matthew Wright, Apostrophe, 2021, mixed media on board, 40 x 40 cm. 5 August—27 August West Perth: Young Guns Matthew Wright, Sam Bloor, Shannon Antony Muia, Lake Karri, (detail), 2021– 2022, edition of 9, etching and Chine collé on hand-coloured paper, 60 x 80 cm. 7 May—16 July Upper Reach Antony Muia Developed during an artist residency at Midland Junction Arts Centre, this body of work is inspired by the unique flora and fauna found in Perth’s eastern suburbs and hills. Muia explores a synergy between figuration and the natural world and considers the history and traditions of the printmaking genre, including its strong ties to illustration and storytelling. These experimental etchings reflect both the representational qualities of our surroundings and the relationships of people with the environment.

Jo Darvall, Boranup Forest G, 2022, 68 x 88 cm, Watercolour monoprint on Hahnemule paper. Photograph by Miles Noel.

7 May—16 July Quiddity Presented by DADAA Quiddity means the true nature of a thing of its essence. Featuring artists who

Tjyllyungoo Lance Chadd, Returning, (detail), acrylic on canvas, 92.5 x 56 cm 9 April—19 June Country Connections Shire of Mundaring Open Art Acquisition Exhibition. Curated by Sharyn Egan and André Lipscombe. The 2022 Shire of Mundaring Open Art Acquisition Exhibition features artists with a continuing connection to Mundaring and its country. Selected works reflect and explore materials, themes, and cultural relationships to and about the natural world. 2 July—11 September Extricate Through transformative processes, this group of emerging artists take the printmaker’s craft beyond tradition. While 247

ar t g ui d e .c o m . au Mundaring Arts Centre continued... maintaining the physical presence of the artist’s hand in the work, the artists reveal outcomes using non-traditional materials, scale and form, following chance revelations and surprising serendipities into an expanded practice.

16 July—27 August Inner Glow Rebecca Baumann, Marion Borgelt, Tove Kjellmark, Caitlin Yardley and Holly Yoshida.

Zig Zag Gallery

A group exhibition featuring works with shared degrees of radiance derived either through material application or subject replication.

50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information.

www.zzcc.com.au

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.

Annette Peterson, In the shade, en plein air, (detail), 2021, oil on wood. 2 July—11 September Repositioning a Place in the Heart Annette Peterson Annette Peterson reinterprets her dad’s memories of life at Parkerville Children’s Home in the 1950s through her paintings in Repositioning a Place in the Heart. Peterson began researching and recording his story during an artist residency at Midland Junction Arts Centre. This was followed by a residency at Parkerville Children’s Home, where she was able to paint ‘en plein air’ while re-listening to her dad’s history. Her dad’s story emerges through her work, his emotion intersecting with her own.

Housed in an iconic heritage building in the heart of Perth, PICA is the place to experience the very best of local, Australian and international contemporary visual, performing and interdisciplinary art, all under one roof. Over its 30-year history PICA has operated as both a producing and presenting organisation, delivering an annual program of changing exhibitions, seasons in contemporary dance, experimental theatre, new music and live art as well as a range of artist in residence programs.

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.

Holly Yoshida, Bathe, 2022, oil on board. 41 x 51 cm. Image courtesy the artist and MOORE CONTEMPORARY. 248

8 July—17 July NAIDOC Week 2022 Exhibition A group exhibition celebrating Aboriginal and Torres Strait Islander cultures. The 2022 Theme for this NAIDOC exhibition is ‘Get Up! Stand Up! Show Up!’.

John Eden, Repatriation House, 2022, acrylic and oil on board, 44 x 62 cm.

MOORE CONTEMPORARY www.moorecontemporary.com

Aurora, Jayda and Sonny Abraham, Walking Together, 2022, acrylic on paper, 29.7 x 42 cm.

Zoe Sydney, Jim, 2021. 14 May—17 July Hatched: National Graduate Show 2022 Susie Althorp (SA), Nazerul Ben-Dzulkefli (WA), Emma Bingham (TAS), Zeth Cameron (VIC), Lauren Downton (SA), Shaye Dương (SA), Remy Faint (NSW), Georgia Gregory (WA), Erin Hallyburton (VIC), Kate Hocking (VIC), Morgan Hogg (NSW), Sasha Hunt (NSW), Tyler Krelle (QLD), Kyra Mancktelow (QLD), A Maree (NT), Isabel Margot (SA), Ilona McGuire (WA), Jacquie Meng (ACT), Liv Moriarty (VIC), Alanna Paxton (VIC), Dylan Perlowski (NSW), Dylan Sarra (QLD), Zoë Sydney (WA), Chloe Tizzard (VIC) and Phoebe Willis (NSW) Hatched returns to PICA for its 31st spin around the sun. This highly anticipated group exhibition is a staple in art lovers’ calendars. Twenty-five of Australia’s most exciting emerging artists from art schools across Australia will take over PICA and showcase their most ground-breaking works to date and all under one roof. Featuring something for everyone, join us until 17 July to get a glimpse into the future of Australian Art.

23 July—7 August Art is History John Eden John Eden’s exhibition Art is History explores the heritage of the Kalamunda, Pickering Brook and wider hills area, uncovering traces of the past in historic sites and found objects. As a teacher and student of art and art history, Eden selects his medium, technique and even style according to his subject matter. Realist, expressionist and abstract works feature amongst the selected works. 12 August—28 August Luminary Kalamunda Senior High School Arts Students Kalamunda students’ art shines in Luminary , an exhibition showcasing works of art, design and media by Kalamunda Senior High School Arts Students. Artists featured are from years 7 to 12 including students in the Gifted and Talented Program. Luminary means both a person who inspires or influences others and something that produces light. This exhibition represents an illuminating display of creativity and skill from bright young minds emerging in the arts.

A–Z Exhibitions

JULY/AUGUST 2022

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

249

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

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm.

A wild array of fantastic textiles by makers from across Australia and the world. The exhibition highlights works from Indigenous workshops held annually in communities across Central Australia.

porary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts. Awards Ceremony Friday 5 August.

Museum and Art Gallery of the Northern Territory

NCCA – Northern Centre for Contemporary Art

www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information.

Jeffery Mincham, Early Morning Mist Clearing To Fine, 2021. Photograph: Michal Kluvanek. 17 June—14 August SIXTY The Journal of Australian Ceramics 60th Anniversary A celebration of ceramics and sixty years of a publication dedicated to the craft. The exhibition is curated and produced by Australian Design Centre.

Our principal facility since 1981 is on Larrakia Land at Bullocky Point in Darwin, home to internationally renowned cultural and scientific collections and research and exhibition programs. MAGNT also operates the historic Fannie Bay Gaol in Darwin, the Museum of Central Australia incorporating the Strehlow Research Centre in Alice Springs, Megafauna Central and the Alcoota Fossil Bed site north east of Alice Springs. MAGNT also manages the historic Lyons Cottage on Darwin’s Esplanade and the Defence of Darwin Experience at East Point in Darwin.

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

Franca Barraclough with Cinematographer Anna Cadden, Go Feral, 2018, audio visual, 21:46. 9 June—23 July The Visitors Franca Barraclough 22 July—30 October [Participating in] Manifesta 14: Prishtina Petrit Abazi, Piers Greville and Stanislava Pinchuk.

Yolŋu wäŋa roŋiyirra marrtji guyaŋura bunhaŋur (Returning home from hunting). People featured: Muwarra Ganambarr 1. Opening 12 June Gumurr’manydji Manapanmirr Djäma (Making successful business together) A photographic exhibition from the Arnhem Land Progress Aboriginal Corporation (ALPA) celebrating 50 years of Yolŋu economic independence, enterprise, self-determination, culture and ingenuity. Gumurr’manydji Manapanmirr Djäma is proudly produced by an all Indigenous Community Curatorial team from Galiwin’ku, Gapuwiyak, Ramingining, Milingimbi and Minjilang - where ALPA operates today. Claire Freer, Breaking Ground, 2020, handbuilt and pit fired using clay and acacia aneura collected from Ngaanyatjarra Lands with permission. Photograph: Julian Green.

6 August—15 January 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA)

A diverse and eclectic survey, works reflect the rich complexities of Ancestral stories, lived experiences and settler histories, alongside the joys and challenges of making with clay, the stuff of country itself.

Showcasing the very best Australian Aboriginal and Torres Strait Islander art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists.

24 June—15 July The 26th Alice Springs Beanie Festival

The annual exhibition demonstrates the richness and diversity of current contem-

17 June—14 August Clay on Country

250

Timo Hogan, Lake Baker, acrylic on linen, 200 x 290 cm. Courtesy of Spinifex Arts Project. 6 August—17 September Timo Hogan

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information. RAFT is nationally and internationally renowned for its unique style and carefully considered exhibitions. Since its inception, the gallery has set an agenda promoting community interest in the region and provoking an extensive critical discourse. 29 July—20 August Paper Scissors Rock Markus Camphoo and The Tennant Creek Brio

MAP 1 VI CTO RI A

23 MILDURA

SWA N H I L L

Victoria

WO D O N G A

37 S H E P PA RTO N BENDIGO

HORSHAM

WA N G A R AT TA

20 6

C A ST L E M A I N E

10 A R A R AT

DAY L E S FO R D

H E A L E SV I L L E

B A L L A R AT

H A M I LTO N

27 22

WA R R N A M B O O L

24 16 G E E LO N G 15 8

38 LO R N E

1 2 3 4 5 6 7 8 9 10 11 12 13

Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Black Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Distorted Frame East Gippsland Art Gallery Everywhen Artspace

14 15 16 17 18 19 20 21 22 23 24 25 26

26 30

B A I R N S DA L E

28 36

11 13 32

The Foundry Arts Space Geelong Art Space Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Maffra Exhibition Space Mildura Arts Centre National Wool Museum QDOS Art Gallery Queenscliff Gallery

SALE

MORWELL

27 28 29 30 31 32 33 34 35 36 37 38 39

Post Office Gallery Art Academy Red Tree Gallery Rutherglen Art Gallery Salt Contemporary Art Shepparton Art Museum Silver Leaf Art Box Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Town & Country Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery 251

MAP 2 MELBOURNE CBD

33 36

T ES

N LO

T ES

28 LO

RIN

BO LT

HIB ITI

N LLI

T NS

LLI

BE TH

FLI

T SS

ELL

CO LT

S TO

LLI ST

ELI

< 12

Melbourne CBD

30 16

7 31 23 9 14 13

FLI

< 19

T SS

20 18

RT S T

KIL

ST U

< 21

1 2 3 4 5 6 7 8 9 10 11 12 13 252

Alcaston Gallery Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery Discordia

14 15 16 17 18 19 20 21 22 23 24 25

Flinders Lane Gallery fortyfivedownstairs Gallery @ City Library Harvey Galleries Immigration Museum Kings ARI Koorie Heritage Trust LUME Melbourne Fiona and Sidney Myer Gallery Missing Persons Museum of Chinese Australian History National Gallery of Victoria – The Ian Potter Centre 26 National Gallery of Victoria – NGV International

27 28 29 30 31 32 33 34 35 36 37 38 39

Neon Parc No Vacancy Gallery The Old Treasury Building Project8 ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Stephen Mclaughlan Gallery Tolarno Galleries Void_Melbourne

MAP 3 FI TZ R OY /C O L LI NGWO O D

A LE X A W E S TG

ARTH

NDRA P DE

ST M AT E R

15 21

9 24 7

N A P IE R

S M IT H

Collingwood

2 LANGR

W E LL IN

U D E ST

G TO N S T

Fitzroy GERTR

ID G E S T

12 18

V IC TO

25 ST

H O D D LE

C A R LT ON GARDE NS

W IC K S T

Y ST ST

BRUNS

FI T Z R O

N IC H O MOOR

TO N S T

LS O N S T

JO H N S

R IA P D E

A LB E R

T ST

FI T Z R O Y GARDE NS

1 2 3 4 5 6 7 8 9

ACAE Gallery @14 Art Lovers Melbourne Gallery Australian Galleries Australian Print Workshop Artbank Arts Project Australia Brunswick Street Gallery BUS Projects

10 11 12 13 14 15 16 17 18

Centre for Contemporary Photography Daine Singer Fox Galleries FUTURES James Makin Gallery Lamington Drive Modern Times Melbourne Museum Nicholas Thompson Gallery

19 20 21 22 23

PG Printmaker Gallery Seventh Gallery Slow Clay Centre Sutton Gallery This Is No Fantasy + Dianne Tanzer Gallery 24 West Space 25 Yarra Sculpture Gallery

253

MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N H E A L E SV I L L E BUNDOORA

24 13

E LT H A M

14 M A R I BY R N O N G

L I LY DA L E

S EV I L L E

Melbourne

R I N GWO O D

1 17

W I L L I A M STOW N

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

23 20

2 9

EMERALD

DA N D E N O N G M O R D I A L LO C

PAKENHAM CRANBOURNE

19 7 F R A N KSTO N

M O R N I N GTO N

1 2 3 4 5 6 7 8 9 10

254

ArtSpace Realm Bundoora Homestead Bunjil Place Burrinja Cultural Centre Colour Factory Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium

11 12 13 14 15 16 17 18 19 20

Glen Eira City Council Gallery Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art

21 22 23 24 25 26 27 28 29

Monash University Museum of Art Mornington Peninsula Regional Gallery The Stan Gallery TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE <

< 22

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Brightspace Charles Nodrum Gallery Climarte Gallery CRITERIA D’Lan Contemporary Eastgate Jarman Finkelstein Gallery Firestation Print Studio Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Leonard Joel Linden New Art LON Gallery Lynn Jaanz at York Street Lyon House Museum LUMAS Galleries Fiona and Sidney Myer Gallery MARS Gallery Metro Gallery Niagara Galleries Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

B R U N SW I C K

N O RT H C OT E B R U N SW I C K E A ST

1 19 PA R KV I L L E C A R LTO N N O RT H

6 16

9 2

N O RT H MELBOURNE

11 13

F I TZ R OY

C A R LTO N

C O L L I N GWO O D

20 23

MELBOURNE CBD

17 6 5

RICHMOND

CREMORNE

SOUTHBANK

H AW T H O R N

B U R N L EY

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Arts Project Australia Burke Gallery Chapman & Bailey Counihan Gallery In Brunswick Dark Horse Experiment The Dax Centre Gertrude Contemporary Gallerysmith and Gallerysmith Project Space George Paton Gallery Grau Projekt Ian Potter Museum of Art Islamic Museum of Australia Jacob Hoerner Galleries Johnstone Collection Neon Parc Brunswick Old Quad Otomys Contemporary Divisions Gallery Red Gallery RMIT Project Space / Spare Room Shirazi Art Gallery Tinning Street Presents Victorian Artists Society West End Art Space

1 2 3 4 5 6 7 8

3 SOUTH YA R R A

TO O R A K

KO OYO N G

26 15 PRAHRAN M I D D L E PA R K

WINDSOR

22 ST K I L DA W E ST

12 1

10 13

8 A R M A DA L E

23 11

27 ST K I L DA

B A L AC L AVA

255

MAP 7 SY D N EY

< 18 38 GORDON

27 M AC Q UA R I E PA R K

LINDFIELD

S E A FO RT H

FA I R L I G H T

C H ATSWO O D

M A N LY

LANE C OV E

N O RT H B R I D G E

17 ST L EO N A R D S

G L A D E SV I L L E

30 33 N O RT H SY D N EY

12 16

31 26

MOSMAN

BALMAIN

35 7

THE R O C KS

24 5

Sydney

R OZ E L L E

C R OY D O N

HABERFIELD

23 U LT I M O

11 8

DA R L I N G H U R ST

S U R R EY H I L LS

1 25

37 32 B O N D I

B E AC H

14 N E W TOW N

1 2 3 4 5 6 7 8 9 10 11 12 256

16albermarle Adelaide Perry Gallery Annandale Galleries Annette Larkin Fine Art Australian National Maritime Museum Art Atrium Artereal Gallery Articulate project space Artsite Gallery Art Space on the Concourse Boomalli Aboriginal Artists Co-operative Brenda Colahan Fine Art

13 14 15 16 17 18 19 20 21 22 23 24 25

Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Harvey Galleries Seaforth Harvey Galleries Mosman Incinerator Art Space Interlude Gallery Kate Owen Gallery Kerrie Lowe Gallery

26 27 28 29 30 31 32 33 34 35 36 37 38

ALEXANDRIA M A R R I C KV I L L E

Lavender Bay Gallery Macquarie University Art Gallery Making Time Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery SOHO Galleries SOHO Galleries Sullivan & Strumpf Sydney College of the Arts Gallery Sydney Road Gallery Twenty Twenty Six Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

20 9

CA HI LL ES PY

K IN G ST

EL IZ AB ET

H ST

FR D

8 AR

1 18

Australian Design Centre Art Gallery of New South Wales Artspace The Cross Art Projects Firstdraft Gaffa Gallery Harvey Galleries Hyde Park Barracks The Ken Done Gallery Korean Cultural Centre Museum of Contemporary Art Australia (MCA)

12 13 14 15 16 17 18 19 20 21 22

ST IT IO N

C R OW

PA R K

E X H IB

DR UIT T ST

N ST

1 2 3 4 5 6 7 8 9 10 11

E AY S T

MAR KET ST

W IL L

M AC L

Sydney CBD

AR IE ST

BR ID GE

M AC Q U

ER ST WE

YO RK ST

ND I

RIB

IA M

Museum of Sydney The Sculptors Society S. H. Ervin Gallery SOHO Galleries Sydney The SPACE Gallery Stacks Projects Stanley Street Gallery State Library of New South Wales Sydney Opera House Wentworth Gallery Wentworth Gallery, Martin Place

257

MAP 9 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O

PA R K

6 9

RR IS ST O

X FO

Darlinghurst 13

D S T

TT WA

LE N ST

Ultimo Chippendale

BRO ADWAY

F OV

E AU

C R OW

XS T

7 CLEV

ELAN

D ST

ORE

PA R K

24 C L E V

DS T

Redfern P H IL L

RA GL AN ST

BOU

RKE

ST BIE

R ERC

Surry Hills

IP S T

Moree Park

26 2

Waterloo

L AC H

LAN

1 2 3 4 5 6 7 8 9 10

258

4A Centre for Contemporary Asian Art Artbank Sydney Australian Centre for Photography Brett Whiteley Studio Carriageworks Chalk Horse Chau Chak Wing Museum The Commercial Conny Dietzschold Gallery Darren Knight Gallery

11 12 13 14 15 16 17 18 19 20 21

Eden and the Willow Flinders Street Gallery Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Liverpool Street Gallery m2 Gallery Nanda/Hobbs National Art School Powerhouse Museum

22 23 24 25 26 27

UTS Gallery Rogue Pop-Up Gallery Sabbia Gallery Verge Gallery Wellington Gallery White Rabbit Gallery

M A P 10 PA D D I N GTO N

5 19

TS T

WILLIAM ST

NEW

ING

ES ST

RL DA

ST Y

ADE

CAS C

GR EE NS RD

Paddington

2 12 10

M GL

13 ST

FORB

IO N

D RD

ALB

S HE A

5 11

W W

G O

R D

O N ST

M1 MOO

1 2 3 4 5 6 7 8 9 10 11 12

Arthouse Gallery Australian Galleries Barometer Blender Gallery Cement Fondu Cooee Art Gallery Defiance Gallery at Mary Place Dominik Mersch Gallery Fellia Melas Art Gallery Fox Jensen Gallery Sally Dan-Cuthbert Martin Browne Contemporary

9 14

13 14 15 16 17 18 19 20 21 22

RE P ARK

N.Smith Gallery OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery Thienny Lee Gallery UNSW Galleries Wagner Contemporary

259

M A P 11 & 12 G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

1 2 3 4 5 6 7 8 9

RICHMOND

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Gang Gang Gallery Harvey House Gallery and Sculpture Park 10 Hawkesbury Regional Gallery 11 Hazelhurst Regional Gallery & Arts Centre 12 Hurstville Museum & Gallery 13 Parramatta Artists Studios 14 Peacock Gallery and Auburn Arts Studio 15 Penrith Regional Gallery 16 Rex-Livingston Gallery 17 Steel Reid Studio 18 Sturt Gallery 19 UWS Art Gallery 20 Wallarobba Arts and Cultural Centre 21 Wollongong Art Gallery

C A ST L E H I L L

K ATO O M B A

1 13 7 LIVERPOOL

Sydney

B A N KSTOW N

12 11

C A M P B E L LTOW N

CRONULLA

BARGO

WO L LO N G O N G

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 260

Bank Art Museum Moree Bathurst Regional Art Gallery Bega Valley Regional Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Ngununggula Orange Regional Gallery The University Gallery Rusten House Art Centre Shoalhaven Art Gallery Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Velvet Buzzsaw Gallery Wagga Wagga Art Gallery Wester Gallery Western Plains Cultural Centre Weswal Gallery

BY R O N 28 B AY 12

C O F FS HARBOUR

MOREE

BOURKE

33 20 27 COBAR

4 BROKEN HILL

15 31 18 14 13 23 17 19

DUBBO

New South Wales

MILDURA

22 2 C E N T R A L C OA ST 29

WO L LO N G O N G

30 16 EC H U C A

9 21 25 24 26 7

KO S C I U S Z KO N AT PA R K

M A P 13 & 1 4 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

19 Karen Contemporary Artspace Art Lovers Australia Gallery Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

5 SUNSHINE C OA ST

13 9

12 15 4

Brisbane 19

3 14 9

TO OWO O M B A

16 17 11 2

GOLD C OA ST

7 1 10 6

18 STA N T H O R P E

CAIRNS

6 12 2

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11 12

Artspace Mackay Cairns Regional Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio UMI Arts

8 11 4

M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

261

M A P 15 BRISBANE

2 12

RE ST

EE EN

B EE

Fortitude Valley O

ST R E E

DA R Y

BOUN

17 10

8 9

ED W A

R D

ST R EE T

22 19

16 13 M

South Bank

Brisbane CBD

AL IV

1 2 3 4 5 6 7 8 9 10 11

262

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

12 13 14 15 16 17 18

Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 19 Queensland Museum 20 QUT Art Museum 21 Side Gallery

22 23 24 25

State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

YD RIV

12 24

Acton

10 9

21 PA R K E

S WAY

AV E

Russell

18 20

16 KIN

ID E

E AV

Barton

AV E

8 14

LA ADE

EN E AV

Deakin G

CAN W

BER

RA A VE

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

263

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

L S T

1 2 3 4 5 6 7 8 9

Hobart EL

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

Y RD

HA CK NE

18 1 14

Adelaide

264

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

12 13 14 15 16 17

Art Collective WA Art Gallery of Western Australia DOVA Collective FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

17 NE

1 2 3 4 5 6 7 8 9 10 11

9 W

ES T

ING

NS T

Perth

15 2

12 TH

EE SPL A

3 13 1 EL A I D8 ET E

7 RR

3 4 OR

T DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 265

“If you have a singular narrative, you mythologise around a singular narrative and you are negating other experiences.” — DA N I E L B OY D , A R T I S T, P. 8 3

“I think there is a romantic quality to black and white photography and film. It’s nostalgic . . . It purposefully eludes any particular era, but suggests the past, memory and history—any time that isn’t right now.” — H AY L E Y M I L L A R B A K E R , A R T I S T, P. 8 7

“We were not just creative colleagues, we were, and still are, friends and family—change-making innovators, provocateurs and liberators, and comrades-in-arms.” — B R E N DA L C R O F T, W R I T E R , P. 91

266

INDEX

nga.gov.au